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Iran's Mass Killing Campaign Sees Chilling Numbers Of Daily Executions

Iran's mass killing campaign' sees chilling number of daily executions By Laura ZilincanovaEleanor Lees, 1 days ago Iran has conducted its highest number of executions in over three decades, putting to death at least 1,000 individuals during the past nine months. The "mass killing campaign" of hangings took place between January and September, according to the Norway-based Iran Human Rights organization (IHR). This figure already exceeds the 975 killings recorded in 2024 and represents the highest total since the group began maintaining records 17 years ago. The activists reported that at least 64 executions occurred just last week - averaging more than nine hangings per day. It comes as news emerged that Iranian diplomats are banned from Costco unless they get permission from the Trump administration. READ MORE:Trump's printed UN script reveals secret behind unhinged speech style READ MORE:Iranian diplomats banned from Costco unless they get permission from Trump administration Due to the lack of transparency and reporting restrictions, the actual number is believed to be significantly higher. IHR director Mahmood Amiry-Moghaddam stated: "In recent months the Islamic Republic has begun a mass killing campaign in Iran's prisons, the dimensions of which, in the absence of serious international reactions, are expanding every day. "The widespread, arbitrary executions of prisoners without due process and fair trial rights amount to crimes against humanity and must be placed at the top of the international community's agenda regarding the Islamic Republic. "Any dialogue between countries committed to the foundations of human rights and the Islamic Republic that does not include the execution crisis in Iran is unacceptable." After the 1979 Islamic Revolution, Iran previously carried out widespread executions during the 1980s and early 1990s. Nevertheless, IHR maintains the nation has escalated its use of capital punishment since its 12-day conflict with Israel. "We will definitely deal decisively and legally with spies, but it should be noted that identifying them is not easy and requires intelligence techniques," Iran's judiciary chief Gholamhossein Mohseni Eje'i stated just hours after a man accused of spying for Israel was executed. He further revealed that several individuals have been arrested and punished following trials for collaborating with what he referred to as "the Zionist regime". The majority of the executions were for drug-related offenses, which do not meet the international human rights law's criteria for "most serious crimes", such as genocide or crimes against humanity. For all the latest news straight to your inbox, sign up for our FREE newsletters here. Most of these executions are carried out by hanging within prison facilities, though some public hangings still take place. In 2024, four individuals were publicly hanged. Only 11% of the 1000 executions were officially announced. None of the drug-related executions have been officially announced, according to IHR. As per Amnesty International and other human rights organizations, Iran ranks second in the world for the most executions, trailing only China. For the latest local news and features on Irish America, visit our homepage here.

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Missing Artwork Looted By The Nazis Could Be Worth Billions-But Who Owns It When It's Found?

Missing art looted by the Nazis could be worth billions – but who owns it when it’s found? By Guy Walters, 2 days ago Prosecutor Daniel Adler in front of Giuseppe Ghislandi’s 18th-century painting ‘Portrait of a Lady’, reportedly stolen by a Nazi officer during World War Two, in Mar del Plata, Argentina AP It began, absurdly enough, with an estate agent’s photograph. A grainy picture of a living room in a bungalow in Argentina, snapped for a property listing, showed a gilt frame above a sofa. An eagle-eyed researcher recognised the work as Portrait of a Lady, an Italian portrait once in the collection of a Jewish Dutch art dealer called Jacques Goudstikker – a name synonymous with the wholesale dispossession by the Nazis of Jewish collectors in the Netherlands in 1940. Argentinian prosecutors, alerted by the sighting, swept in; the painting was recovered and handed to the courts. The family of the original owner is among those now pressing for restitution. It is a remarkable, if familiar, story: what was taken in wartime surfaces decades later in the most mundane of places. That fluke also re-focuses a question historians and lawyers have been arguing over for three generations: how much of the art looted by the Nazis is still missing, and what is it worth? The blunt answer is: we don’t know – and whatever number you pick, it will be both terrifyingly large and maddeningly imprecise. Estimates vary. A commonly cited figure is that between 1933 and 1945, some 600,000–650,000 works were seized or sold under duress across Europe. Many were small domestic objects – china, silver, family heirlooms – but the haul also included thousands of paintings, prints and sculptures taken from private Jewish collections, museums and synagogues. Only a fraction has been returned. Put a monetary figure on that and the problem becomes even more slippery. Single masterpieces can command sums that make the head spin: Gustav Klimt’s Portrait of Adele Bloch-Bauer I was famously returned to Maria Altmann and later sold to Ronald Lauder for tens of millions; Egon Schiele’s Portrait of Wally resulted in a $19m (£13.9m) settlement after protracted litigation in New York. At the other end of the scale lies The Amber Room – the enormous, amber-panelled interior looted from Catherine Palace in 1941 – whose modern valuations have oscillated, in different hands, from many tens of millions into the hundreds of millions. All of which underlines the point: a handful of works could be worth hundreds of millions on their own; the total value of what is missing could comfortably sit in the billions. And yet the headline numbers sometimes mislead. When Cornelius Gurlitt – the reclusive son of Hitler’s art dealer Hildebrand Gurlitt – was exposed in 2012, newspapers lectured that a billion-euro bonanza had been found in a Munich flat. That trove, extraordinary as it was, contained hundreds of works, only a minority of which could be proven to be looted. The public outcry that followed taught a salutary lesson: provenance matters, and establishing theft or forced sale almost eight decades after the event is painstaking work. Which brings us to the core of the modern system for deciding ownership when an object is rediscovered. There is no single global court of restitution. Instead, the architecture is a tangle of moral principles, national procedures and ad-hoc settlements. The Washington Conference Principles of 1998 and the Terezín (Theresienstadt) Declaration of 2009 set the international tone: identify, research and, where appropriate, find “just and fair” solutions for Holocaust-era confiscations. They are not legally binding – they are moral-political instruments intended to nudge museums, governments and dealers into transparency. How that principle works on the ground varies from place to place. In the UK, the Spoliation Advisory Panel examines claims concerning works in national collections and recommends remedies – which have ranged from outright restitution to monetary compensation to long-term loans. In Germany, there is an advisory commission and a now-more-sophisticated provenance infrastructure (the Lost Art Database and the German Lost Art Foundation) to help identify suspect pieces and broker solutions. Private restitution is often litigated, sometimes mediated: the Portrait of Wally case was litigated under US forfeiture law; the Klimt case made its way to the US Supreme Court before being resolved in arbitration and settlement. US soldiers carry some of the priceless collection of stolen paintings discovered hidden in Neuschwanstein Castle in Bavaria, in May 1945 (Getty) That framework performs the work of history in public: provenance research, legal argument and, crucially, negotiation. Institutions frequently point to gaps in the archives, to ambiguities of ownership during a chaotic era, and to good-faith purchases made in the decades after the war. Claimants point to forced sales, deportation, murder and the simple fact that families were stripped of their property. The result is rarely neat justice; it is brokerage. And sometimes, despite all the declarations and commissions, justice is delayed or denied – as heirs continue to battle over works held in state galleries or private hands. Recent cases show that even when the provenance is strong, bureaucratic and legal obstacles can delay restitution for years. Who does the finding? A mixed cast: dedicated researchers in national archives and museums; NGOs like the Commission for Looted Art in Europe; databases and private companies such as the Art Loss Register; independent sleuths – often glorified as “art detectives” – who comb auction catalogues and anonymous photographs; prosecutors and customs officers who act on tips; and, increasingly, the public. The Argentinian discovery was classical amateur detection turned civic action: someone saw a picture online, recognised it, and the wheels of justice started turning. My forthcoming TV series for the History Channel, The Last Hunt for Nazi Gold, has taken me across Europe this August on much the same hunt. I followed leads in Germany for the collection of Baron Ferenc Hatvany, the Hungarian connoisseur whose works were dispersed in the chaos of 1944–45 and are still turning up in vaults and galleries. I hauled myself to Lake Toplitz in Austria, where generations of divers have dreamed of sunken Nazi caches; I chased rumours about The Amber Room and the circuitous trail of crates and reports that might, just might, lead to it. I met many treasure hunters, some of whom are sane, some of whom are, shall we say, “out there”. All are obsessional. Practical obstacles for art and treasure hunters abound. Many institutions acquired works in the postwar years when provenance was either not investigated or was obscured by paperwork. Records have been lost or deliberately destroyed. Some treasures were trafficked across borders – sometimes with the complicity of local officials – and have migrated into private collections where discoverability is slim. Even when a looted work reappears, legal systems differ: statutes of limitation, evidential burdens and compensation models are not uniform. The Washington Principles and national panels attempt to smooth these differences, but they cannot legislate away messy human history. Visual arts teacher Ariel Bassano speaks in front of the recovered painting believed to be ‘Portrait of a Lady’ by Giuseppe Ghislandi, in Mar del Plata, Argentina, on 3 September (AFP/Getty) Yet there is reason for cautious optimism. Provenance research is no longer niche; whole departments and databases are devoted to it. International cooperation has improved, and high-profile successes demonstrate that recovery and redress are possible, even decades on. The public now helps; internet catalogues, digitised archives and social media mean that a painting can be traced from a living room in Argentina to a Jewish dealer’s Prague ledgerbook in a matter of days. What I took away from my time on the road was neither grand optimism nor despair, but the stubborn persistence of memory. Looting was a crime against people as well as property; for heirs, a returned frame can be a fragment of family restored. For historians, each recovered object rewrites a small part of the past. The lesson is blunt: the past does not only live in museums. Sometimes it hangs over a sofa in an ordinary house, waiting for someone to notice. If the Argentinian estate agent photograph teaches us anything, it is that the search continues and that recovery is – at least occasionally – a matter of exposure and will. The moral architecture we have built since 1998 gives us routes for redress, and institutions are increasingly obliged to look under the carpets of their collections. But the scale of what was taken means that, long after our generation, there will still be searches, claims and occasional triumphs. And that, if nothing else, is a measure of the damage the Nazis inflicted – a theft that has echoed for 80 years and shows no sign of going quietly into the past. The 10 Most Famous Still-Missing WWII Looted Artworks Vincent Van Gogh is among the artists whose work has gone missing (Vincent van Gogh Foundation) 1. Raphael, Portrait of a Young Man Believed to be a self-portrait, it vanished from the Czartoryski Museum in Kraków, Poland, during the Second World War. Widely regarded as the most famous missing piece, its whereabouts is still unknown. 2. Andreas Schlüter, The Amber Room (18th century) This spectacular amber-panelled chamber, once dubbed the “Eighth Wonder of the World”, was looted from Russia to Königsberg in 1941 and has never been recovered. 3. Van Gogh, The Painter on the Road to Tarascon (1888) Last seen in Magdeburg, it reportedly was lost in a fire after Allied bombing destroyed the salt mine where it was stored. 4. Johannes Bellini, Madonna with Child (c.1430) Reportedly housed in a flak tower in Berlin during the war; presumed destroyed or still lost. 5. Gustav Klimt, Portrait of Trude Steiner (1900) A portrait taken from collector Jenny Steiner in 1938; it never resurfaced. 6. Rembrandt, An Angel with Titus’ Features Looted in 1943 and intended for Hitler’s “Führermuseum” – still missing. 7. Peter Paul Rubens, The Annunciation Disappeared after a forced auction. 8. Canaletto, Piazza Santa Margherita Once part of Goudstikker’s collection, its location remains unknown. 9. Degas, Five Dancing Women (Ballerinas) Part of Baron Mór Lipót Herzog’s collection; missing in the postwar dispersal. 10. Pissarro, Boulevard Montmartre, Twilight (1897) Though sporadically sighted over the years, it has never been traced to a stable location. With thanks to War History Online

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A Woman Who You Have Never Heard Of Just Got $412 Million Richer In 6 Hours

Oracle CEO, one of the world’s richest self-made women, just got $412 million richer in 6 hours Published Wed, Sep 10 20253:20 PM EDT thumbnail Tom Huddleston Jr. Share Share Article via Facebook Share Article via Twitter Share Article via LinkedIn Share Article via Email MIAMI BEACH, FLORIDA - FEBRUARY 20: Safra Catz, CEO, Oracle makes remarks during the second day of the FII PRIORITY Summit held at the Faena Hotel on February 20, 2025 in Miami Beach, Florida. The summit brings together global leaders with a special focus on the Global South to develop strategies to address pressing international issues in areas including healthcare, education, sustainability and AI. (Photo by Joe Raedle/Getty Images) Oracle CEO Safra Catz speaks at the FII PRIORITY Summit in Miami Beach, Florida, on Feb. 20, 2025.Joe Raedle | Getty Images Oracle’s stock is surging, and so is CEO Safra Catz’s net worth. The 63-year-old tech executive saw her personal wealth increase by roughly $412 million in the New York Stock Exchange’s first six hours of trading on Wednesday, according to a Forbes estimate. The jump is tied to the software giant’s stock price, which has soared by roughly 40% after the company’s Tuesday afternoon report showed a massive $455 billion in remaining performance obligations, a measure of contracted revenue that has not yet been recognized. Catz’s estimated net worth is now $3.4 billion, as of Wednesday afternoon, according to Forbes — up from $3 billion at the start of the day. Oracle’s stock performance has benefited co-founder Larry Ellison’s net worth even more: He’s now estimated to be the second-richest person in the world, with a net worth of $386.3 billion, up from $293 billion on Wednesday morning. “Clearly, we had an amazing start to the year because Oracle has become the go-to place for AI workloads,” Catz said on Oracle’s Tuesday earnings call. Oracle’s growth projections come from a fast-growing cloud infrastructure business, and deals signed with several large artificial intelligence companies, she said: “We have signed significant cloud contracts with the who’s who of AI, including OpenAI, xAI, Meta, Nvidia, AMD, and many others.” She became a co-CEO at Oracle in 2014 when Ellison stepped down from the role, and has been the company’s sole CEO since the death of her co-lead, Mark Hurd, in 2019. Under Catz’s leadership, Oracle’s stock is reaching record levels and a type of surge it hasn’t seen since the 1999 tech boom, CNBC reported. DON’T MISS: How to build a standout personal brand—online, in person and at work Catz was born in Israel, and her family moved to Brookline, Massachusetts, when she was 6 years old, according to Time. She graduated from the Wharton School at the University of Pennsylvania in 1983, where she later earned a law degree. She spent more than a decade working on Wall Street as an investment banker, and joined Oracle as a senior vice president in 1999. She quickly climbed the ladder, joining the company’s board of directors in 2000 and becoming its president in 2004. Before her CEO appointment, Catz led an aggressive mergers and acquisitions team that acquired dozens of companies during her tenure and helped propel Oracle’s growth. She’s credited with steering acquisitions of fierce software rivals like PeopleSoft (acquired for $10.3 billion in 2004) and Sun Microsystems ($7.4 billion in 2009), navigating major antitrust hurdles to complete both deals. During her tenure as Oracle’s CEO, dating back to 2014, the company’s stock price has increased by more than 800%. Catz ranked as one of the highest-paid U.S. CEOs as recently as 2022, when she earned $138 million in total compensation, the bulk of it in the form of stock options. In 2024, she earned nearly $6.5 million in total compensation, according to government filings by Oracle. Outside of Oracle, Catz has been active in national politics over the past decade, joining U.S. President Donald Trump’s transition team in 2016 ahead of his first term in office. She currently serves on the Homeland Security Advisory Council alongside fellow CEOs like General Motors’ Mary Barra, Bank of America’s Brian Moynihan and Chobani’s Hamdi Ulukaya, along with Andreessen Horowitz co-founder Marc Andreessen. In June, Catz was the 40th-richest self-made woman in the world, according to a Forbes ranking. Some Wall Street analysts, including at Bank of America, predict that Oracle’s stock price could continue climbing based on the company’s revenue growth projections. On Tuesday’s earnings call, analyst Brad Zelnick of Deutsche Bank said he and other Wall Street analysts were “in shock, in a very good way,” from viewing Oracle’s report. John DiFucci of Guggenheim Securities said he was “blown away.” Catz touted Oracle’s “astonishing quarter” while promising more multibillion-dollar cloud pacts in the coming months, in a statement on Tuesday.

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