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Government spokesman Issa Tchiroma Bakary initially described the footage as “fake news” and said that the men in the footage, who were wearing military fatigues, did not appear to be Cameroonian soldiers. However, he said the government would open an investigation. “Four soldiers were arrested on Sunday. They are suspected of being the authors of the executions in the video,” said an army officer in Cameroon’s Far North region near the border with Nigeria. A second security source said that three of the soldiers had been transferred to the capital Yaounde while the fourth was still being held in Maroua, the capital of the Far North. Spokesmen for the army and the government did not respond to multiple requests for comment. The shaky footage shows two women, one with an infant strapped to her back, being led across a patch of dusty scrubland by a group of uniformed men, who accuse them of belonging to the Nigerian militant group Boko Haram. The women, silent throughout the ordeal, are blindfolded and told to sit down alongside their children. Moments later, two men step back, level their rifles and fire a series of rounds. Amnesty International said last week that it had gathered credible evidence that the men in the video were indeed Cameroonian soldiers based on an analysis of their weapons, speech and uniforms. Four Cameroonian military sources, including the officer in the Far North, told Reuters that the video did show Cameroonian soldiers.

https://www.reuters.com/article/us-cameroon-security-video/cameroon-arrests-four-soldiers-suspected-of-executing-women-and-children-idUSKBN1K91YY?feedType=RSS&feedName=worldNews&utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+Reuters%2FworldNews+%28Reuters+World+News%29

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The History Behind the Graffiti of War

[ Send us photos of your favorite graffiti ] During the Civil War, American troops from both sides scratched images and names onto surfaces all over the war-ravaged landscape. In houses, churches and public buildings, scribbles and drawings express sentiments ranging from common statements of what unit was there and what they did — “The 91st Ohio got dinner on the opposite [side] of the creek July 19, 1864” — to creative insults directed toward the opposing side — a curse placed on the Confederate president, Jefferson Davis, calling for him to be eaten by a shark that will be eaten by a whale, that will then go to hell — to modest pleas for kindness: “[Who]ever shall read this wall, please remember me in prayers.” Since many towns in Northern Virginia changed hands multiple times, soldiers often had the chance to respond to the graffiti left on walls by their adversaries. These early exchanges of “trash talk” are still preserved in some historic homes. A graffiti self-portrait at Andrew Johnson’s home in Tennessee.CreditNational Park Service Fifty-two years after the end of the American Civil War, the United States entered the First World War. More than two million American troops had passed through Europe by the end of the war in November 1918. This was evidenced by the deluge of messages and drawings left behind on houses and bunkers and in trenches by American “Sammies” — a nickname the French used for the soldiers of Uncle Sam. But it was in the underground caverns of quarries-turned-barracks that American troops really turned their talents loose. Beneath the surface, often bored and missing their loved ones while their first battles awaited them above, soldiers turned to wall carvings. More permanent than the markings left in the trenches, they stand as silent markers for men whose futures were fraught with uncertainty and peril.

For the original version including any supplementary images or video, visit https://www.nytimes.com/2018/07/18/magazine/war-graffiti.html

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