text:
If You Keep Smashing Your Screen, Then Samsung Has Something For You
By Kehl Bayern / July 31, 2018
The only downfall to having thin glass trays manage everything in your life using highly sophisticated but delicate electronic equipment is that they are, aside from everything else, made out of glass. It is almost as if form and aesthetic trumps function when it comes to smartphones and this has led to countless mishaps when it comes to wear and tear.
As anyone who has owned a smartphone can tell you, a nice big crack doesn't end the product's life but it certainly doesn't improve yours. And when it shatters? Isn't that a terrible day indeed.
Image via Largo Polacsek from Pexels.com.
Those days might be a thing of the past if Samsung's new unbreakable screen becomes the industry standard. Samsung's new flexible organic LED display is able to withstand bends and drops due to a unique layering process that uses fortified plastic rather than glass, allowing the screen to survive bends that no glass device could ever handle.
Discussing the breakthrough, general manager of the Communication Team at the Samsung Display Company Hojung Kim said, "The fortified plastic window is especially suitable for portable electronic devices not only because of its unbreakable characteristics but also because of its lightweight, transmissivity and hardness, which are all very similar to glass."
Samsung's unbreakable designation comes after an extensive round of tests with OSHA and the US Department of Defense. The glass from Samsung had to withstand a battery of tests including a drop test of 4 feet above ground twenty six times in a row and a high temperature/low temperature test, among others, according to Ephotozine. After the performance of the tests the team would test the Samsung device for functionality and recorded that no damage or loss of functionality occurred after the tests.
You can watch a video of the tech in action on YouTube by clicking here.

redpajama_set_name: RedPajamaCommonCrawl


text:
Q: Issue with ftell and printing in utf-8 I'm having two issues:
1) When testing this code, there's a few extra characters at the front of buf that are displayed. (When the file is empty, fsize is set to 3 for some reason).
2) The file contains utf-8 characters and are not displayed properly in console, I tried setting locale to LC_ALL and it didn't seem to have any effect.
void display_title(void)
{
    FILE *fh;
    char *buf;
    long fsize;

    fh = fopen("title.txt", "r");
    if (fh == NULL)
    {
        fprintf(stderr, "Unable to open title.txt for read\n");
        return;
    }

    fseek(fh, 0L, SEEK_END);
    fsize = ftell(fh);
    rewind(fh);
    buf = malloc(sizeof(char)*fsize);

    fread(buf, fsize, 1, fh);
    fclose(fh);

    fwrite(buf, fsize, 1, stdout);
    free(buf);
}

EDIT: So I wrote a function to check the encoding of the file, somethings still off though. I have checked the file and I know it's UTF_8, but it's not registering in my function. I feel there is a bug somewhere, but I'm not seeing it.
// Check for BOM in file
// ERROR : file too small
// NONE : does not exist
// UTF_8_ENCODING : for utf_8 enoding found
// UTF_16_ENCODING : for utf_16 encoding found
// UTF_32_ENCODING : for utf_32 encoding found
int check_encoding(int fd)
{
    char *buf;
    off_t fsize;

    fsize = lseek(fd, 0L, SEEK_END);

    if (fsize < 2)
        return ERROR;

    buf = (char*)malloc(2 * sizeof(char));
    lseek(fd, 0L, SEEK_SET);
    read(fd, buf, 2);

    if (!strncmp(buf, UTF_16_BE, 2) ||
        !strncmp(buf, UTF_16_LE, 2))
    {
        free(buf);
        return UTF_16_ENCODING;
    }

    if (fsize >= 3)
    {
        realloc(buf, 3);

        if (!strncmp(buf, UTF_8, 3))
        {
            free(buf);
            return UTF_8_ENCODING;
        }
    }

    if (fsize >= 4)
     {
        realloc(buf, 4);

        if (!strncmp(buf, UTF_32_BE, 4) ||
            !strncmp(buf, UTF_32_LE, 4))
        {
            free(buf);
            return UTF_32_ENCODING;
        }
    }

    free(buf);
    return FALSE;
}

A: It's difficult to tell why UTF-8 is not diplayed properly on your console, but I think there is a simple reason for the three extra bytes at the beginning: most probably your file starts with a Byte order mark (BOM)
Edit:
for UTF-8 encoded files, the BOM, if it exists, will always be the byte sequence 0xEF,0xBB,0xBF. So if one wants to process files that may or may not contain a BOM, one can just read the first three bytes, check them for that value and ignore them if they are the BOM.
If you don't know the file's encoding (UTF-8, UTF-16, ...), you can use the BOM to determine it. The wikipedia article I've linked to shows how it is represented in different encodings.

redpajama_set_name: RedPajamaStackExchange


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Library Book Fair Needs your Help!
Posted on November 8, 2017 | Comments Off on Library Book Fair Needs your Help!
Ms Kopka, our amazing librarian, is holding her annual Scholastic Book Fair in the library Nov 15 through Nov 22. Proceeds help her buy new books for the library. Parents are needed in short shifts to staff the check out table and help kids with their purchases. 2-3 parents per shift helps things run smoothly.


text:
«Звуки Му» (за рубежом — Zvuki Mu) — третий студийный альбом группы «Звуки Му», выпущенный в Британии и спродюсированный английским музыкантом Брайаном Ино, с которым группа познакомилась ещё в 1987 году в гостинице «Интурист». Впоследствии Ино признался Артемию Троицкому, что «видит в Мамонове какой-то очень древний архетип. Брайан сказал, что в этом есть что-то пугающее даже — такое ощущение, что человек вылез из Средневековья». В России альбом был издан лишь в 1998 году.

В 2010 году альбом занял 31-е место в списке «50 лучших русских альбомов всех времен», составленный журналом «Афиша» по итогам опроса молодых российских музыкантов.

О создании альбома
В этот альбом вошёл материал двух ранее записанных концертных программ «Простые вещи» и «Крым». Однако в процессе записи возникло противоречие в звучании материала, что и поставило на сотрудничестве точку: Мамонов стремился к «гладкому» звучанию, отказываясь от новаторских приёмов Ино.

По результатам своего первого приезда Брайан решил записать альбом «Звуков Му». История этой записи достаточно травматичная — я об этом писал и в книге и, по-моему, в аннотации к русскому изданию альбома. Брайану хотелось записать диск, который бы в звуковом отношении как-то подчёркивал или дополнял дикость «Звуков Му» и их своеобразие, а Пете, наоборот, хотелось, чтобы всё было чисто, гладко, максимально культурно, и чтобы они звучали как Брайан Ферри. Это был случай, когда нашла коса на камень — в данном случае косой был тонкий и острый Брайан Ино, а камнем был тупой Мамонов. И камень эту косу покорёжил. Петя был категорически против тех сведений, тех звуковых продюсерских инноваций, которые предлагал Ино. Поскольку Петя был человеком русским и брутальным, а Ино — английским и деликатным, то Ино в конце концов махнул рукой и записал и свёл альбом таким образом, как хотелось Мамонову. В результате получилась, на мой взгляд, пластинка довольно посредственная. Я думаю, что из всех продюсерских работ Брайана Ино едва ли не худшая.

С выходом LP на курируемом Ино лейбле Opal, который не стремился к популярности, у группы прошли гастроли на Западе. В целом альбом не стал популярным, хотя американский критик Роберт Кристгау и выставил пластинке довольно высокую оценку (B). Совместно с группами «АукцЫон», «Ва-БанкЪ» и певицей Екатериной Суржиковой 1 февраля 1989 года «Звуки Му» дали концерт в Берлине, а спустя несколько месяцев дали ряд концертов во Франции вместе с «Кино» и «АукцЫоном».

Список композиций

Участники записи
 Пётр Мамонов — акустическая гитара, голос, музыка, тексты;
 Алексей Бортничук — гитара;
 Александр Липницкий — бас-гитара, автор музыки;
 Алексей Павлов — ударные, труба;
 Павел Хотин — клавишные, бэк-вокал.

Издания
 1989, LP/CD/MC, OPAL Records, Великобритания
 1998, CD/MC, Отделение «Выход», Россия
 2013, LP, Мирумир, Россия
 2014, CD, Отделение «Выход», Россия

Примечания

Ссылки

Альбомы психоделического рока
Альбомы, спродюсированные Брайаном Ино
Альбомы группы «Звуки Му»

redpajama_set_name: RedPajamaWikipedia


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text:
Difference between revisions of "1899: Ears"
Revision as of 12:42, 6 October 2017 (edit)
JayRulesXKCD (talk | contribs)
(I added the description.)
Revision as of 12:53, 6 October 2017 (edit) (undo)
162.158.155.32 (talk)
(→Explanation)
==Explanation==
{{incomplete|Very barebone description. Please add on to this. Thank you.}}
Cueball and Megan are sitting in a park together and appear to be cloudwatching. Cueball asks if Megan has ever looked up in the sky and wondered what it would be like to have "normal shaped ears" so he could wear earbuds without them falling out. (This joke is directed towards a large group of people who cannot use earbuds successfully because they fall out.) Megan responds by making fun of Cueball and the stuff that goes on in his head with the random conversation points he tends to bring up.
Cueball and Megan are sitting in a park together and appear to be cloudwatching. Cueball asks if Megan has ever looked up in the sky and wondered, implying that he is thinking deep thoughts while allowing his mind to wander. However, it transpires that in fact he is listening to some audio device, and his wondering is trivial thoughts about what it would be like to have "normal shaped ears" so he could wear earbuds without them falling out. (This joke is directed towards a large group of people who cannot use earbuds successfully because they fall out.) Megan responds by making fun of Cueball and the stuff that goes on in his head with the random conversation points he tends to bring up.
The title text represents a theory that Cueball has created, saying that humans who can wear earbuds have been taken over by mind control slugs who hold the earbuds for them, and people like him who can't are not under their control.
Revision as of 12:53, 6 October 2017
Comic #1899 (October 6, 2017)
Title text: My theory is that most humans have been colonized with alien mind-control slugs that hold the earbuds for them, and the ones who can't wear earbuds are the only surviving free ones.
This explanation may be incomplete or incorrect: Very barebone description. Please add on to this. Thank you.
[Cueball is sitting with his back towards Megan who is lying on her back on a grassy hill. Both are looking up at a sky with small puffy clouds (one large, two small, and four tiny). In the background fields are visible below their vantage point.]
[Same setting, but with the clouds removed, to make room for Cueball's text.]
Cueball: Do you ever just look up at the sky and wonder...
[Same setting, zoomed a bit out to make more of the background fields visible, still with the clouds missing due to the text from the two people.]
Cueball: "What are normal peoples' ears shaped like, that earbuds stay in without falling out?"
Megan: Man, who knows what's going on in there.
The explanation for this comic may wish to reference this NYT article on Earbud Cartilage Deficiency Syndrome (E.C.D.S.) [1]. I suffer from ECDS myself and hope this comic will bring much needed recognition to the condition. --172.68.65.54
I added the description. Feel free to edit it. --JayRulesXKCD what's up? 12:45, 6 October 2017 (UTC)
I modified the explanation. It is speculation that Cueball is listening to music through earbuds, as I can see nor read anything that made it a "fact" that he is doing so. Please feel free to revert my modification if anyone can present evidence to support that theory. These Are Not The Comments You Are Looking For (talk) 00:37, 9 October 2017 (UTC)
Re. "Megan responds by making fun of Cueball and the stuff that goes on in his head" - I'm not sure it's clear that that's what she's referring to. It could be read as she doesn't know what's going on in normal people's ears. In fact, my first reading of it was that it was a deliberate double meaning - she's making it sound to Cueball as if she's agreeing that there must be something weird about the ears, but privately she's referring to the weird thoughts in his head.162.158.155.32 13:08, 6 October 2017 (UTC)
If Cueball is listening to music, perhaps so does Megan and she doesn't actually hear him ... -- Hkmaly (talk) 23:57, 7 October 2017 (UTC)
The title isn't explicitly a reference to Animorphs/Yeerks, so I don't think we can claim that for sure (even though Randall has referenced it multiple times in the past). Hawthorn (talk) 14:33, 6 October 2017 (UTC)
Agree, and replaced "is a reference" with "may be a reference". Elektrizikekswerk (talk) 07:46, 9 October 2017 (UTC)
Alternative theory: the brain slugs don't like ear buds so they push them out 162.158.74.27 01:50, 9 October 2017 (UTC)
Would it be worth mentioning the Doctor Who episode Age of Steel, whose plot was about earbuds being used to mind control society? At the very least, it's a rather similar concept to that described by the mouseover text.
The thing is, earbuds totally don't stay in. Not here, at least. They fall out constantly. Are my ears shaped wrong?--172.68.132.209 02:32, 14 January 2018 (UTC)
I have pointed ears and have yet to find a good (read: compatible) pair of over-the-ear headphones or behind-the-ear buds. 162.158.62.69 21:05, 31 July 2018 (UTC)
Retrieved from "https://www.explainxkcd.com/wiki/index.php?title=1899:_Ears&oldid=146308"
Comics from October
Friday comics


text:
Международный фестиваль современной хореографии в Витебске (IFMC).

История
Проводится с 1987 года, как фестиваль неформальной молодёжи Советского Союза. В 1990 и 1991 годах известен как Всесоюзный Фестиваль популярного танца «Белая Собака». С 1992 года International Festival of Modern Choreography (IFMC). Автор идеи, директор Фестиваля Марина Романовская.
Фестиваль собирает участников из Белоруссии, России, Украины, Молдовы, Литвы, Латвии, Эстонии, Польши, Франции, Германии, Голландии, Японии, Китая, Израиля.

В 1994 году фестиваль прошёл с 16 по 20 ноября на сцене Дворца культуры профсоюзов в Витебске. Нововведением был закрытый для зрителей белорусский национальный конкурс. В фестивале принимали участие театр «Провинциальные танцы» под управлением Татьяны Богданововй (Екатеринбург), Кристир Брюнель (Эссен), студия Елены Богданович (Москва), учащиеся театра-студии «Свободный балет» (Москва, под управлением Николая Огрызкова). Жюри состояло из председателя Валентина Елизарьева, членов Фредерик Лескюр, Изабелла Ронкаглио (Франция), Ренэ Ныммик (Таллинн), Николай Огрызков (Москва), Витис Янкаускас (Вильнюс). Премию «За цельность художественного произведения» присудили фольк-театру «Госціца» (Минск, руководитель Лариса Симакович), премию «За хореографический поиск» — группе «ТАД» (Гродно, руководитель — Дмитрий Каракулов). Другие участники конкурса - театр-студия «Раёк» Центра молодёжного творчества (Брест), балет «АРТ 7» (Гомель) и модерн-балет «Галерея» (Минск).

Номинации
 «Лучшая постановка»: оценивается идея, художественный замысел, мастерство хореографа и исполнителей, а также совокупность других составляющих представленного на конкурс произведения;
 «Хореограф»: оценивается сценическое воплощение, композиционное решение, оригинальное хореографическое и образное мышление автора в представленном на конкурс произведении;
 «Исполнительское мастерство»: оценивается технический уровень и артистизм труппы;
 «Артистизм»: оценивается яркое воплощение созданного индивидуальным исполнителем сценического образа;
 «Постскриптум»: содержание номинации определяется конкурсной комиссией по итогам конкурса.

Участники и лауреаты
 Раду Поклитару
 Евгений Панфилов
 Бармаглот (театр)
 Киев модерн-балет

Примечания

ссылки
  Буклет посвященный XXIII фестивалю
 Концертная программа «IFMC 2012»

Фестивали Витебска
Театральные фестивали Белоруссии
Фестивали современного танца
Фестивали, появившиеся в 1987 году
1987 год в Белоруссии
1987 год в театре


If possible, everyone to bring a watch / stop watch / phone with stopwatch on!
Patience - We are all beginners and everyone will need to listen to each other to learn!
Snacks!! If people who remember can bring biscuits or cakes for us to share!


Jobsearch bloggers J.T. and Dale posted a question today from a jobseeker who is flummoxed that a potential employer wants his credit score.
Not only is this silly (and lawmakers keep saying they're going to do something about it), the particular way in which this employer asked should raise flags for anyone.
I applied for a job in my field and received a response that included a lengthy questionnaire and a requirement to obtain my own credit report using a service they prefer. I'm supposed to get the report, then provide the company with the access number so they can look at it….The report is free during the "trial period" but still requires a credit card to register. Is there any way around this?
J.T. and Dale suggest getting the report and giving the company a printout instead of the online access number.
But these tactics also look suspiciously like a referral scam, in which jobseekers' signups trigger kickbacks to the "hiring company"—and, more often than not, the "free" credit report comes with a suspiciously short cancellation period and then a huge bill.
Here's a description of how a similar scam works with apartment rentals.
There's no way to tell from this short exchange whether this particular jobseeker might have been just steps away from such a scam, but the fact that the credit report request came so soon in the process makes us suspicious. No interview and the employer already wants your credit score?
We'd say stay far, far away.


text:
Q: ASP.NET: How to send file from database to printer? I have an ASP.NET 2.0 (C#) webpage with a link that pulls a blob from a MS SQL database and ouputs it in the appropriat file format, i.e., Word, WordPerfect, PDF.
My users would like to print these files with one click. Right now they have to click the link to open the file, then click the "Print" button within the application that they file opened.
In addition, I would like to send multiple documents to the printer, using one click, if possible.
Thanks.

A: Do you want to print to a Printer attached to the Server, or attached to the client?
If you want to print on the Client, you won't have much chance. For HTML Content, maybe some JavaScript or Flash could trigger the Print Dialog (not sure), but if it's a File that has to be opened in a third party application (i.e. PDF, DOC, XLS etc.), you're out of luck.
If it's an internal Network, you could possibly create a Desktop Application that is installed on every Client's PC that then triggers the Print.
If it is a Printer Attached to the Server, you can use the standard .net facilities for Printing, although you again may have to work around situations where you are trying to print PDF/DOC/XLS etc., because then you need to use Automation (either COM or something like SendKeys), which will cause you headaches on a Server.
So in Short: Not much you can do with only ASP.net at your disposal.

A: The closest I've gotten to this is using Javascript:
<body onload="window.print()">
...
</body>

which will pop-up the print dialog when the page loads (see this post for more). If you think about it, you probably won't be able to do much else unless you are on an internal network. How would you like your computer to start printing pop-ups "automatically"?


text:
Jules Marie Hériot de Vroil est un économiste français né à Reims le  et mort à Paris le . Il repose à Courcy (Marne).

Un grand notable champenois

Son père Henry Hériot de Vroil  (1785-1855) exerça les fonctions de maire de Bettancourt-la-Longue de 1813 à 1815. Durant les premières années de la Restauration, il fut chevau-léger de la garde du Roi puis lieutenant de dragons, avant de devenir maire de Courcy (Marne) de 1822 à 1830. Il rédigea des souvenirs qui furent publiés par son petit-fils Alban sous le titre de Mémoires d'un officier de la garde royale (Paris, Champion, 1904).  Il avait contracté à Reims le  une brillante alliance matrimoniale avec la fille du vicomte Irénée Ruinart de Brimont, maire de Reims et député de la Marne. En contractant ce mariage, il fait entrer le château de Courcy que les Ruinart avaient acheté à la famille Lespagnol dans ses biens.

Issu de cette union, Jules Hériot de Vroil fut lui aussi  un notable local solidement enraciné. Aristocrate aisé, il épousa en 1847 Charlotte-Hélène-Adélaïde Parent-Duchâtelet, fille du célèbre médecin hygiéniste  Alexandre Parent-Duchâtelet, et en eut huit enfants. Propriétaire du château de Rocquincourt à Courcy, il fut longtemps maire de cette commune.

Un intellectuel passionné d'économie

Après des études de droit qui lui permirent de devenir avocat, Jules Hériot de Vroil fut également un intellectuel et érudit de quelque valeur, et l'auteur de plusieurs publications consacrées à l'économie politique et l'agronomie.

Membre de la Société des économistes et collaborateur du Journal des économistes, il est l'un des contributeurs du Dictionnaire de l'économie politique dirigé par Charles Coquelin (Paris, Guillaumin, 1854, 2 volumes). Sa signature y voisine avec celles de la fine fleur des penseurs libéraux de son temps, notamment Adolphe Blanqui, Michel Chevalier, Alexandre Moreau de Jonnès et Horace Say.

Membre correspondant de l'Académie nationale de Reims de 1845 à sa mort, il participa régulièrement à ses travaux et fut lauréat du concours organisé par cette société savante en 1870.

Il fut enfin un bibliophile distingué. Sa bibliothèque de Rocquincourt échut à son fils Alban, qui l'enrichit encore.

Publications
 Aperçu de la situation économique de la Suisse (Paris, bureau du Journal des économistes, 1846)
 Fermes-écoles, fermes expérimentales, fermes modèles (Paris, Guillaumin, 1852)
 Étude sur Clicquot-Blervache, économiste du  siècle (Paris, Guillaumin, 1870, LX-427 p.)
 Étude historique sur Louis-Jean Lévesque de Pouilly, lieutenant des habitants de la ville de Reims, né en 1691 (Paris, Menu, 1878)
 Une étude sur Michel Le Tellier (jésuite) (non répertoriée sur le Catalogue collectif de France)

Liens externes

Économiste français du XIXe siècle
Maire de la Marne
Naissance en septembre 1820
Naissance à Reims
Décès en décembre 1893
Décès dans le 7e arrondissement de Paris
Décès à 73 ans


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Indians west of the Mississippi River to treat them as independent nations. In these negotiations with the aborigines of Iowa the authorities, at various times, entered into treaties with the Sioux, in the north, and with the Sacs and Foxes, in the south, the government purchasing the land from the Indians just as Louisiana was purchased from France. The Black Hawk purchase was acquired by means of the first treaty made with the Sac and Fox Indians in reference to Iowa lands. This treaty was made September 1, 1832, and included a portion of country bounded as follows: Beginning on the Mississippi River, where the northern boundary line of the lands owned by said Indians strikes said river, thence up or westward on said line fifty miles, thence in a right line to the Red Cedar River, forty miles from the Mississippi River, thence in a right line to the northern part of the State of Missouri, at a point fifty miles from the Mississippi River, thence by the said boundary line to the Mississippi River, and thence up the Mississippi River to the place of beginning. The western boundary line was a very irregular one, as it followed the same general direction as the Mississippi River. It ran in a general direction from the north in a course a little west of south, the line being considerably east of Iowa City. The second purchase was made in 1837, October 21, and included a sufficient amount of territory to straighten the boundary line. The western boundary of the Black Hawk purchase being a very irregular line, the treaty of 1837 was designed for the purpose of straightening said boundary line. By this treaty the Indians ceded a tract of country west and adjoining the Black Hawk purchase, containing one million two hundred and fifty thousand acres. Upon survey, however, the number of acres proved insufficient to make a straight line, as was originally intended. The Indians stipulated to remove within one year, except from Keokuk's village, which they were allowed to occupy five months longer.
Although it is believed that the Indians, especially the chiefs, made this treaty in good faith and scrupulously adhered to it as they understood it, yet it was unsatisfactory to both Indian and settler and many misunderstandings arose but seldom if ever ended in bloodshed. The fact soon became evident that the white man had marked this goodly country for his own and that the Indian would have to abandon it peacefully according to the treaty stipulations or in the end be forcibly ejected. In accordance with the wise council of Keokuk, Poweshiek and Wapello they chose the
former course.
The last treaty made with the Sac and Fox Indians comprehended all the rest of their lands in the State. This treaty was made at Agency City, in the present limits of Wapello county, and was concluded October 11, 1842, proclamation of its ratification having been made March 23, 1843, and session was given to all that part lying east of Red Rock on May 1, 1843. The last date, therefore, is the period when the eastern part of Marion county was thrown open to white settlement.
The line to distinguish the United States from the Indian territory crossed the Des Moines River a short distance above the present site of the village of Red Rock and was run by G. W. Harrison, United States Surveyor, during the year 1843. East of this line settlements were made as early as 1843, about seventy families settling in the county: west of the line no settlements were permitted till October, 1845. It was on the 11th day of October, 1845, just three years after the treaty at Agency City, that
the whole of Marion county was thrown open for settlement. The boundary line drawn in accordance with the treaty of 1837, crossed through the northwestern corner of Washington county and the southeastern part of Keokuk county, so that a portion of these two counties was Indian territory and a portion subject to settlement from 1837 to 1843, and Marion county, like these two counties, afterward had two periods of first settlement. The treaty of 1842 was the most important of all.
The principal chief in this treaty was Keokuk. A gentlemen of an adjoining county heard this chief make a speech on that occasion, which he pronounces an unusually eloquent address. He says that, in his opinion, "the former standing of Keokuk as an Indian orator and chieftain, as a dignified gentleman and a fine specimen of physical development, was not in the least overrated." During the Black Hawk trouble his voice was for peace with the white man, and his influence added much to shorten that war. As an honor to this chief, and owing to his influence in bringing about the treaty, a county was called Keokuk.
Thus from being at first the sole owners and occupiers of the soil the Indians disposed of territory time and again until finally the title to the whole of Iowa was vested in the general government.
As they ceded their lands to the United States, strip after strip, they gradually withdrew, and the white settlers took their place as possessors of the soil. The aborigines were not forcibly ejected from their lands as in other parts of the country, but the change was effected by a legitimate proceeding of bargain and sale.
As result of this peaceful arrangement, and the earnest efforts of the government to carry out, to the letter, the provisions of the treaties, the early settlers experienced none of the hardships which fell to the lot of the early settlers in other parts of the country, where misunderstanding about the ownership of the soil gave rise to frightful massacres and bloody wars. The Indians gave no serious difficulty, and seldom, if ever, disturbed the early settlers of this county, after they had rightfully come into possession of it.
By the various treaties made with the Sac and Fox Indians, the government paid these $80,000 per year, by families. Mr. William B. Street, of Oskaloosa, was disbursing clerk for John Beach, Indian agent, during the year 1841, and still retains in his possession the receipts for the part payment of his annuity, in his own handwriting, and the marks of the chiefs in signing.
We give an extract, including the names of part of the Indians who were at that time living at Kish-ke-kosh's village, which was located in the eastern part of Mahaska county.
"We, the chiefs, warriors, heads of families and individuals without families, of the Sac and Fox tribe of Indians, within the same agency, acknowledge the receipt of $40,000 of John Beach, United States Indian Agent, in the sums appended to our names, being our proportion of the annuity due said tribe for the year i841:
"We certify that we were present at the payment of the above-mentioned amounts, and saw the amounts paid to the several Indians, in specie, and that their marks were affixed in our presence this 19th day of October,
"(Signed)
"JNO. BEACH,
U. S. Indian Agent. "THOMAS MCCRATE,
Lieut. 1st Dragoons.
"JOSIAH SMART,
"We, the undersigned chiefs of the Sac and Fox tribe of Indians, acknowledge the correctness of the foregoing receipts.
"KEOKUK," his X mark.
"POWESHIEK,' his X mark."
After the treaty of 1842, and the establishment of Fort Des Moines, the following year, the headquarters of the Sac and Fox Indians were removed from Agency City in Wapello county, to Fort Des Moines. Keokuk, the head chief of the Sacs, established his village some five miles southeast of Fort Des Moines, and the beautiful prairie on which he and his kindred dwelt, continued to bear his name for many years after the Indians were removed. Poweshiek, chief of the Foxes, lived on Skunk River, near the present site of Colfax. The Indian agent, Major Beach, and his interpreter, Josiah Smart, before referred to, had their quarters on what was called Agency Prairie, east and south of the present site of the capital. Still another Indian village, ruled over by Hard-Fish, was located near Des Moines.
The residence of these various Indian tribes in the vicinity of Des Moines dates from May 1, 1843, at which time, according to stipulation of the treaty of 1842, they removed west of a line running north and south through the town of Red Rock. As before remarked, the government, according to the provisions of the various treaties, paid to the Indians, annually, quite a sum of money.
The payments were made in silver coins, put up in boxes, containing five hundred dollars each, and passed into Keokuk's hands for distribution. The several traders received each his quota according to the several demands against the tribes admitted by Keokuk, which invariably consumed the far
greater portion of the amount received. The remainder was turned over to the chiefs and distributed among the respective bands. Great complaints were made of these allowances to the traders, on the ground of exorbitant prices charged on the goods actually furnished, and it was alleged that some of these accounts were spurious. In confirmation of this charge over and above the character of the items exhibited in these accounts an affidavit was filed with Governor Lucas, by an individual to whom the governor gave credence, setting forth that Keokuk had proposed to the maker of the affidavit to prefer a purely fictitious account against the tribe for the sum of $10,000, and he would admit its correctness, and when paid the money should be divided among themselves, share and share alike. To swell the traders' bills, items were introduced of a character that should brand fraud upon their faces, such as a large number of blankets, coats, articles which the Indians never used, and telescopes, of the use of which they had no knowledge. This showed the reckless manner in which these bills were swollen to the exorbitant amounts complained of, in which Keokuk was openly charged with being in league with the traders to defraud the Indians.
The money which actually came into the possession of the Indians was soon squandered by them, and the position of Indian trader, conferred by appointment, was a very lucrative cne. During the period when the Indians resided in the vicinity of Des Moines, from May 1, 1843, to October 11, 1845, there were two firms who were allowed to trade with them. Phelps & Co. were from Illinois; they were traders in furs, and were permitted to carry on their business with the Indians. Their establishment was located near the present site of Tuttle's pork-packing establishment. G. W. & W. G. Ewing were the regularly authorized Indian traders. They arrived on the 3d of May, 1843. Their business career here was eminently successful, and they accumulated quite a little fortune during their three year's harvest. Their place of business was on the East Side, not far from the quarters of Major Beach, the Indian agent. There they erected a log building which was probably the first one erected in Polk county.
At this time the Sacs and Foxes numbered about two thousand and three hundred and it is not possible that Keokuk could have carried on an organized system of theft without the fact becoming apparent to all. As it was, however, Governor Lucas thought best to change the manner in which the annual payments were made. The matter was referred to the Indian bureau, and the mode was changed so that the payments were made to the heads of families, approximating a per capita distribution. This method of payment did not suit the traders, and after a short trial the old plan was again adopted. That the Indians, then as now, were the victims of sharp practice, cannot be doubted, but the fact can be attributed to the superior tact and the unscrupulous character of many of the traders; this furnishes a more probable explanation and is more in accord with the character of Keokuk, as known by his intimate friends, still living, than to attribute these swindling operations to a conspiracy in which the illustrious chief was the leading actor.
Among the early settlers of Iowa, the names of Keokuk and Wapello are the most noted and familiar. These two illustrious chiefs live not only in the recollections of these early settlers, but in the permanent history of our common country. Short biographical sketches of these two noted characters, therefore, will be of great interest to the people of this county,
and peculiarly appropriate for a work of this kind. To the school-boy who has frequently read of these Indians, the fact that they roved around on this very ground where their feet tread, and that in their hunting excursions these Indians crossed the same prairies where they now gather the yelloweared corn, will give to these sketches intense interest, while the early settler who talked with Wapello and Keokuk, ate with them, hunted with them and fished with them, cannot fail to find in these brief and necessarily imperfect biographies, something fascinating as they are thus led back over a quarter of a century, to live over again the days of other years, and witness again the scenes of early days, when the tall prairie grass waved in the autumn breeze, and the country, like themselves, was younger and fresher than now.
As before remarked, Keokuk was chief of the Sac branch of the nation; he was born on Rock River, Illinois, in 1780. The best memory of the earliest settler of Iowa cannot take him back to a time when Keokuk was
not a full grown man. When in 1833 the impatient feet of the white men first hastened across the Mississippi, eager for new conquests, this illustrious chief was already nearing his three-score years, and when, with longing eyes, he took the last look at this fair land and turned his feet reluctantly toward the west, his sun of life had already crossed the meridian and was rapidly approaching its setting.
Keokuk first came into prominence among the whites at the breaking out of the second war with England, commonly known as the War of 1812. Most of the Indians at that time esponsed the cause of the English, but Keokuk, at the head of a large number of the Sacs and Foxes, remained faithful to the Americans. In 1828 Keokuk, in accordance with the terms of a treaty, crossed the Mississippi River with his tribe and established himself on the Iowa River. Here he remained in peace, and his tribe flourished till the breaking out of the Black Hawk War in 1832. He seemed to have a much more intelligent insight into the great national questions which were raised during these early Indian difficulties, as well as more thorough appreciation of the resources of the national government. He opposed the Black Hawk War, and seemed to fully forecast the great disaster, which thereby befel his tribe. Although many of his warriors deserted him and followed Black Hawk in his reckless campaign across the Mississippi, Keokuk prevailed upon a majority of his tribe to remain at home. When the news reached Keokuk that Black Hawk's warriors had gained a victory over Stillman's forces in Ogle county, Illinois, the war spirit broke out among his followers like fire in the dry prairie grass; a war-dance was held, and the chief himself took part in it. He seemed for a while to move in sympathy with the rising storm, and at the conclusion of the war-dance he called a council to prepare for war. In a work entitled Annals of Iowa, published in 1865, there is reported the substance of a speech made by Keokuk on this occasion. We quote: "I am your chief, and it is my duty to lead you to battle, if, after fully considering the matter, you are determined to go." He then represented to them the great power of the United States, against which they would have to contend, and that their prospect of success was utterly hopeless. Then continuing, said: "But if you are determined to go on the war-path, I will lead you on one condition that before we go we kill all our old men, and our wives, and our children, to save them from a lingering death by starvation, and that every one of you determine to leave his bones on the other side of the Mississippi." This


Kristin Komar believes beauty is strangely familiar. She is fascinated with creating abstract paintings that, upon first viewing, evoke a sense of familiarity or remembrance. Her work explores spatial and color relationships. She approaches her paintings through a process of layers that emerge as she works. The layering occurs both in the physical layering of paint and the visual layering of elements vertically suspended or stacked in a sedimentary effect. Through careful consideration, objects are saved, abandoned, or eclipsed until she finds a composition that interests her. Painting allows her to indulge in her compulsion to organize. She enjoys composing and arranging shapes and forms so that the end result is unexpected, yet harmonious.
Kim Frieders is an abstract painter and mixed media artist based in Chicago, born in 1978 in nearby Morris, IL. She has practiced and exhibited art since age eight. She received her BFA in painting, printmaking and drawing from Millikin University in 2000, focusing her work there on gestural abstraction and process-driven experimentation. She has exhibited throughout Chicago, including Judy A Saslow Gallery and Ai Gallery in 2006 and The Artist Project (concurrent with Art Chicago) and Polvo in early 2007. She was awarded a CAAP grant from the Chicago Department of Cultural Affairs in 2006 and 2008, and was featured on the cover of the 2007 CAAP application booklet. She has hosted, curated and coordinated group exhibitions and open studio events. She belongs to local artists' groups Parts and Labor Collective, Infidel Group and ARTbitch. She sits on the Programming Committee for the Chicago Artists Coalition and acts as Curator for the Bloomingdale Mural Project. In October of 2007, she completed her first public mural in her own West Bucktown neighborhood.
Renee Robbins is a Chicago-based painter who has lived in various cities around the Midwest. She holds a BFA from the University of Kentucky and an MFA from Michigan State University. As an artist, her work has been recognized with awards, grants, publications, and through selection for national exhibitions. Her selected exhibition highlights include the Alden B. Dow Museum of Science and Art, South Bend Regional Art Museum, Birmingham Bloomfield Art Center, Ai Gallery, University of Illinois at Chicago, and Tony Fitzpatrick's Big Cat Press. During the 2008 Chicago Artists Month, she was the featured artist at Function+Art in Chicago's West Loop gallery district. She received a fellowship in 2004 from the College of Arts and Letters at Michigan State University to study in Tokyo, Japan, and a 2009 Community Arts Assistance Program Grant from the Chicago Department of Cultural Affairs.


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New momentum for EPDs
At Edge we've been long-standing advocates for Environmental Product Declarations (EPDs) in the building products sector. We see EPDs, and the underpinning Life Cycle Analysis (LCA) as an invaluable tool for companies wishing to identify and address hotspots in their environmental footprint. However, while there are many companies that have already seen the light and obtained EPDs for their products, others have remained sceptical as to their value in the marketplace. That could be all about to change, with a host of recent Government and industry initiatives providing a significant boost to the business case for certification.
The use of products with EPDs has, for some time now, been rewarded in rating schemes such as Green Star (buildings) and IS (infrastructure), but both schemes have recently announced changes that will strengthen that role. The Green Building Council of Australia has added a new innovation challenge which will reward buildings for demonstrating reductions in their embodied carbon footprint. This will, in turn, favour the use of projects that have verified data on their impacts – for example via an EPD. Similarly, the Infrastructure Sustainability Council of Australia will soon release a new version of its Materials Calculator which will allow users to input the impact information from EPDs – again favouring manufacturers whose products are certified as having impacts that are better than current default values.
Alongside these changes, recent revisions to the Australian National Carbon Offset Standard have outlined a role for EPDs as a fast track route for achieving carbon neutral status amongst products. While the full details of that compliance route have yet to be released, it's clear that it will remove a significant cost barrier on the road to carbon neutrality for those who have EPDs. And the aforementioned Green Star innovation challenge is also set to offer a further reward for the use of carbon neutral products.
"EPDs provide transparent and clear information to help us identify products that will reduce the environmental impact of our developments across their entire life cycle" – Paolo Bevilacqua, general manager, sustainability – Frasers Property Australia
We're also seeing a more practical boost for EPDs in our day-to-day work. When assessing different design options for buildings, EPDs are increasingly being used as a means of quick and easy route to choose between different materials and systems, with design teams increasingly conversant in what EPDs are, where to find them, and how to use them. Zoom out and the global case for EPDs has also recently strengthened with the Buy Clean California Act, which will only allow certified products (in certain categories) to be used in public construction projects.
What's clear from all these developments is that there is, across the construction industry, an increasing focus on the embodied impacts of construction, after years of the issue playing second fiddle to energy efficiency. We may just be witnessing the start of a materials revolution.
By Richard Griffiths In All Categories, Buildings & Infrastructure, Edge News, Product Labelling and EPDs Tags Australasian EPD Programme, Buy Clean California Act, Embodied Carbon, Environmental Product Declaration, EPD, Green Star, IS Materials Calculator, LCA Life Cycle Assessment, NCOS
Make More Good in October – supporting Waltja, an Aboriginal controlled community-based organisationWhat the heck is the blockchain and how can it improve your business' sustainability?


Overnight... A 20 percent chance of showers before 1am. Mostly cloudy, with a low around 34. Northwest wind 6 to 8 mph.
Thursday... Mostly cloudy through mid morning, then gradual clearing, with a high near 64. Northwest wind around 6 mph.
Thursday Night... Mostly clear, with a low around 43. Light and variable wind becoming southeast 5 to 8 mph in the evening.
Friday... Rain, mainly after 10am. High near 54. Southeast wind 11 to 17 mph. Chance of precipitation is 90%. New precipitation amounts between a quarter and half of an inch possible.
Friday Night... Rain. Low around 44. South wind 6 to 9 mph becoming southwest after midnight. Chance of precipitation is 90%. New precipitation amounts between a quarter and half of an inch possible.
Saturday... Rain likely before 8am, then a chance of showers after 8am. Mostly cloudy, with a high near 48. West wind 10 to 14 mph, with gusts as high as 25 mph. Chance of precipitation is 60%. New precipitation amounts between a tenth and quarter of an inch possible.
Saturday Night... Mostly cloudy, with a low around 34. West wind 5 to 9 mph, with gusts as high as 20 mph.
Sunday... A 40 percent chance of showers after 11am. Partly sunny, with a high near 52. Light west wind.
Sunday Night... A chance of rain showers before 4am, then a chance of rain and snow showers between 4am and 5am, then a chance of snow showers after 5am. Mostly cloudy, with a low around 34. West wind 3 to 8 mph. Chance of precipitation is 30%.
Monday... A chance of snow showers before 8am, then a chance of rain and snow showers between 8am and 9am, then a chance of rain showers after 9am. Mostly sunny, with a high near 50. Northwest wind around 8 mph. Chance of precipitation is 30%.
Monday Night... A chance of rain and snow showers. Mostly cloudy, with a low around 34. Northwest wind around 6 mph becoming calm in the evening. Chance of precipitation is 30%.
Tuesday... A chance of rain and snow showers. Partly sunny, with a high near 54. West wind 3 to 5 mph. Chance of precipitation is 30%.
Tuesday Night... A chance of rain and snow showers. Mostly cloudy, with a low around 36. Light and variable wind. Chance of precipitation is 30%.
Wednesday... A chance of rain and snow showers. Partly sunny, with a high near 53. Southeast wind 5 to 7 mph becoming southwest in the afternoon. Winds could gust as high as 25 mph. Chance of precipitation is 40%.


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High Standards and High Graduation Rates: Moving Forward on a Dual Agenda in Massachusetts
Tue, 04/24/2007 - 10:00 — Achieve
Based on its leadership in standards-based reform and its early release of cohort graduation rates, Massachusetts was selected to participate in Moving Forward: High Standards and High Graduation Rates, a joint project of Achieve and Jobs for the Future and funded by Carnegie Corporation of New York. The project centers on a policy analysis of what the state is doing and can do to support a dual agenda of high standards and high graduation rates.
MassRpttFINAL0417.pdf
Moving North Carolina Forward: High Standards and High Graduation Rates
Raising Graduation Rates in an Era of High Standards: Five Commitments for State Action
Best of Both Worlds: How Massachusetts Vocational Schools are Preparing Students for College and Careers
Comparing the Common Core State Standards for English Language Arts Literacy in History/Social Studies, Science and Technical Subjects to California and Massachusetts Standards
Comparing the Common Core State Standards in Mathematics to California and Massachusetts Standards
Measuring Up: A Report on Education Standards and Assessments for Massachusetts
Taking Root - Massachusetts' Lessons for Sustaining the College- and Career-Ready Agenda
Three Paths, One Destination: Standards-Based Reform in Maryland, Massachusetts and Texas


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Prop. 36 Could Rescue Cali's 3-Strike Addicts
California's three-strike law locks up many nonviolent drug offenders for 25 years to life. That could now change.
Prop. 36 brings hope for imprisoned addicts.
Proposition 36, seeking to overhaul California's draconian "three strikes and you're out" law—which requires third-time offenders to serve mandatory prison sentences of 25 years to life—will appear on a state ballot next month. And most of the people who would be directly affected are addicts. Californians now overwhelmingly believe—by a margin of more than three to one—that the system should change, a new poll reveals. A recent comprehensive review of inmate reports by California Watch and the San Francisco Chronicle shows that a large majority of third-strike convicts are addicts: 70% of them show a high need for substance treatment. It found that the state imposes especially lengthy sentences on felons with substance abuse problems, who haven't necessarily committed violent offenses and pose no greater public safety threat than non-three-strikes inmates.
Many corrections system officials believe that rehabilitation services like substance abuse treatment and cognitive behavioral therapy should be the MO, rather than longer prison sentences. "Consider second- and third-strikers… we're not providing nearly enough rehabilitation… so how are they going to get better?" says California corrections secretary Matt Cate. The study also offers compelling evidence that early substance abuse treatment can prevent some repeat offenders from becoming third-strikers. "If they came in once or twice and you treated their substance abuse, the likelihood of them being a third-striker goes down substantially," says Daryl Kroner, a criminology professor at Southern Illinois University Carbondale and former prison psychologist. The three-strike law was enacted in 1994 and has since locked up 8,800 people for 25 years to life. Under the proposed changes, life terms for drug offenders and other nonviolent criminals would end—they'd instead be treated as if they had only one previous strike, which calls for double the standard prison term for their most recent crime. Inmates already serving 25 to life for drug and other nonviolent crimes could also get sentence reductions, if a judge deems them not to be a safety threat.
three strikes and you're out
Drugs in Prison
A Drug Treatment Program in Prison
"Three Strikes" Could Be on Its Way Out
Parents of Rx Overdose Victims Plead for Change
addiction in prison
Cameron Douglas Loses Appeal for Shorter Sentence
California Votes to Reform "Three Strikes"
There Is Recovery in Prison
Interview with Michael Botticelli, Obama's "Recovery Czar"
Michael Botticelli was sworn in as Director of the Office of National Drug Control Policy (ONDCP)...


Includes: Stoddard, Weir and Henniker.
Includes: Chesterfield, Harrisville, Keene, Marlborough, Marlow, Nelson and Westmoreland.
Includes: Alstead, Walpole and surrounding towns.
Providing students from the Monadnock region, grades K-8, with a challenging and rigorous education in an environment that emphasizes creativity, collaboration, community, diversity, service and leadership. We are located at two campuses: grades K-6 in Surry and grades 7-8 in Keene.


Complete Systems Incorporated (CSI) provides a wide variety of commercial, industrial, and engineering services on the Eastern Shore. Our home office is located in Salisbury, MD at 2021 Shipley Dr. We serve areas in Maryland, Delaware, and Virginia. CSI focuses on successful project completions within the public, private, and government sectors. Our mechanical contracting experience combined with our skilled workforce is sure to provide outstanding service, quality, and reliability. Our specialties include, but certainly not limited to, HVAC, plumbing, carpentry, electrical, solar energy, and home theater systems. Our goal is to insure that you receive the best service possible at an affordable price. You will love doing business with CSI. Contact us below for more information.


That means interns should be paid at least the minimum wage, Grogan says. Yet companies still routinely advertise unpaid internships.
As it stands, it's the interns themselves who have to report unpaid work and that can be tricky. Would tightening regulations on advertising these internships shift the burden to the authorities, and help to regulate the "unpaid internship" sector?
Companies post adverts for unpaid internships on big websites such as Indeed.com and Jobs.ie.
Jennifer Rothwell Design wants a marketing intern for brand strategy and communications for at least three days a week, says one posting on Indeed.ie.
The fashion sector is underfunded, Rothwell says, and most people working in it can barely afford to pay themselves. So she takes on interns, who are mostly Erasmus students because that way they're being paid.
Rothwell says that, as she understands it, the National Minimum Wage Act applies if someone is an employee. In contrast, she says, the three- to six-month internships she offers are generally for international students, who she mentors.
Another posting on Indeed seeks a "HR Intern – Unpaid, Dublin 12" for Staffline Recruitment. The full-time role requires a bachelor's degree, the post says.
The intern would be updating and managing candidate files, providing support in searching for and recruiting candidates, contacting, screening and selecting candidates, advertising on social media and providing general HR support, it says.
Adrian McCourt, sales and marketing director at Staffline said by email that the position was posted without HR approval. It's not company policy to recruit unpaid interns, McCourt said. The company has an intern now, but that person is paid, he said.
"I've asked that the advertisement be removed and our HR team to review requirements." The posting would have been caught before any appointments were made, said McCourt.
Until recently, the career opportunities page on TV3.ie was also advertising for a HR intern, with lunch and travel expenses covered during the six-month full-time unpaid position. The company did not respond to several queries on why the position is unpaid, and the posting is no longer on the site.
Instead, Jobs.ie encourages users to report any jobs "outside their terms of agreement". The terms of service for both Jobs.ie and Indeed.ie prohibit advertising anything illegal.
The one unpaid position advertised on the site, which was taken down on Tuesday afternoon, was for an intern in a movie-production company. It was an internship so it would be unpaid, it said.
MacCarthy said they remove job postings if they're reported and found to be illegal.
More could be done to crack down on "misleading advertising, so that you can't advertise unpaid internships", Grogan said.
There's isn't any legislation dealing with advertising jobs with terms and conditions "below the statutory minimum rates", said a spokesperson for the Department of Business.
Advertisers are responsible for making sure that their communications are in line with the law, said the Advertising Standards Authority of Ireland, through their press representative.
However, there is definitely legislation to deal with employers who do not pay their workers properly, Grogan said.
An intern who hasn't been paid, or isn't being paid, can file a case with the Workplace Relations Commission, says Grogan.
Employers can be prosecuted if they don't comply with the Workplace Relations Commission, they said. Penalties depend on what exactly they have done.
There's no other legal exemption from paying minimum wage, said a spokesperson for the Department of Employment Affairs and Social Protection.
So work experience, work trials, internships – "regardless of the duration of the engagement" and no matter what title they are given – all fall under the National Minimum Wage Act, they said.
The Workplace Relations Commission carries out both routine inspections and inspections based on complaints, said the spokesperson.
Complaining to the Workplace Relations Commission can be tricky, though, since interns worry that filing such a complaint could harm their future job prospects.
If an intern doesn't want to give their name in the complaint, the commission has to inspect the payslips for each employee, which takes time.
Some ask if there are ways that the burden doesn't have to fall on the intern – somebody starting out in a field and wary of being blackballed by companies or future colleagues – to enforce the rules.
In the United Kingdom, the government checks for non-compliance rather than the employee, says Aidan Clifford, advisory services manager at the Association of Chartered Certified Accountants (ACCA) in Ireland.
"It's unfair to ask the employees to be the active party in this," says Clifford.
The ACCA has been calling on the Irish government to crack down on unpaid internships, and highlighting how big firms use terms such as "work shadowing" to avoid paying interns.
Cracking down on advertising unpaid internships might help end the practice, said Aoife Bennett, who spent three months as an unpaid intern for a wedding magazine after she finished her BA in journalism.
Bennett worked three days a week for the magazine, she said, writing stories, sourcing images, updating directories on the website – as other staff did. "I didn't get a lot of training on that so I did get berated for the quality quite a bit," she says.
When her time was up with them, she freelanced for them too. After a while, "I started to think about asking for payment," Bennett says. But she was just told that the company doesn't pay interns.
But banning advertising for unpaid internships would also mean they would be no longer available, says Bennett.


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The classic Tony Award-winning musical of hope and idealism ("The Impossible Dream") rising from the darkness and despair of a prison cell, where the author Miguel de Cervantes protects himself by playing out the story of Don Quixote.
by Dale Wasserman
Join us for a talkback after the Friday, April 5th performance
Anthony Arpino
Kyle Breitenbach
Matt Conlon
Andrew Gasparini
Rick Grossman
Jessica Howard
Michael Sean Jones
James M. Lotito
Joe Mankowski
Alyssa Marino
Nora Moutrane
Elora Von Rosch
ANTHONY ARPINO (Innkeeper) Anthony graduated with a BFA in Theatre Arts from Five Towns College. He recently returned from Disney Cruise Line as a performer where he portrayed the Genie and Lefou on the Disney Dream for the last four years! Anthony also can be seen as a photo double for Jonah Hill in the Martin Scorsese film The Wolf of Wall Street and True Story, he also worked on HBO's Boardwalk Empire. Regional credits include Horton the Elephant, Jean Valjean, Jekyll and Hyde, Max Bialystock, Nicely Nicely Johnson, Pseudolus and many more. Thank you always to my family and friends for their love and support, and the Carson/Kolker ORG.LL KYLE BREITENBACH (Muleteer) Kyle is thrilled to be making his Hampton Theatre Co. debut with Man of La Mancha. Favorite local stage credits include: SCCC: Cabaret (Clifford Bradshaw). Theatre Three: Legally Blonde (Kyle), Saturday Night Fever the Musical (Jay/Ensemble). Star Playhouse: Bloody Bloody Andrew Jackson (James Monroe). He also has various pit orchestra and technical theater experience. MATTHEW CONLON (Cervantes/Quixote) was seen earlier this season at HTC in A Comedy of Tenors and in eleven other productions here since 1994. Selected NYC: HB Playwrights: The Game of Love and Death (with Herbert Berghof); Freud's Last Session (with Fritz Weaver) and The Chase; Sonnet Rep: The Tempest; EST: The Traveling Lady; La Mama: A Human Equation. Partial Regional: Penobscot: To Kill a Mockingbird; Bay Street: Men's Lives; Cleveland Play House: The Importance of Being Earnest; O'Neill: Fuddy Meers; Stage West: Suddenly Last Summer (with Kim Hunter); Mendelssohn: Oedipus Rex. Recent Film: Sweet Lorraine; The Crimson Mask; The Man from the City. TV: Law and Order(s); One Life to Live. Matthew is grateful to be reunited with Musical Director Amy McGrath, and for her invitation to audition for Sayville High School's Babes in Arms some years ago: It's been an impossible dream of joy and heart and magic. For Mom and Dad. ANDREW GASPARINI (Barber/Muleteer) HTC Debut! NYC/Regional credits include: The Little Mermaid (Jetsam), Curtains (Daryl Grady), Sweeney Todd (Tobias), Children of Eden (Abel/Ham), Wizard of Oz (Nikko/Ensemble), History of the Devil (Milo Milo/Duke of York) and Pentecost (Leo Katz). Training: The Acting Studio – New York. AndrewGasparini.com RICK GROSSMAN (Sancho) makes his HTC debut in the role he played in the recent Broadway National Tour, and prior to that opposite John Davidson. He holds the role dear to his heart as it was originated by his late "uncle" Irving Jacobson. Other national tours: Dirty Dancing (Max Kellerman), Bullets Over Broadway–1st Nat'l (Julian Marx), Enter Laughing (Marvin/David), Come Blow Your Horn (Buddy), Milk & Honey (Adi/Shepherd Boy). Off Broadway: The Canary, The Tiny Mustache, The Manufacturer's Daughter, Awake & Sing, Feldman & Sons, Harry & Eddie: The Birth of Israel, Damn Yankees (Lincoln Center Outdoors). Regional Theatre: Starlight Theatre, Laguna Playhouse, Surflight Theatre, Glove Theatre, Westport Country Playhouse and others. TV/Film: House of Cards, College Senior (Best Picture Award–Best Actor Nominee, L.I. Film Festival), Demons, The Pitch, The 30 Year Old Bris (Tribeca FF), Finding Oscar. As a director, Rick has staged over 150 productions across L.I., NYC, and the east coast. Rick began his career as a child actor in the Yiddish Theatre with his family, and studied at Hofstra University, The Pasadena Playhouse, and with acting guru Stella Adler. "Thanks and hugs to Ed & Amy for allowing me to ride Li'l Burro one more time!" Rick is a member of Actors Equity Association. JESSICA HOWARD (Innkeeper's Wife/Housekeeper) is thrilled to be a part of the first musical at Hampton Theatre Company! Previous productions at HTC: The Boys Next Door (Sheila), One Flew Over the Cuckoo's Nest (Nurse Flinn), Picnic (Christine), The Odd Couple Female Version (Vera), The Oldest Living Graduate (Martha Ann), Steel Magnolias (Annelle), Ah, Wilderness (Muriel), The Crucible (Susannah). Other productions: Playcrafters – Steel Magnolias (Annelle), Once in a Lifetime (Susan); Gateway Playhouse – Evita (Mistress), Phantom (Ensemble). Her most favorite role is singing with her sisters as The Howard Sisters. Thank you, Seamie, for all the love and support. Love you, honey. MICHAEL SEAN JONES (Muleteer) began the music and acting craft with Ms. Howard at Westhampton Beach High School in 2008, performing in productions of Lend Me a Tenor, Les Miserables, Titanic, and Our Town, as well as chamber choir, jazz choir and a rock 'n' roll band briefly. He penned his first collection of romantic and devotional poetry in 2017, titled Blue Leaves. He recorded his first EP, You Are What You Seek, on guitar in 2015; he has also recorded The Great Adventure six-song album and nearly two dozen songs on the piano to date. As a storyteller, musician, artist, actor and poet, this role in Man of La Mancha is his first theatrical appearance in a number of years. JAMES M. LOTITO, JR. (Dr. Carrasco) James recently appeared as Sgt. Burchitt in HTC's An Act Of The Imagination. This production marks his third time telling the story of the Mad Knight. Favorite regional credits include the Phantom (Phantom), Che Guevara (Evita), Ariel the Robot (Return to Forbidden Planet), Sheriff File (110 In The Shade), and Smudge (Forever Plaid). James is a Board Member of Productions Over The Rainbow, a group that offers a safe and healthy atmosphere for young adults to explore the creation of art, as well as learn about themselves. James also directs for various theatre companies on Long Island. He holds a Bachelor of Arts degree from Plattsburgh State University. Much love to Dina and Jake. For Ed Brennan (one of my groomsmen at my wedding) and for Maxwell. JOE MANKOWSKI (Padre) Man Of La Mancha marks Joe's debut with The Hampton Theatre Company. He recently starred in the films The Long Island Serial Killer, and with Sean Young in Send No Flowers (currently playing on Amazon Prime). In 2013, he lent his voice to Happy As Clams, a children's interactive album by Lena Pennino-Smith, which can be found on most major music streaming platforms. Locally, his most memorable roles include Alonso in Prospero: LIVE! (World Premiere), Leo Frank in Parade, John Wilkes Booth in Assassins, Edward Rutledge in 1776, and Beadle Bamford in Sweeney Todd. "By day," Joe serves as the Director of Music at St. Lawrence the Martyr Church in Sayville, and is a freelance actor and recording artist. ALYSSA MARINO (Fermina) this is Alyssa's first show with HTC. Alyssa is a recent graduate with a BFA in Acting from the Hartt School, University of Hartford. Credits include Hartford Stage: A Christmas Carol (Female Swing), Clay and Wattles Theatre Company: Zorba and Fiddler on the Roof. Alyssa would like to thank her family for their endless love and support. NORA MOUTRANE (Antonia) Second go at Man of La Mancha! Previously performed Antonia and Fermina in the John Engeman Theatre At Northport production last fall. Tours: Daniel Tiger's Neighborhood Live! (Daniel Tiger); Bright Star Touring Theatre. Most recent NYC: Mulberry Street the Musical (Theresa). Regional: Buddy – The Buddy Holly Story (Maria Elena), Agatha Christie Made Me Do It (Cindy Hanes), There's a Burglar In My Bed (Deborah Duval) and 42nd Street (Ensemble). Love to the fam, Sam, and all the teachers, for whom I am forever grateful. Keep on dreaming folks! www.noramoutrane.com insta: @noramoutrane ELORA VON ROSCH (Aldonza) is making her HTC debut! She was last seen traveling Europe, as a lead performer onboard Viking Ocean Cruise Line. Off Broadway: The American Girl Revue; Freedom's Song; Come Away, NY and Regional: Bliss (Goodspeed); Hunchback of Notre Dame (WPPAC); One Way Trip to Mars (Waterville Opera House); Mythology Mixtape (Landmark Theater); Les Miserables (Broadhollow Theatre Co.); Sarah Crewe (Reading). Film/TV: Law and Order: SVU/Criminal Intent; Sex and the City; Hitch; Raising Helen; and Ted. Training: Boston Conservatory (BFA), Manhattan School of Music (Opera) and British Academy of Dramatic Arts. Thanks to Anthony and Hilda at GTA, along with her family for their undying love and support. www.eloravonrosch.com DALE WASSERMAN (1914-2008) wrote for theater, television and film for more than 50 years. Perhaps best known for the musical Man of La Mancha, based on his original teleplay, I, Don Quixote, he also wrote the stage play One Flew Over the Cuckoo's Nest, based on Ken Kesey's novel. Both shows continue to be produced nationally and internationally with an estimated 300 productions a year. In 2003, Wasserman published a book, The Impossible Musical, recounting the Man of La Mancha story. The Hampton Theatre Company mounted a production of One Flew Over the Cuckoo's Nest in 2010. EDWARD A. BRENNAN (Director) is thrilled to be directing for HTC again, having done so for their productions of The Boys Next Door, An Act of the Imagination, Deathtrap and I Hate Hamlet. He has appeared on stage with the Hampton Theatre Company as Tito/Beppo in A Comedy of Tenors, Billy in Clever Little Lies, Inspector Goole in An Inspector Calls, Angus in The Drawer Boy, Joe Foster in Becky's New Car, Arbuthnot/Arundel in The Enchanted April, Chief Bromden in One Flew Over The Cuckoo's Nest and Ralph in Frozen. His directing credits also include Doubt, Crossing Delancey, The Heidi Chronicles, Spring Awakening and South Pacific. Ed holds a Master's degree in Theater and has directed more than 60 productions on Long Island DIANA MARBURY (Director/Set Decor) is thrilled to be a participant in developing this project with Ed Brennan and our gifted musical director, Amy McGrath. Diana is the Artistic Director and chief cook and bottle washer for the HTC. There are few jobs she has gotten out of over the 33 ½ years with the company. Directing and acting are always at the top of her list of favorite jobs to do. She had the privilege of directing the opening show of this season, A Comedy of Tenors and the delight of playing Ethel Thayer in our second production of this year, On Golden Pond. It is an honor to be bringing the company's first adult musical to our treasured audience. She would like to give a shout out to our newly formed "Producers Circle" for giving us the opportunity to upgrade our lighting and sound equipment and our beloved audience for their continued support, and of course, our tremendous creative team and production staff. It takes a village to raise the curtain! AMY FEDERICO McGRATH (Music Director) has served as musical director, director, producer, for over 175 productions during her professional career in the tri-state area. A former co-artistic director of The John Drew Theater and executive director of The Airport Playhouse, she has also appeared on stage in diverse roles ranging from Aldonza in Man of LaMancha to Reno Sweeney in Anything Goes. She serves as a program facilitator for Metropolitan Opera HD Live in Schools and considers her greatest calling to be that of teacher as she continues to nurture and advocate for all those involved in the performing arts. SEAN MARBURY (Set Designer) has worked in textile design, built sets for TV series, commercials, and films and worked with the design, engineering and fabrication of race car components. He currently works on high end residential construction. His set designs for HTC include Deathtrap, Other People's Money, Other Desert Cities, The Foreigner, Harvey, Time Stands Still, November, An Act of the Imagination, Alarms and Excursions, Clever Little Lies, On Golden Pond and A Comedy of Tenors. TERESA LEBRUN (Costume Designer) is the resident costumer for HTC. She started helping with costumes in 1986 and has designed the costumes for all the company's productions since 2005. Teresa also costumes for Center Moriches and Westhampton Beach High Schools. She happy to be working with co-directors Ed Brennan and Diana Marbury and this wonderful cast on HTC's first musical! To Ed, it's been a pleasure to work with you all these years. I always enjoyed how we shared the same vision for a show. I will miss you my friend. All the best to you and Terry! Much love to her boys, Josh and Noah, family and great friends. CARLENE DESCALO (Stage Manager) Carlene has worked around the country in a variety of capacities on film, television, and theatre and is excited to be back in her home state. Most recently, she has costume designed You Can't Take It With You at Westhampton Beach High School and works at the Staller Center as a stagehand. She would like to thank everyone at the company for this wonderful opportunity. Break legs everyone! AARON LEVINE (Lighting/Sound Tech) is a senior at WHB HS. He is happy to work for the Hampton Theatre Company, helping with set construction and working backstage. Aaron also studies sound engineering in high school and has a passion for music. This is the third production he has worked on for the HTC and he looks forward to many more. He thanks Sean Marbury and Diana Marbury for the opportunity and involvement. JULIA MORGAN ABRAMS (House Manager). After retiring from the legal department of Bristol Myers Squibb, Julia began a second career as a volunteer, initially for Literacy Suffolk, HTC and the Southampton Animal Shelter, where she wrote grants and worked in fundraising. She continues to write grants and help with marketing for several local nonprofits. Julia would like to thank all of her dedicated House Assistants for their continued support.
Directors – EDWARD A. BRENNAN & DIANA MARBURY Musical Director – AMY FEDERICO MCGRATH Set Design – SEAN MARBURY Lighting Design – SEBASTIAN PACZYNSKI Set Decor – DIANA MARBURY Costume Design – TERESA LEBRUN Stage Manager – CARLENE DESCALO
Set Construction – SEAN MARBURY, CARLOS BUENO, NICK FITZGERALD,AARON LEVINE, SEAMUS NAUGHTON Sound Design – SEAMUS NAUGHTON Lighting/Sound Tech – AARON LEVINE Backstage Crew – NICK FITZGERALD Box Office – LISA CARR Production Graphics – JOE PALLISTER (DESIGNINGJOE) House Manager – JULIA MORGAN ABRAMS Production Photographer – TOM KOCHIE
Hamptons Theater Review: "Man Of La Mancha" At Quogue Community Hal
By T.J. Clemente
Hamptons.com Man of La Mancha is a spellbinding show now being presented by Hampton Theatre Company at the Quogue Community Hall. It is expertly directed by Edward A. Brennan and Diana Marbury. The performance I attended ended with a standing ovation. There is a certain magic that manifests itself whenever there is a show at the Quogue Community Hall. The audience is unique, very local and loyal in nature and very appreciative of their Hampton Theatre Company. They know the local actors and share their on-stage triumphs. Man of La Mancha is the first fully-staged musical that the Hampton Theatre Company has ever presented. The audience loved it. Matthew Conlon is outstanding as Don Quixote/Cervantes as he commanded the Quogue Community Hall stage once again with his signature gravitas. Sean Marbury, a wizard of set design, once again shows why he is the best set designer on the East End. Even before the show began the folks behind me were vocally admiring the detail and majesty of Marbury's creation for Man of La Mancha. The singing of Elora Von Rosch who portrays Aldonza/Dulcinea is pulsating wonderful. She definitely captivated me with her powerful performance of her roles. The audience totally enjoyed her skillful presentation and her singing of her songs that had amazing magical powers. Rich Grossman (Sancho) was a crowd favorite delivering the wonderful lines of playwright Dale Wasserman with his stylish timing. Joe Mankowski (Padre) has a huge stage presence. James M. Lotito, Jr is Dr. Carrasco. He has a keen sense of movement in his acting style. Anthony Arpino (Governor/Innkeeper), Jessica Howard (Housekeeper/Innkeepers Wife), Nora Moutrane (Antonia) along with Andrew Gasparini (Barber/Muleteer), Kyle Breitenbach (Pedro), Michael Sean Jones (Anselmo) and Alyssa Marino are vibrantly strong in their roles that formed the backbone of the show with precise movement and quality song. The Musicians: Amy Federico McGraph (Piano/Conductor), Michael Kendrot (Reeds), Charles Klausen (Trumpet), Diane Hoffman (Trombone), William McGrath (Guitar) and Kevin Twigg (Percussion) performed the music by Mitch Leigh magnificently as their live music added so much to the show. Diana Marbury and Edward Brennan are to be applauded for taking on this huge undertaking and molding their efforts and the efforts of the cast into a production that produced a roaring standing ovation. Kudos and accolades to them. The song The Impossible Dream is the centerpiece of the show and Matthew Conlon present/sings/performs its various forms throughout the production. A longtime personal favorite East End actor, Matthew Conlon is but one reason the Quogue Community Hall audience supports their Hampton Theatre Company so vibrantly. They know they have something unique, something special, something enduring. Man of La Mancha will no doubt be remembered as the first success of what will be many musicals to follow. Man of La Mancha can be seen at the Quogue Community Hall from Thursday, March 21 through Sunday, April 7, with shows on Thursdays and Fridays at 7 p.m., Saturdays at 8 p.m. and Sundays at 2:30 p.m. There will be an additional matinee performance during the final weekend of the production, on Saturday, April 6. Special dinner and theater packages will be presented in collaboration with the Westhampton, Southampton, Hampton Bays and Quogue libraries, as will a special lunch and theater package offered at Quogue Club at the Hallock House for the Saturday matinee on April 6. Quogue Community Hall is located at 125 Jessup Avenue in Quogue. For more information, call 1-866-811-4111
Both my husband and myself enjoyed the show last night. It was "laugh out loud" funny!! Looking forward to the next production from the Hampton Theatre!
– Albert and Mary Calise "What an incredible night it was when Man of La Mancha opened in Quogue. My husband and I loved the acting, singing and the laughs that we had last evening. Go see it; if you don't you're going to miss a special event."
– Linda Morrissey Olsen "Spectacular performance! Man of La Mancha has long been my favorite musical and I'm delighted you chose to do it. Quite a feat! Kudos to your entire production staff and especially the fine actors and singers. Fantastic!"
– Mary Ann Giorgio "One of the most enjoyable shows we have seen. What an amazing cast! Definitely will spread the word."
– Bonnie Metsch "I'm still cloaked in the warm feeling after yesterday attending Man of La Mancha. My eyes were tearing and I was laughing throughout the entire musical. Great script, timeless message and a classic tale made for a great base to start with. But it's your collective effort, spirit and heart that radiated from the stage to embrace us, the audience. I felt it through the great chemistry of the performers, the director's guidance and such great set design."
– Snezana Grosfeld


text:
Q: How do I swap XML attributes in powershell? I have a power shell script that is making a bunch of changes to an XML file, and it is all working except one part. I need to switch the values of two attributes for each occurrence in the XML file.  In the example below I need to swap the values for "Description" and "Name" for every Product.  How would I do this?
Existing XML:
<?xml version="1.0" encoding="UTF-8" standalone="no"?>
<MetrixXML xmlns="http://www.lithotechnics.com" SchemaVersion="1.0">
    <Project Description="" Name="test123" ProjectID="test123">
        <ProductPool>
            <Product Description="A #61792-39" Name="21170:01">
            </Product>
            <Product Description="B #61793-39" Name="21170:02">
            </Product>
            <Product Description="C #61728-39" Name="21170:03">
            </Product>
        </ProductPool>
    </Project>
</MetrixXML>

Should be converted to:
<?xml version="1.0" encoding="UTF-8" standalone="no"?>
<MetrixXML xmlns="http://www.lithotechnics.com" SchemaVersion="1.0">
    <Project Description="" Name="test123" ProjectID="test123">
        <ProductPool>
            <Product Description="21170:01" Name="A #61792-39">
            </Product>
            <Product Description="21170:02" Name="B #61793-39">
            </Product>
            <Product Description="21170:03" Name="C #61728-39">
            </Product>
        </ProductPool>
    </Project>
</MetrixXML>

A: Just use the Get-Content cmdlet to load your xml, iterate over the notes and swap the values:
$xml = [xml] (Get-Content 'Path_to_your_xml')
$xml.DocumentElement.Project.ProductPool.Product | % {
    $oldDescription = $_.Description
    $_.Description = $_.Name
    $_.Name = $oldDescription
}
$xml.Save('Path_to_your_xml')


I know Jess has already 'introduced' Black Betty but I thought it was time to do it properly…. i.e. Blokey-ly….
No disrespect to Karen Camper, living in her during our big trip was very comfortable, but there were times when we faced a decision whether to take a certain road or not, based on if we felt Karen would make it. Jess and I do not like being limited like that, if we want to go somewhere or do something, then nothing is stopping us.
ATC were created by a husband and wife team in Sydney with the desire to build an "indestructible" camper for their regular trips to the Cape, whilst retaining some creature comforts and practical tent design. What they built was a balance of Blokey toughness and female influence, for us, it ticked every box.
1. Easy 10min setup where we can (all 6 of us) be inside, dry and bedding set up.
3. Option to expand the tent area for longer stays.
We narrowed the field to 2, Cameron Campers and ATC's. The Camerons come from SA and the ATC's from Sydney, so it was difficult to find anything local-ish. I trawled every camper trailer sales resource for about 6 months without luck, until one night I was looking at the very informative http://www.campertrailers.org for something unrelated and I noticed they have a classifieds page, it was here that I found BB in Laura of all places!
The previous owners happened to come to Mareeba to do their shopping once a month and offered to bring it down and set it up for us, we knew the minute we saw her, this was the one. Sure, she has seen some miles, cosmetically she looks like a pack-a-day smoking alcoholic vs some of the supermodel "never been off road/hardly used" campers out there, but she ticked our boxes and she was clearly well used. Much like how I advertised Karen as "well loved and time proven", we knew any kinks in BB were well and truly ironed out by now.
I liked the fact that she was bog standard as well because it allowed me to do the 'necessary' upgrades myself, how we want them. I will do another post about the changes we have done to date to get Black Betty road ready.
What do you reckon? Anybody else out there with a camper trailer? Love it or hate it?
Congratulations on the new acquisition, Matt; looking forward to reading about your trip to Lawn Hill, and to many other adventures in Black Betty!


text:
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Most Comprehensive Paleoclimate Reconstruction Confirms Hockey Stick
by Stefan Rahmstorf (via Scilogs), by Climate Guest Contributor, Climate Progress, July 8, 2013
The past 2,000 years of climate change have now been reconstructed in more detail than ever before by the PAGES 2k project. The results reveal interesting regional differences between the different continents, but also important common trends. The global average of the new reconstruction looks like a twin of the original "hockey stick," the first such reconstruction published 15 years ago.
Green dots show the 30-year average of the new PAGES 2k reconstruction. The red curve shows the global mean temperature, according HadCRUT4 data from 1850 onwards. In blue is the original hockey stick of Mann, Bradley and Hughes (1999 ) with its uncertainty range (light blue). Graph by Klaus Bitterman.
78 researchers from 24 countries, together with many other colleagues, worked for 7 years in the PAGES 2k project on the new climate reconstruction. "2k" stands for the last 2,000 years, while PAGES stands for the Past Global Changes program launched in 1991. Recently, their new study was published in Nature Geoscience. It is based on 511 climate archives from around the world, from sediments, ice cores, tree rings, corals, stalagmites, pollen or historical documents and measurements (Fig. 1). All data are freely available.
Figure 1. The map gives an overview of the studied continental areas and the particular combination of the proxies used for each. Source: Nature Geoscience.
The climate history of the past one to two thousand years was reconstructed for 7 continental regions in 30-year intervals (Figure 2).
Figure 2. Temperature evolution of the individual continental regions (30-year average). Red means hot, blue is cold. Source: Nature Geoscience.
Regional climate evolution
The data show, as expected, significant regional differences. Such regional patterns are an important clue to the causes and mechanisms of climate change. Significant local variations in climate can occur through changes in the atmospheric or oceanic circulation patterns, with very little effect on global mean temperature, because heat is only distributed differently (a recent short-term example is the record cold March in parts of Europe while Greenland was extremely warm – nothing unusual happened in the global mean). Changes in global mean temperature, however, occur due to changes in radiative forcing (e.g., solar fluctuations). This forcing can be globally uniform (e.g., well-mixed greenhouse gases) or can have a regional pattern (for example, volcanic eruptions and orbital cycles). So in the individual continents one expects a response to the forcings, superimposed by internal fluctuations.
The data shown in Figure 2 reflect this: they show some coherent signals, especially a long-term cooling trend that leads to increasingly cooler climate conditions from the relatively warm Middle Ages until this is turned around in the late 19th Century (see the next section). But, as expected, some regional variability is superimposed, especially on shorter time scales of decades to a century, where particularly warm and cold phases do not coincide in their timing on different continents, as the authors emphasize in the abstract:
There were no globally synchronous multi-decadal hot or cold intervals that define a worldwide Medieval Warm Period or Little Ice Age.
But they identify some shorter intervals where extremely cold conditions coincide with major volcanic eruptions and / or solar minima (as already known from previous studies).
The global mean temperature is of particular interest because it is a direct response to the global radiative forcing, buffered by the thermal inertia of the oceans. This follows from the first law of thermodynamics, i.e. the law of conservation of energy. So the globally coherent signals indicate globally effective forcings. The authors write in the abstract:
The most coherent feature in nearly all of the regional temperature reconstructions is a long-term cooling trend, which ended late in the nineteenth century. (…) Recent warming reversed the long-term cooling; during the period ad 1971–2000, the area-weighted average reconstructed temperature was higher than any other time in nearly 1,400 years.
The following Figure 3 therefore compares the area-weighted mean over the continents (b) with some previous northern hemisphere reconstructions (a) and the forcings (f, g, h). The basic pattern – a long-term slow cooling which in the late 19th Century turns into a rapid warming – has been known for 15 years and is often compared to a hockey stick: the long cooling trend is the handle, the modern warming the angled blade.
Figure 3. Temperature evolution according to some previous studies (a) and from the new PAGES 2k reconstruction (b). The panels f, g and h show the radiative forcing, see text. Source: Nature Geoscience. (Click here for enlarged image.)
Comparison with the forcings shows that this blade is due to the radiative forcing from the increasing amount of greenhouse gases in the atmosphere (green line in g). The solar and volcanic forcing can be reconstructed only with some uncertainty, therefore two variants are shown. For solar forcing, it is less the shape of the curve but mainly the amplitude which is controversial (a constant conversion factor) – the very high amplitude adopted by Shapiro (dotted line) is widely regarded as highly questionable (see, e.g., Feulner and Judge et al.). But even with this extreme assumption, the solar forcing in the 20th Century cannot compete by far with the greenhouse gases, and it also does not match the temperature evolution.
Interesting especially on long time scales of thousands of years is the orbital forcing (the well-known Milanković cycles; here is an online calculator for the radiative forcing). In the north, especially the summer insolation is important (green curve in panel h), because it is greatly amplified by the albedo feedback (i.e., by changes in the ice and snow-covered area). This may explain part of the cooling trend in the Northern Hemisphere. In Antarctica the situation is different: in summer the ice-covered area is relatively constant at about the size of the Antarctic continent because there is little sea ice and the trend of solar radiation (blue curve in panel h) is relatively weak. Therefore, the summer insolation change is much less important. But the annual average insolation in Antarctica (not shown in the PAGES graph) has declined strongly due to the orbital cycles over the past two millennia. This could be the explanation for the long-term cooling in Antarctica, which (unlike in the global average) has not yet been made up for by the modern anthropogenic warming.
Climate models are computer programs that calculate climate evolution from such forcings, based on the equations of thermo-and hydrodynamics. In the last IPCC report 18 such model calculations for the last millennium by different research groups are listed, almost all of which reproduce the reconstructed climate history from proxy data reasonably well (see IPCC, Figs. 6.13 and 6.14: the red-dashed outlier in 6.13 is the drift-affected model used by von Storch et al. in their failed attempt to discredit Mann et al.). The models also show that without the anthropogenic forcing there would have been no warming in the last 150 years.
The first comparable hockey stick curve was published in 1998 and 1999 by Mann et al. – at that time based on data only from the Northern Hemisphere. Figure 4 compares the new hockey stick (from panel b in Figure 3) with this original hockey stick. (The data for the original hockey stick have also been available since 1999 on the NOAA Paleoclimatology website.)
Figure 4. Green dots show the 30-year average (area-weighted mean over the continents) of the new PAGES 2k reconstruction, as shown in Figure 3b. The red curve shows the global mean temperature, according HadCRUT4 data from 1850 onwards (also in Figure 3b, smoothed with a 30-year window). In blue is the original hockey stick of man, Bradley and Hughes (1999 ) with its uncertainty range (light blue). Graph by Klaus Bitterman.
For the scientific community, the confirmation of the old hockey stick is no surprise (except perhaps for the closeness of the match); many other climate reconstructions with a similar time evolution have already appeared since. Mann et al. at the time cautiously assumed a wide margin of uncertainty (light blue) because of their limited data base and a possible underestimation of the variance by their method; later reconstructions run largely within this margin. The work of Mann and colleagues has gained the highest recognition. For example, Bradley was honoured in 2007 with the Oeschger Medal of the European Geosciences Union and Mann likewise in 2012, and both were (as well as Hughes) elected as fellows of the American Geophysical Union. Politically motivated attacks on their work were immense, however; both Bradley and Mann have published books about that experience:
The Hockey Stick and the Climate Wars: Dispatches from the Front Lines by Michael E. Mann
Global Warming and Political Intimidation: How Politicians Cracked Down on Scientists As the Earth Heated Up by Raymond S. Bradley
Stefan Rahmstorf is Co-Chair of Earth System Analysis, Potsdam Institute for Climate Impact Research. This article was originally published in German and translated was provided by the author.
Posted by Tenney Naumer at Saturday, July 04, 2015
Labels: hockey stick, Michael Mann, paleo-climate, Stefan Rahmstorf


Do you want to laugh OR do you want to be happy?
Luckily in life, you don't have to choose. YOU CAN HAVE BOTH.
"HOW???????" I hear you cry. Well the answer my friend is a little secret called: My Dog: The Paradox: A Loving Discourse About Man's Best Friend.
It is a comic book. It is so funny that you will wonder why there are any books out there that aren't like this.
It will make you laugh. It will make you cry. You can even read it online.
HOW OH HOW DO I ENTER AISHA????
I am glad you asked. As I am neither a foot doctor or a mathematician, I believe the simplest way to enter the competition would be to sign up for my newsletter below. I will email you once a month with giveaways, stories about why whales and doggies should be friends, and what came first the doggy or the Yaletown doggy coat and scarf combo (a classic chicken and egg dilemma).
Please note: There will be no losers in this competition – except for the ones who do not win. However Max has agreed to send those of you who don't win telepathic messages to show his love and appreciation for you. He may also ask for a doggy biscuit in the mail. I can't control him.
Competition ends April 30th at 2pm. Why 2pm? Because that's Maxi's nap time and he alerted me that dogs don't work during nap time.
Winner will be picked by random draw. As I do not have a random draw machine, Max will pick the winner by writing everyones names on different pieces of paper and closing his eyes and picking a winner.