With Miss Chief Eagle Testickle, Cree artist Kent Monkman confronts history

Source: The Conversation – Canada – By Anna Hudson, Professor, Art History, York University, Canada

Cree artist Kent Monkman is a contemporary old master most celebrated for his reworking of figurative painting. Now in his 60th year, Monkman’s gut-wrenching recastings of images drawn from the western canon are produced by his atelier, a studio modelled on a longstanding tradition of the artist as chef d’atelier.

His 2019 completion of the commission mistikôsiwak (Wooden Boat People) for the Metropolitan Museum of Art’s (the Met) Great Hall marked the first of three institutional plays by the Met for social relevancy. Monkman, along with African-American contemporary artist Jacolby Satterwhite and Taiwanese calligrapher Tong Yang-Tze, each transformed the vast temple-like lobby into a gathering place for cross-cultural dialogue.

Six years later, Kent Monkman: History is Painted by the Victors, a major retrospective currently on view at the Montréal Museum of Fine Arts, positioned mistikôsiwak as the height of Monkman’s boundary-breaking practice and stratospheric rise to the upper echelons of the contemporary international art world.

Monkman’s hired team of Indigenous and non-Indigenous apprentice painters, actors, makeup artists, fashion designers, filmmakers and photographers carry his epic compositions to completion. Their collaborations balance reference to iconic European, Canadian and American nationalist paintings with Monkman’s Cree perspective on the imperial consumption of Indigenous lands.

At their root is Monkman’s commentary on the imposition of western art education in the Americas through the establishment of fine art academies in new nation states to train settler artists.

Kent Monkman speaks about his work with Denver Art Museum’s Beyond the Art.

Fine art and colonialism

By the late 18th and early 19th centuries, landscape painting developed into one of the most celebrated fine art genres. Colonial landowners and governments saw the land around them as a resource to be documented.

Monkman interrupts this by combining two genres — landscape and history painting — to create monumental documents of colliding worldviews: the colonial investment in individual land ownership versus Indigenous land stewardship.

Landscape painting continues to shape Canadian and American national identity. For example, the works of the Canadian Group of Seven are implicated in the idea of Canadian-ness.

Monkman’s approach channels the Romantic painters, and most compellingly, Théodore Géricault’s 1819 The Raft of the Medusa.“ This painting is a canonical composition of bodies caught in the rawest human dynamic of hope versus despair, life versus death — themes interpreted in Monkman’s work. Géricault was controversially unafraid to focus on the dead, diseased and depraved and highlight political incompetence and corruption.

Gericault’s painting records the aftermath of the 1816 shipwreck of the Medusa, a French Royal Navy frigate commissioned to ferry officials to Senegal to formally re-establish French occupation of the colony. As a result of the captain’s inept navigation, the Medusa struck a sandbank off the West African coast. Survivors piled onto a life raft to endure a dehumanizing and deadly 13 days before being rescued by another ship, barely visible on the painting’s horizon.

Response to the canon

Monkman’s 2019 Great Hall commission of two monumental paintings for the Met marked unheard-of success for a contemporary Indigenous artist. As part of the Met’s initiative to invite artists to create new works inspired by the collection in honour its 150th anniversary, the diptych mistikôsiwak (Wooden Boat People) offers a uniquely re-canonizing response to western art history.

This prestigious commission of two monumental paintings, Welcoming the Newcomers and Resurgence of the People, brought settler reckoning to new audiences in the aftermath of Canada’s Truth and Reconciliation Commission’s (TRC) 94 Calls to Action.

Given its grand size and public location, mistikôsiwak presented a parallel Indigenous canon, a painterly two-row wampum of sorts that runs alongside its western European historical counterpart towards Indigenous survivance — survival, resilience and endurance — and futurity.

The two-row wampum belt created in the 17th century acknowledged the colonial establishment of two paths: western versus Indigenous. Today, they are entangled by neocolonial industrial pollution and climate change. To artist and curator Rick Hill, this reality, along with the arrival on Indigenous homelands of generations of diaspora populations, brings forth the question: “What is your relationship to this land? What is your relationship to your Native neighbours?”

Given that western and Indigenous definitions of sovereignty remain intractably at odds, Hill’s questions provoke a consideration of land as a shared resource, for humans and non-human life.

The Art Gallery of Ontario presents a segment on treaties with artist, writer and curator Rick Hill.



Read more:
From the Amazon, Indigenous Peoples offer new compass to navigate climate change


Transformative painting

Miss Chief Eagle Testickle is Monkman’s dynamic anti-colonial trans superhero who often appears in his work. In mistikôsiwak, Miss Chief is represented alongside the arrival of all sorts: colonizers, settlers, servants, slaves, migrants and refugees who never left.

In Resurgence of the People, Monkman riffs off such American idols as Emanuel Leutze’s Washington Crossing the Delaware (1851), depicting George Washington and Continental Army troops crossing the river prior to the Battle of Trenton on the morning of Dec. 26, 1776.

In Monkman’s remaking, Miss Chief captains a boat of survivors who, together, make a spectacle of the Doctrine of Discovery that granted European authority to claim the lands and resources of non-Christian peoples.

Prime Minister Pierre Trudeau is represented clinging to the boat’s port side, his red tie flailing and his right hand attempting to take control of a paddle. His gold watch is a heart-sinking reminder of the colonial consumption of peoples and land. These representations gesture towards a political versus cultural sense of belonging that underwrote the Liberal government’s 1969 White Paper, which proposed final assimilation of Indigenous Peoples.

In the boat sits Murray Sinclair, the chief commissioner of the Truth and Reconciliation Commission of Canada who fostered understanding, compassion and reconciliation between Indigenous Peoples and non-Indigenous people in Canada.




Read more:
Carrying the spirit and intent of Murray Sinclair’s vision forward in Treaty 7 territory


Resilience and survival

In Welcoming the Newcomers, Miss Chief is the admonishing figure lifted from the academic tradition who locks eyes with the viewer. Her gaze draws us into the drama unfolding on Turtle Island.

Monkman references the Met’s Watson and the Shark, a 1778 painting by American painter John Singleton Copley recounting a young man’s remarkable rescue from a shark attack. In Monkman’s retelling, the boat is capsized, and only the slave pictured in the original is rescued by Miss Chief, who is bathed in breaking light. In the centre, a muscular figure cradles an Indigenous newborn baby.

In French Romantic artist Eugène Delacroix’s early 19th-century painting, The Natchez, also in the Met, a dying baby cradled by a couple signals the massacre of a people. But the washed-up conquistadors scattered along the painted shoreline of Turtle Island remind viewers of more than 500 years of Indigenous resilience. Monkman’s incorporated reference to Delacroix notes the Natchez are alive and well.

Historical revision

Monkman’s paintings present the landscape as a theatrical stage upon which stories of human exploitation play out. Throughout his career, he has consistently transformed European and settler-colonial photography, film, performance and painting into cross-cultural encounters featuring Miss Chief.

Monkman’s goal? To remind settler and diaspora Canadians of their accountability. We share the Earth with each other, human and otherwise, for a collective future.

The Conversation

Anna Hudson receives funding from the Social Sciences and Humanities Research Council of Canada (SSHRC), the Canada Foundation for Innovation (CFI) and the Ontario Research Fund (ORF)

ref. With Miss Chief Eagle Testickle, Cree artist Kent Monkman confronts history – https://theconversation.com/with-miss-chief-eagle-testickle-cree-artist-kent-monkman-confronts-history-252136

OpenAI slipped shopping into 800 million ChatGPT users’ chats − here’s why that matters

Source: The Conversation – USA – By Yuanyuan (Gina) Cui, Assistant Professor of Marketing, Coastal Carolina University

AI could soon be buying things for you – maybe without even asking. Andriy Onufriyenko/Moment via Getty Images

Your phone buzzes at 6 a.m. It’s ChatGPT: “I see you’re traveling to New York this week. Based on your preferences, I’ve found three restaurants near your hotel. Would you like me to make a reservation?”

You didn’t ask for this. The AI simply knew your plans from scanning your calendar and email and decided to help. Later, you mention to the chatbot needing flowers for your wife’s birthday. Within seconds, beautiful arrangements appear in the chat. You tap one: “Buy now.” Done. The flowers are ordered.

This isn’t science fiction. On Sept. 29, 2025, OpenAI and payment processor Stripe launched the Agentic Commerce Protocol. This technology lets you buy things instantly from Etsy within ChatGPT conversations. ChatGPT users are scheduled to gain access to over 1 million other Shopify merchants, from major household brand names to small shops as well.

As marketing researchers who study how AI affects consumer behavior, we believe we’re seeing the beginning of the biggest shift in how people shop since smartphones arrived. Most people have no idea it’s happening.

OpenAI’s ChatGPT takes on e-commerce with Etsy, Shopify partnership.

From searching to being served

For three decades, the internet has worked the same way: You want something, you Google it, you compare options, you decide, you buy. You’re in control.

That era is ending.

AI shopping assistants are evolving through three phases. First came “on-demand AI.” You ask ChatGPT a question, it answers. That’s where most people are today.

Now we’re entering “ambient AI,” where AI suggests things before you ask. ChatGPT monitors your calendar, reads your emails and offers recommendations without being asked.

Soon comes “autopilot AI,” where AI makes purchases for you with minimal input from you. “Order flowers for my anniversary next week.” ChatGPT checks your calendar, remembers preferences, processes payment and confirms delivery.

Each phase adds convenience but gives you less control.

The manipulation problem

AI’s responses create what researchers call an “advice illusion.” When ChatGPT suggests three hotels, you don’t see them as ads. They feel like recommendations from a knowledgeable friend. But you don’t know whether those hotels paid for placement or whether better options exist that ChatGPT didn’t show you.

Traditional advertising is something most people have learned to recognize and dismiss. But AI recommendations feel objective even when they’re not. With one-tap purchasing, the entire process happens so smoothly that you might not pause to compare options.

OpenAI isn’t alone in this race. In the same month, Google announced its competing protocol, AP2. Microsoft, Amazon and Meta are building similar systems. Whoever wins will be in position to control how billions of people buy things, potentially capturing a percentage of trillions of dollars in annual transactions.

What we’re giving up

This convenience comes with costs most people haven’t thought about.

Privacy: For AI to suggest restaurants, it needs to read your calendar and emails. For it to buy flowers, it needs your purchase history. People will be trading total surveillance for convenience.

Choice: Right now, you see multiple options when you search. With AI as the middleman, you might see only three options ChatGPT chooses. Entire businesses could become invisible if AI chooses to ignore them.

Power of comparing: When ChatGPT suggests products with one-tap checkout, the friction that made you pause and compare disappears.

It’s happening faster than you think

ChatGPT reached 800 million weekly users by September 2025, growing four times faster than social media platforms did. Major retailers began using OpenAI’s Agentic Commerce Protocol within days of its launch.

History shows people consistently underestimate how quickly they adapt to convenient technologies. Not long ago most people wouldn’t think of getting in a stranger’s car. Uber now has 150 million users.

Convenience always wins. The question isn’t whether AI shopping will become mainstream. It’s whether people will keep any real control over what they buy and why.

What you can do

The open internet gave people a world of information and choice at their fingertips. The AI revolution could take that away. Not by forcing people, but by making it so easy to let the algorithm decide that they forget what it’s like to truly choose for themselves. Buying things is becoming as thoughtless as sending a text.

In addition, a single company could become the gatekeeper for all digital shopping, with the potential for monopolization beyond even Amazon’s current dominance in e-commerce. We believe that it’s important to at least have a vigorous public conversation about whether this is the future people actually want.

Here are some steps you can take to resist the lure of convenience:

Question AI suggestions. When ChatGPT suggests products, recognize you’re seeing hand-picked choices, not all your options. Before one-tap purchases, pause and ask: Would I buy this if I had to visit five websites and compare prices?

Review your privacy settings carefully. Understand what you’re trading for convenience.

Talk about this with friends and family. The shift to AI shopping is happening without public awareness. The time to have conversations about acceptable limits is now, before one-tap purchasing becomes so normal that questioning it seems strange.

The invisible price tag

AI will learn what you want, maybe even before you want it. Every time you tap “Buy now” you’re training it – teaching it your patterns, your weaknesses, what time of day you impulse buy.

Our warning isn’t about rejecting technology. It’s about recognizing the trade-offs. Every convenience has a cost. Every tap is data. The companies building these systems are betting you won’t notice, and in most cases they’re probably right.

The Conversation

The authors do not work for, consult, own shares in or receive funding from any company or organization that would benefit from this article, and have disclosed no relevant affiliations beyond their academic appointment.

ref. OpenAI slipped shopping into 800 million ChatGPT users’ chats − here’s why that matters – https://theconversation.com/openai-slipped-shopping-into-800-million-chatgpt-users-chats-heres-why-that-matters-267402

Space exploration in the backyard, on a budget – how NASA simulates conditions in space without blasting off

Source: The Conversation – USA – By Jordan Bretzfelder, Postdoctoral Fellow, Earth and Atmospheric Sciences, Georgia Institute of Technology

Analog missions, like those conducted at NASA’s CHAPEA facility at the Johnson Space Center, help scientists study human spaceflight without leaving Earth. Ronaldo Schemidt/AFP via Getty Images

Humanity’s drive to explore has taken us across the solar system, with astronaut boots, various landers and rovers’ wheels exploring the surfaces of several different planetary bodies. These environments are generally hostile to human and equipment health, so designing and executing these missions requires a lot of planning, testing and technological development.

You may have heard about the extensive testing facilities for spacecraft and equipment, but how do scientists prepare for the human aspect of space exploration?

One way to test out techniques and identify situations that may arise during a real mission is using a simulation, which in this field is more commonly known as an analog. Researchers choose and design analog missions and environments to replicate elements of a real mission, using what is available here on Earth.

These missions are conducted in extreme environments on Earth that are comparable to the Moon or Mars, in habitats designed to replicate living quarters, or a combination of both. Researchers can use analogs to study crew performance and procedures, or to test instruments under development for use in space.

For example, operating a drill or wrench may seem easy here on Earth, but try doing the same task in thick gloves on a bulky, pressurized space suit in lower gravity. Suddenly, things aren’t so straightforward. Testing these scenarios on Earth allows researchers to identify necessary changes before launch. The analogs can also train crew members who will one day undertake the actual mission.

I’m a planetary scientist, which means I study the geology of other planets. Currently, I study environments on Earth that are similar to other planets to improve our understanding of their counterparts elsewhere in the solar system. I participated as a volunteer in one of these analog missions as an “analog astronaut,” serving as the crew geologist and applying my prior research findings from studying the surfaces of the Moon and Mars.

These analog missions vary in setting, length and intensity, but all aim to learn more about the human factors involved in space exploration.

Where do we send them?

Analog missions are designed to simulate the crew’s experience in a given mission plan. In some cases, they simulate surface operations on the Moon or Mars for up to a year. Others might replicate the experience of being in transit to Mars for a period of time, followed by the crew “landing” and exploring the surface.

NASA uses several analog mission facilities spread across the world. For example, the Mars Desert Research Station in Utah is located in an environment chosen to imitate conditions on Mars, while analog missions at Aquarius, an undersea research station off the coast of Florida, help scientists learn about crew behavior and psychology in a confined habitat located in a hostile environment.

Some natural environments are commonly used for analog operations, such as volcanic terrains in the western U.S., human-made craters in Nevada, the natural meteor crater in Arizona and research stations in Antarctica. These locations mirror the geologic settings the crews are likely to encounter on future missions, and so training in these locations helps them execute the actual missions.

I participated in a simulated 28-day lunar surface mission at a facility called Hi-SEAS as part of a study on crew dynamics and psychology in extreme isolation. The facility is located on Mauna Loa, a volcano on the big island of Hawaii. This habitat has been used for a variety of studies, as the volcanic terrain is reminiscent of both the Moon and parts of Mars, and the isolated location simulates being in space.

A series of photos showing a dome-shaped habitat; a circular window; a circular doorway labeled 'airlock'; a room full of cabinets and appliances labeled 'laboratory'; a stairwell and elliptical; and a room with a small bed labeled 'cabins'
The HI-SEAS Habitat, which recreates the conditions of living and working on the Moon, is located in Mauna Loa, Hawaii.
Jordan Bretzfelder

Analog mission crews

Most missions require applicants to hold relevant degrees. They must undergo physical health and psychiatric evaluations, with the goal being to select individuals with similar backgrounds to those in the astronaut corps. The ideal crew is typically made up of participants who work and live well with others, and can stay cool under stress.

Crews also include at least one person with medical training for emergencies, as well as a variety of scientists and engineers to operate the habitat’s life support systems.

Two photos of a group of people wearing flight suits walking in a volcanic terrain and standing in front of a geodesic dome.
Special suits were required whenever researchers left the habitat. They consisted of flight suits, protective pads, thick motorcycle gloves and a modified helmet with an air pump unit attached, housed in a backpack. Ensuring the suits and air systems were functioning before and during these short expeditions was critical.
Jordan Bretzfelder

The experiences of each crew varies, depending on the mission design, location and makeup of the crew. My mission was designed so that the six crew members would not have any information about our crewmates until we arrived in Hawaii for training. In addition to geology expertise, I also have some medical training as a Wilderness First Responder, so I was there to assist with any medical issues.

Daily life on an analog mission

Once in Hawaii, the crew spent three days learning how to operate the habitat systems, including the hydroponic garden and solar panels. We practiced emergency procedures and were taught how to perform other tasks.

After that orientation, we were deployed to the habitat for 28 days. We turned in our phones to mission control and could only access the internet to check emails or use a few preapproved websites required for our daily duties. Our days were scheduled with tasks from wake up, about 6:30 a.m., to lights out, about 10 p.m.

A mission patch showing three people wearing masks and flight suits and walking toward a dome-shaped habitat, with a ring around it saying 'Medulla IV' with the names of the participants.
The mission patch from the lunar analog mission.

The tasks included a variety of exercises to assess individual and group performance. They included individual assessments – similar to a daily IQ test – and group computer-based tasks, such as team 3D Tetris. The researchers remotely monitored our interactions during these activities, and the results were analyzed as the mission progressed. They used our fluctuating performance on these activities as a proxy for estimating stress levels, group cohesion and individual well-being.

Additionally, we went on two-to-three-hour extra-vehicular activities, or excursions outside the habitat, on alternating days. During these expeditions, we conducted geologic investigations on the volcano. On our “off days,” we spent two hours exercising in the habitat. We had to be fully suited in a mock spacesuit any time we went outside, and we had to be careful about the airlock procedures. We were never outdoors alone.

We could only eat freeze-dried and powdered foods, aside from what we were able to grow in the hydroponic system. We had no additional food delivered during our stay. Water was also rationed, meaning we had to find innovative ways to maintain personal hygiene. For example, a bucket shower one or two times per week was allowed, supplemented by “wilderness wipe” baths. As someone with a lot of very curly hair, I was happy to figure out a method for managing it using less than two liters of water per week. We were also permitted to do laundry once during our stay, as a group. Sorting through your crewmates’ wet clothes was certainly one way to bond.

Though physically demanding at times, the workload was not unreasonable. We were kept busy all day, as certain everyday tasks, such as cooking, required more effort than they might need in our normal lives. Preparing nutritionally balanced and palatable meals while rationing our very limited resources was hard, but it also provided opportunities to get creative with recipes and ingredients. We even managed to bake a cake for a crew member’s birthday, using peanut butter protein and cocoa powders to flavor it.

After dinner each night, we shared the pre-saved movies and shows we had each brought with us into the habitat, as we could not access the internet. Those of us who had brought physical copies of books into the habitat would trade those as well. One crew member managed to acquire a downloadable form of the daily Wordle, so we could still compete with our friends back home. We also played board games, and all of these activities helped us get to know each other.

Though different from our typical daily lives, the experience was one of a kind. We had the satisfaction of knowing that our efforts advanced space exploration in its own small way, one IQ test and slapdash cake at a time.

The Conversation

Jordan Bretzfelder does not work for, consult, own shares in or receive funding from any company or organization that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.

ref. Space exploration in the backyard, on a budget – how NASA simulates conditions in space without blasting off – https://theconversation.com/space-exploration-in-the-backyard-on-a-budget-how-nasa-simulates-conditions-in-space-without-blasting-off-264658

How AI can improve storm surge forecasts to help save lives

Source: The Conversation – USA (2) – By Navid Tahvildari, Associate Professor of Civil and Environmental Engineering, Florida International University

A hurricane’s storm surge can quickly inundate coastal areas. Chip Somodevilla/Getty Images

Hurricanes are America’s most destructive natural hazards, causing more deaths and property damage than any other type of disaster. Since 1980, these powerful tropical storms have done more than US$1.5 trillion in damage and killed more than 7,000 people.

The No. 1 cause of the damages and deaths from hurricanes is storm surge.

Storm surge is the rise in the ocean’s water level, caused by a combination of powerful winds pushing water toward the coastline and reduced air pressure within the hurricane compared to the pressure outside of it. In addition to these factors, waves breaking close to the coast causes sea level to increase near the coastline, a phenomenon we call wave setup, which can be an important component of storm surge.

Accurate storm surge predictions are critical for giving coastal residents time to evacuate and giving emergency responders time to prepare. But storm surge forecasts at high resolution can be slow.

A coastal area with severe damage to homes and others buildings.
An aerial photo of Fort Myers Beach, Fla., in the aftermath of Hurricane Ian in September 2022 shows the damage storm surge can do.
Ricardo Arduengo/AFP via Getty Images

As a coastal engineer, I study how storm surge and waves interact with natural and human-made features on the ocean floor and coast and ways to mitigate their impact. I have used physics-based models for coastal flooding and have recently been exploring ways that artificial intelligence can improve the speed of storm surge forecasting.

How storm surge is forecast today

Today, operational storm surge forecasts rely on hydrodynamic models, which are based on the physics of water flow.

These models use current environmental conditions – such as how fast the storm is moving toward shore, its wind speed and direction, the timing of the tide, and the shape of the seafloor and the landscape – to compute the projected surge height and determine which locations are most at risk.

Hydrodynamic models have substantially improved in recent decades, and computers have become significantly more powerful, such that rapid low-resolution simulations are possible over very large areas. However, high-resolution simulation that provide neighborhood-level detail can take several hours to run.

Those hours can be critical for communities at risk to evacuate safely and for emergency responders to prepare adequately.

A map of Florida shows areas at greatest risk of storm surge.
The National Hurricane Center’s storm surge forecast for Hurricane Ian two days before it made landfall near Fort Myers, Fla., on Sept. 28, 2022.
NOAA

To forecast storm surge across a wide area, modelers break up the target area into many small pieces that together form a computational grid or mesh. Picture pixels in an image. The smaller the grid pieces, or cells, the higher the resolution and the more accurate the forecast. However, creating many small cells across a large area requires greater computing power, so forecasting storm surge takes longer as a result.

Forecasters can use low-resolution computer grids to speed up the process, but that reduces accuracy, leaving communities with more uncertainty about their flood risk.

AI can help speed that up.

How AI can create better forecasts

There are two main sources of uncertainty in storm surge predictions.

One involves the data fed into the computer model. A hurricane’s storm track and wind field, which determine where it will make landfall and how intense the surge will be, are still hard to forecast accurately more than a few days in advance. Changes to the coast and sea floor, such as from channel dredging or loss of salt marshes, mangroves or sand dunes, can affect the resistance that storm surge will face.

The second uncertainty involves the resolution of the computational grid, over which the mathematical equations of the surge and wave motion are solved. The resolution determines how well the model sees changes in landscape elevation and land cover and accounts for them, and at how much granularity the physics of hurricane surge and waves is solved.

Detailed storm surge models can provide more specific information about expected flood height. These two modeled examples show the difference in expected flooding from a fast-moving storm, above, and a slow-moving storm, below.
NOAA
Slower-moving storms tend to have higher and broader storm surge inland, including into bays and estuaries.
NOAA

AI models can produce detailed predictions faster. For example, engineers and scientists have developed AI models based on deep neural networks that can predict water levels along the coastline quickly and accurately by using data about the wind field. In some cases, these models have been more accurate than traditional hydrodynamic models.

AI can also develop forecasts for areas with little historic data, or be used to understand extreme conditions that may not have occurred there before.

For these forecasts, physics-based models can be used to generate synthetic data to train the AI on scenarios that might be possible but haven’t actually happened. Once an AI model is trained on both the historic and synthetic data, it can quickly generate surge forecasts using details about the wind and atmospheric pressure.

Training the AI on data from hydrodynamic models can also improve its ability to quickly generate inundation risk maps showing which streets or houses are likely to flood in extreme events that may not have a historical precedent but could happen in the future.

The future of AI for hurricane forecasting

AI is already being used in operational storm surge forecasts in a limited way, mainly to augment the commonly used physics-based models.

In addition to improving those methods, my team and other researchers have been developing ways to use AI for storm surge prediction using observed data, assessing the damage after hurricanes and processing camera images to deduce flood intensity. That can fill a critical gap in the data needed for validating storm surge models at granular levels.

As artificial intelligence models rapidly spread through every aspect of our lives and more data becomes available for training them, the technology offers potential to improve hurricane and storm surge forecasting in the future, giving coastal communities faster and more detailed warnings about the risks on the way.

The Conversation

Navid Tahvildari’s research on coastal flooding has been funded by NSF, NOAA, NASA, and DOT.

ref. How AI can improve storm surge forecasts to help save lives – https://theconversation.com/how-ai-can-improve-storm-surge-forecasts-to-help-save-lives-259007

Why is Halloween starting so much earlier each year? A business professor explains

Source: The Conversation – USA (2) – By Jay L. Zagorsky, Associate Professor Questrom School of Business, Boston University

Halloween is a fun, scary time for children and adults alike – but why does the holiday seem to start so much earlier every year? Decades ago, when I was young, Halloween was a much smaller affair, and people didn’t start preparing until mid-October. Today, in my neighborhood near where I grew up in Massachusetts, Halloween decorations start appearing in the middle of summer.

What’s changed isn’t just when we celebrate but how: Halloween has evolved from a simple folk tradition to a massive commercial event. As a business school professor who has studied the economics of holidays for years, I’m astounded by how the business of Halloween has grown. And understanding why it’s such big business may help explain why it’s creeping earlier and earlier.

The business of Halloween

Halloween’s roots lie in a Celtic holiday honoring the dead, later adapted by the Catholic Church as a time to remember saints. Today it’s largely a secular celebration – one that gives people from all backgrounds a chance to dress up, engage in fantasy and safely confront their fears.

That broad appeal has fueled explosive growth. The National Retail Federation has surveyed Americans about their Halloween plans each September since 2005. Back then, slightly more than half of Americans said they planned to celebrate. In 2025, nearly three-quarters said they would – a huge jump in 20 years.

And people are planning to shell out more money than ever. Total spending on Halloween is expected to reach a record US$13 billion this year, according to the federation – an almost fourfold increase over the past two decades. Adjusting for inflation and population growth, I found that the average American will spend an expected $38 on Halloween this year – up from just $18 per person back in 2005. That’s a lot of candy corn.

Candy imports show a similar trend. September has long been the key month for the candy trade, with imports about one-fifth higher than during the rest of the year. Back in September 2005, the U.S. imported about $250 million of the sweet stuff. In September 2024, that figure had tripled to about $750 million.

This is part of a larger trend of Halloween becoming a lot more professionalized. For example, when I was a kid, it wasn’t unusual for households to pass out brownies, candied apples and other homemade treats to trick-or-treaters. But because of safety concerns and food allergies, for decades Americans have been warned to stick to mass-produced, individually wrapped candies.

The same shift has happened with costumes. Years ago, many people made their own; today, store-bought costumes dominate — even for pets.

Why Halloween keeps creeping earlier

While there’s no definitive research establishing why Halloween seems to start earlier each year, the increase in spending is one major driver.

Halloween items are seasonal, which means no one wants to buy giant plastic skeletons on Nov. 1. As total spending grows, retailers order more inventory, and the cost of storing ever-larger amounts of unsold items until the next year becomes a bigger consideration.

Once a season’s commercial footprint becomes large enough, retailers begin ordering and displaying merchandise long before it’s actually needed. For example, winter coats start appearing in stores in early fall and are typically gone when the snow starts falling. It’s the same with Halloween: Retailers put out merchandise early to ensure they’re not stuck with unsold goods once the season is over.

They also often price strategically – charging full price when items first hit the shelves, appealing to eager early shoppers, and then marking down prices closer to the holiday. This clears shelves and warehouses, making room for the next upcoming shopping season.

Over the past two decades, Halloween has become an ever-bigger commercial holiday. The growth in people enjoying the holiday and the increase in spending has resulted in Halloween becoming one giant treat for businesses. The big trick for retailers is preventing this holiday from starting before the Fourth of July.

The Conversation

Jay L. Zagorsky does not work for, consult, own shares in or receive funding from any company or organization that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.

ref. Why is Halloween starting so much earlier each year? A business professor explains – https://theconversation.com/why-is-halloween-starting-so-much-earlier-each-year-a-business-professor-explains-267716

Why are women’s shoes so pointy? A fashion expert on impractical but stylish footwear

Source: The Conversation – USA (2) – By Michael Watson, Interim Associate Chair and Instructor of Retailing, University of South Carolina

One thing uniting humans across history is their willingness to suffer for fashion. Victoria Kotlyarchuk/iStock via Getty Images Plus

Curious Kids is a series for children of all ages. If you have a question you’d like an expert to answer, send it to CuriousKidsUS@theconversation.com.


“Why are ladies’ shoes so pointy? Feet and toes aren’t pointy, most of men’s shoes aren’t pointy, and they hurt my feet.” – Bunny, age 13, Mizpah, New Jersey


While people’s actual feet are rounded on the end, women’s dress shoes often come to a sharp point at the toe. Many people also feel these pointy shoes are uncomfortable to wear. So why do shoe designers keep making them this way?

With over two decades in the fashion industry, I’ve researched and taught on the influences behind fashion design and how it’s used, even when certain traditions and styles seem impractical.

Revisiting the interesting history behind women’s pointy shoes can help us understand the various reasons why they’re still popular.

Pointy poulaines for men

Several current fashion trends for women, including pointy shoes, were in fact initially adopted by men.

In medieval Europe, around the 14th and 15th centuries, pointy leather shoes were popular among wealthy men. Called poulaines – or cracows, after the Polish city Kraków, where historians think they originated – these shoes could run as long as 12 inches in length. To keep the stiff, pointy shape, the wearer would stuff the ends of the shoes with moss or wool.

Black shoes with long, pointed tips
The pointy tip is the point for poulaines.
Deutsches Schuhmuseum Hauenstein, CC BY-SA

Like most items of fashion, shoes signal the wearer’s status to their peers. Poulaines were heavily decorated and expensive to make, and their elongated design made it difficult to move around. Thus, wearing poulaines communicated to others that the wearer was wealthy, having no need to perform physical work that required mobility.

Pointy shoes as status symbol

These shoes became so popular that in 1463 King Edward IV of England passed laws limiting toe length to 2 inches for anyone below a lord in social ranking. This decree had social, political and religious effects.

Socially, restricting the longest-toed shoes to the nobility ensured the shoe would be a visual status marker associated with the upper classes. This obvious sign helped maintain social order and prevented lower-class people from trying to pass themselves off as higher in standing than they were.

Politically, the king used this same legislation to control the textile trade and protect English industries. By regulating the fabrics and accessories necessary to make excessively ornate shoes, Edward IV could limit foreign competition with English textile manufacturers and at the same time manage fashion trends.

Painting depicting various aristocrats wearing pointy shoes at a banquet
Only nobility got to enjoy the longest pointy shoes England could offer.
Loyset Liédet (circa 1470)/Bibliothèque de l’Arsenal

From a religious perspective, King Edward IV passed these laws on the grounds that God was displeased by anything other than modest clothing – for the lower classes, anyway. Additionally, religious leaders believed that the long toes prevented people from kneeling in a respectful, submissive manner and so restricted the ability to properly pray.

The pressure to literally “fit in” to these pointy shoes also came with a physical cost. Poulaines hurt the wearer’s feet and could make their toe bones crooked. Bunions – a bony bump that develops on the inside of the foot at the big toe – became more common with the popularity of these shoes.

Pain with a purpose

Various cultures have adopted pointy shoes throughout history, often to signify status, wealth or a connection to a specific subculture. A few examples include the juttis or khussas of Northern India and Pakistan, respectively; the lotus shoes once popular in China; and the pointed flat slippers worn during the Etruscan civilization.

From a practical standpoint, however, pointy-toed shoes can lead to foot deformities and health problems. Why do people still wear pointy shoes if they’re so painful?

Shoes with a very close taper at the toes and high arches
Fitting into lotus shoes required intentionally breaking one’s feet.
Daniel Schwen/The Children’s Museum of Indianapolis via Wikimedia Commons, CC BY-SA

One reason is a desire to belong. Your brain is programmed to seek out and find people who think and believe like you. Like how early humans needed to stay with their tribe to survive, your brain thinks that being part of a group can help keep you safe.

Because high-heeled, pointed shoes are commonly worn by women, wearing them gives the wearer feelings of acceptance from other women. While there is nothing inherent about pointy shoes that make them feminine or attractive – considering that they were often originally designed for men – fashion often relies on trends that people unconsciously agree on. What is stylish is often influenced by accepted social norms.

Your brain also has clever shortcuts to help you make decisions quickly. One shortcut is to look at what other people are doing. If you see lots of people wearing a certain style or playing a particular game, your brain thinks, well, if everyone is doing this, it must be a good choice. This process helps you make decisions without having to think too hard about every little detail.

Scientists call the powerful, mental influence fashion has on both the person wearing it and the people seeing their outfit enclothed cognition. The shoes you wear may alter how you perceive yourself and others, as well as carry symbolic meaning. So designers might use elongated shoes to create the illusion of a long, slender silhouette to create a look that is not only seen but also personally felt as elegant and powerful.

With new technology and an increased consumer desire for comfort, the good news is that next time you get dressed and want to wear pointy, fashionable shoes, they may be at least a little less painful than they were in the past.


Hello, curious kids! Do you have a question you’d like an expert to answer? Ask an adult to send your question to CuriousKidsUS@theconversation.com. Please tell us your name, age and the city where you live.

And since curiosity has no age limit – adults, let us know what you’re wondering, too. We won’t be able to answer every question, but we will do our best.

The Conversation

Michael Watson does not work for, consult, own shares in or receive funding from any company or organization that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.

ref. Why are women’s shoes so pointy? A fashion expert on impractical but stylish footwear – https://theconversation.com/why-are-womens-shoes-so-pointy-a-fashion-expert-on-impractical-but-stylish-footwear-256174

Pharaohs in Dixieland – how 19th-century America reimagined Egypt to justify racism and slavery

Source: The Conversation – USA (2) – By Charles Vanthournout, Ph.D. Student in Ancient History, Université de Lorraine

In the American South, ancient Egypt and its pharaohs became a way to justify slavery. Stefano Bianchetti/Corbis via Getty Images

When Napoleon embarked upon a military expedition into Egypt in 1798, he brought with him a team of scholars, scientists and artists. Together, they produced the monumental “Description de l’Égypte,” a massive, multivolume work about Egyptian geography, history and culture.

Colorful drawing of Egyptian ruins.
The frontispiece of the second edition of ‘Description de l’Égypte.’
Wikimedia Commons

At the time, the United States was a young nation with big aspirations, and Americans often viewed their country as an heir to the great civilizations of the past. The tales of ancient Egypt that emerged from Napoleon’s travels became a source of fascination to Americans, though in different ways.

In the slaveholding South, ancient Egypt and its pharaohs became a way to justify slavery. For abolitionists and African Americans, biblical Egypt served as a symbol of bondage and liberation.

As a historian, I study how 19th-century Americans – from Southern intellectuals to Black abolitionists – used ancient Egypt to debate questions of race, civilization and national identity. My research traces how a distorted image of ancient Egypt shaped competing visions of freedom and hierarchy in a deeply divided nation.

Egypt inspires the pro-slavery South

In 1819, when lawyer John Overton, military officer James Winchester and future president Andrew Jackson founded a city in Tennessee along the Mississippi River, they christened it Memphis, after the ancient Egyptian capital.

While promoting the new city, Overton declared of the Mississippi River that ran alongside it: “This noble river may, with propriety, be denominated the American Nile.”

“Who can tell that she may not, in time, rival … her ancient namesake, of Egypt in classic elegance and art?” The Arkansas Banner excitedly reported.

In the region’s fertile soil, Chancellor William Harper, a jurist and pro-slavery theorist from South Carolina, saw the promise of an agricultural empire built on slavery, one “capable of being made a far greater Egypt.”

There was a reason pro-slavery businessmen and thinkers were energized by the prospect of an American Egypt: Many Southern planters imagined themselves as guardians of a hierarchical and aristocratic system, one grounded in landownership, tradition and honor. As Alabama newspaper editor William Falconer put it, he and his fellow white Southerners belonged to a “race that had established law, order, and government on earth.”

To them, Egypt represented the archetype of a great hierarchical civilization. Older than Athens or Rome, Egypt conferred a special legitimacy. And just like the pharaohs, the white elites of the South saw themselves as the stewards of a prosperous society sustained by enslaved labor.

Colorful drawing of people loading bales of cotton onto steamboats.
The founders of Memphis named it after the ancient Egyptian capital, and they hoped the Mississippi River that ran alongside it would become an ‘American Nile.’
The Print Collector/Getty Images

Leading pro-slavery thinkers like Virginia social theorist George Fitzhugh, South Carolina lawyer and U.S. Senator Robert Barnwell Rhett and Georgia lawyer and politician Thomas R.R. Cobb all invoked Egypt as an example to follow.

“These [Egyptian] monuments show negro slaves in Egypt at least 1,600 years before Christ,” Cobb wrote in 1858. “That they were the same happy negroes of this day is proven by their being represented in a dance 1,300 years before Christ.”

A distorted view of history

But their view of history didn’t exactly square with reality. Slavery did exist in ancient Egypt, but most slaves had been originally captured as prisoners of war.

The country never developed a system of slavery comparable to that of Greece or Rome, and servitude was neither race-based nor tied to a plantation economy. The mistaken notion that Egypt’s great monuments were built by slaves largely stems from ancient authors and the biblical account of the Hebrews. Later, popular culture – especially Hollywood epics – would continue to advance this misconception.

Nonetheless, 19th-century Southern intellectuals drew on this imagined Egypt to legitimize slavery as an ancient and divinely sanctioned institution.

Even after the Civil War, which ended in 1865, nostalgia for these myths of ancient Egypt endured. In 1877, former Confederate officer Edward Fontaine noted how “Veritable specimens of black, woolyheaded negroes are represented by the old Egyptian artists in chains, as slaves, and even singing and dancing, as we have seen them on Southern plantations in the present century.”

Turning Egypt white

But to claim their place among the world’s great civilizations, Southerners had to reconcile a troubling fact: Egypt was located in Africa, the ancestral land of those enslaved in the U.S.

A colorful drawing of a young queen with a gilded headdress being embraced from behind by a man wearing a gilded helmet.
A collectible tobacco card depicts actors Claudette Colbert and Henry Wilcoxon in a still from the 1934 film ‘Cleopatra.’
Nextrecord Archives/Getty Images

In response, an intellectual movement called the American School of Ethnology – which promoted the idea that races had separate, unequal origins to justify Black inferiority and slavery – set out to “whiten” Egypt.

In a series of texts and lectures, they portrayed Egypt as a slaveholding civilization dominated by whites. They pointed to Egyptian monuments as proof of the greatness that a slave society could achieve. And they also promoted a scientifically discredited theory called “polygenesis,” which argued that Black people did not descend from the Bible’s Adam, but from some other source.

Richard Colfax, the author of the 1833 pamphlet “Evidence Against the Views of the Abolitionists,” insisted that “the Egyptians were decidedly of the Caucasian variety of men.” Most mummies, he added, “bear not the most distant resemblance to the negro race.”

Physician Samuel George Morton cited “Crania Aegyptiaca,” an 1822 German study of Egyptian skulls, to reinforce this view. Writing in the Charleston Medical Journal in 1851, he explained how the German study had concluded that the skulls mirrored those of Europeans in size and shape. In doing so, it established “the negro his true position as an inferior race.”

A cover page for a pamphlet reading 'Negroes and Negro Slavery: The first an inferior race, the latter its normal condition.'
Pro-slavery activists like John H. Van Evrie took great pains to ‘prove’ the inherent inferiority of Black people.
Harvard Countway Library Center for the History of Medicine

Physician Josiah C. Nott, Egyptologist George Gliddon and physician and propagandist John H. Van Evrie formed an effective triumvirate: Through press releases and public lectures featuring the skulls of mummies, they turned Egyptology into a tool of pro-slavery propaganda.

“The Negro question was the one I wished to bring out,” Nott wrote, adding that he “embalmed it in Egyptian ethnography.”

Nott and Gliddon’s 1854 bestseller “Types of Mankind” fused pseudoscience with Egyptology to both “prove” Black inferiority and advance the idea that their beloved African civilization was populated by a white Egyptian elite.

“Negroes were numerous in Egypt,” they write, “but their social position in ancient times was the same that it now is, that of servants and slaves.”

Denouncing America’s pharaohs

This distorted vision of Egypt, however, wasn’t the only one to take hold in the U.S., and abolitionists saw this history through a decidedly different lens.

In the Bible, Egypt occupies a central place, mentioned repeatedly as a land of refuge – notably for Joseph – but also as a nation of idolatry and as the cradle of slavery.

The episode of the Exodus is perhaps the most famous reference. The Hebrews, enslaved under an oppressive pharaoh, are freed by Moses, who leads them to the Promised Land, Canaan. This biblical image of Egypt as a land of bondage deeply shaped 19th-century moral and political debates: For many abolitionists, it represented the ultimate symbol of tyranny and human oppression.

When the Emancipation Proclamation went into effect on Jan. 1, 1863, Black people could be heard singing in front of the White House, “Go down Moses, way down in Egypt Land … Tell Jeff Davis to let my people go.”

Black Americans seized upon this biblical parallel. Confederate President Jefferson Davis was a contemporary pharaoh, with Moses still the prophet of liberation.

A late 19th-century map of the United States, with Northern states labeled 'God's Blessing Liberty' and Southern states labeled 'God's Curse Slavery.'
A map titled ‘Historical Geography,’ created by John F. Smith, shows how religion and the Bible were wielded by abolitionists.
Library of Congress

African American writers and activists like Phillis Wheatley and Sojourner Truth also invoked Egypt as a tool of emancipation.

“God has implanted in every human heart a principle which we call the love of liberty,” Wheatley wrote in a 1774 letter. “It is impatient with oppression and longs for deliverance; and with the permission of our modern Egyptians, I will assert that this same principle lives in us.”

Yet the South’s infatuation with Egypt shows how antiquity can always be recast to serve the powerful. And it’s a reminder that the past is far from neutral terrain – that there is rarely, if ever, a ceasefire in wars over history and memory.

The Conversation

Charles Vanthournout does not work for, consult, own shares in or receive funding from any company or organization that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.

ref. Pharaohs in Dixieland – how 19th-century America reimagined Egypt to justify racism and slavery – https://theconversation.com/pharaohs-in-dixieland-how-19th-century-america-reimagined-egypt-to-justify-racism-and-slavery-266665

How mobsters’ own words brought down Philly’s mafia − a veteran crime reporter has the story behind the end of the ‘Mob War’

Source: The Conversation – USA (2) – By George Anastasia, Adjunct Professor of Law and Justice Studies, Rowan University

Former mob boss John Stanfa, pictured here in 1980, waged a bloody war for control of the Philadelphia mafia in the late 1990s.
Bettmann via Getty Images

The bloody mob war that is the focus of the new Netflix series “Mob War: Philadelphia vs. The Mafia,” which premieres Oct. 22, 2025, is full of the murder and mayhem, treachery and deceit that have been the hallmarks of the nation’s Cosa Nostra family conflicts.

What was different in Philadelphia was that the FBI had it all wired for sound.

Electronic surveillance has been a major tool in the government’s highly successful war against the Mafia nationwide, but nowhere has its impact been felt more dramatically than in Philadelphia.

As a reporter for The Philadelphia Inquirer, I covered this mob war in real time from 1994 through 2000. Now I teach a course at Rowan University on the history of organized crime, using the war as a case study, and I was a consultant on the Netflix series.

The war pitted one faction of the Philadelphia mob, headed by Sicilian-born John Stanfa, against a rival faction led by Joseph “Skinny Joey” Merlino. The issues were control of all illegal operations in the underworld – gambling, loan-sharking, drug-dealing and extortion. Money was the bottom line, but there also was a cultural and generational divide that had Stanfa and, for the most part, his group of older wiseguys facing off against Merlino and his crew of young South Philadelphia-born mobsters.

But only after indictments were handed down and evidence was introduced at trials did the extent of the electronic surveillance operation become known.

A trailer for ‘Mob War: Philadelphia vs. The Mafia’

‘Goodfellas kill goodfellas’

Mobsters, speaking in unguarded moments and unaware that the feds were listening, buried themselves.

So here was mob boss Stanfa discussing with an associate plans to lure Merlino and two of his two lieutenants to a meeting where they would be killed:

“See, you no gotta give a chance,” the Sicilian-born Stanfa said in his halting English. “Bam, bam … Over here is best, behind the ear.”

Or here was Salvatore Profaci, a New York mobster brought in to quietly settle a dispute that had gone public after mob lawyer Salvatore Avena filed a multimillion-dollar lawsuit against his mobbed-up business partner in a trash-hauling business.

“Goodfellas don’t sue goodfellas,” Profaci said in a line that couldn’t have been written any better by “The Godfather” author Mario Puzo or delivered more effectively by the award-winning actor Robert De Niro. “Goodfellas kill goodfellas.”

The most staggering piece of the investigation, which was made known only after Stanfa and more than 20 of his associates had been indicted and arrested, was that the FBI had received court authorization to plant listening devices in the Camden, New Jersey, law offices of Salvatore Avena, Stanfa’s defense attorney.

A judge approved the highly unusual authorization after the feds argued that Stanfa was using the shield of attorney-client privilege to conduct mob meetings in Avena’s office while a mob war raged on the streets of South Philadelphia.

More than 2,000 conversations were recorded during the two-year electronic surveillance operation, with FBI agents and an assistant U.S. attorney manning a listening post in the basement of the federal courthouse a block away from Avena’s office. Whenever Stanfa and his associates got together, the feds were listening. Many of those conversations were then introduced as evidence at the racketeering trials that followed.

The conversations proved to be a treasure trove not only for investigators but also for journalists who covered the story as it unfolded and later got access to the tapes that were made public when the cases went to trial.

Blood in the streets

Two of the books I’ve written about the Philadelphia mob, “The Last Gangster” in 2004 and “The Goodfella Tapes” in 1998, are built around those tapes and the investigations they spawned.

Anyone who has written true crime knows that part of the problem with nonfiction storytelling is coming up with dialogue. In writing books about the Philadelphia mob wars that are the focus of the new Netflix series, that was never a problem.

Mobsters from Philadelphia, South Jersey, New York and the Scanton-Wilkes Barre area of Pennsylvania ended up on the recordings, which offered not only details about the war but also included philosophical ramblings and personal asides that provided a glimpse into the world of organized crime as good as or better than any fictionalized story line from “The Godfather” or “The Sopranos.”

Throughout the conflict, as bodies piled up and blood ran in the streets of the City of Brotherly Love, Stanfa and several of his associates were picked up plotting murder and mayhem, bemoaning the loss of honor and loyalty that had once been the hallmark of Cosa Nostra, and belittling their street-corner rivals, the “little Americans” who hadn’t a clue about what it meant to be a real mafioso.

“When you’re a dwarf they could put you on a high mountain, you’re still a dwarf,” Avena told Stanfa in one of several conversations mocking Merlino and his associates.

“I was born and raised in this thing (Cosa Nostra) and I’m gonna die in this thing,” said Stanfa at another point, bemoaning the state of the Philadelphia mob. “But with the right people. Over here is like kindergarten.”

Man wearing sunglasses stands in front of people holding video camera and microphones
Former Philadelphia mob boss ‘Skinny’ Joey Merlino, pictured here in 1997.
AP Photo/H. Rumph Jr.

‘You can’t cross-examine a tape’

Electronic surveillance was used again and again in racketeering trials in which the feds not only dismantled but judicially eviscerated the Philadelphia crime family.

Stanfa is currently serving life in prison. Several of his top associates were jailed for more than 20 years. In a second prosecution, Merlino and most of his top associates were convicted of racketeering and jailed for sentences ranging from seven to 14 years.

Dozens of conversations were played for the juries that sat in judgment during the racketeering trials that followed. Again and again the mobster’s own words were turned against them.

Another highlight was an FBI surveillance video of a mob hit picked up on a hidden camera as it occurred. A surveillance camera located across the street from a deli run by then-Stanfa underboss Joseph Ciancaglini Jr. picked up the early morning shooting in which four shadowy figures burst into the deli and opened fire. An audio bug hidden inside the deli provided the sound effects – gunshots, shouting and the screams of a waitress. The shooting occurred shortly after 6 a.m. and just moments after Ciancaglini and his waitress had arrived and begun setting up for business.

Cooperating witnesses were also part of the trial, but defense attorneys frequently undermined their testimony by providing a litany of the crimes – often including murders – that the witnesses had admitted to as part of their plea deals.

You can attack the credibility of a cooperating witness by focusing on his own crimes and his need to say whatever the government wants in order to win a lenient sentence, a defense attorney once explained to me. What you can’t do, he said, “is cross-examine a tape.”

Jurors got to hear mobsters in their own words discussing the mob war. And there was nothing the defense could do to counterattack the impact of those words.

One classic discussion underscored the mobsters’ concern about electronic surveillance and demonstrated their inability to do much about it.

Stanfa consigliere Anthony Piccolo was talking with Avena about the problem with cooperators and phone taps. Both men agreed it was important to be cautious. Avena then told Piccolo that he’d had an electronic anti-bugging expert come into his office over the weekend and had swept the rooms. It had cost him $500, Avena said.

“It’s money well spent,” said Piccolo as the undetected FBI listening device beamed the conversation back to the listening post.

Read more of our stories about Philadelphia and Pennsylvania, or sign up for our Philadelphia newsletter on Substack.

The Conversation

George Anastasia is the owner of G&A Media LLC, the company through which he served as consultant for the series and through which he was paid, .

ref. How mobsters’ own words brought down Philly’s mafia − a veteran crime reporter has the story behind the end of the ‘Mob War’ – https://theconversation.com/how-mobsters-own-words-brought-down-phillys-mafia-a-veteran-crime-reporter-has-the-story-behind-the-end-of-the-mob-war-267196

How a more flexible energy grid can cope better with swings in Britain’s weather

Source: The Conversation – UK – By Matthew Wright, PhD Candidate, Department of Atmospheric Physics, University of Oxford

gazadavies93/Shutterstock

For most Brits, January 8 2025 was an uneventful Wednesday, albeit slightly cold. But these low temperatures, coupled with a significant drop in wind speed, contributed to a spike in the real-time electricity price to over seven times the 2024-25 winter average.

The National Energy System Operator (Neso), the organisation responsible for balancing electricity supply with demand minute-by-minute, highlighted “weather driven factors” as a major challenge on January 8. Neso’s costs to produce enough electricity to balance the system on this day reached £21 million – costs that increase consumer bills.

A new report, coordinated by the Royal Meteorological Society and supported by the energy team at AECOM, a global infrastructure consulting company, highlights how Britain’s electricity system is sensitive to seemingly benign weather conditions. This report highlights the importance of predicting and responding to these events – and provides evidence to inform how the future energy system could be designed to ensure it remains resilient to the weather.




Read more:
What Europe’s exceptionally low winds mean for the future energy grid


Every minute, Neso monitors weather conditions to make decisions about how best to balance supply and demand. If the forecast suggests a drop off in wind speed, then Neso can use a range of tools to make up for the resulting reduction in wind generation. This includes interconnectors (importing excess electricity from neighbouring countries), stored energy or gas generation.

Electricity demand also fluctuates depending on changes in weather. In winter, when the weather is dull and cold, people tend to use more heating and lighting (alongside increased kettle usage for more cups of tea). In summer, heatwaves can increase demand through fan and air conditioning usage.

man sits on chair reading book by radiator, keeping warm inside
Electricity demand goes up when people light and heat their homes more in cold weather.
Alena Ozerova/Shutterstock

The most difficult periods occur when there is an increase in demand at the same time as a decrease in wind generation. Weather that causes these cloudy and still conditions is referred to as dunkelflaute – German for “dark and still”.

Dunkelflaute conditions are also known as anticyclonic gloom. This has recently been affecting the UK’s weather. Researchers at the University of Reading have shown that dunkelflaute is usually associated with stationary high pressure over the UK. These systems get in the way and “block” wet and windy weather from hitting the British Isles.

Thanks to the accuracy of modern weather forecasting, there is usually plenty of warning about when these situations will occur. But there is a cost associated with requesting additional electricity generation at relatively short notice, as only a few power plants can switch on quickly, and they’re expensive to start and run. That puts the overall system price of electricity up.

These dunkelflaute episodes can be brief and intense like on January 8, when the price spiked so dramatically because forecasts gave limited warning. Or, they can be less severe but last for a longer period, for example in early November 2024, when there was an extended wind drought lasting several weeks. This leads to an extended period of high system prices for electricity.

Dunkelflaute conditions are not unique to the UK. They can stretch across multiple countries, as shown by researchers in Germany. More cables are being built to connect European energy systems and share power across borders. But if countries are experiencing wind droughts simultaneously, the ability of these connections to help balance supply and demand is reduced. Grids need to be resilient even if nations can’t import energy from their neighbours.

water being released from hydropower dam
Hydropower stations can store energy.
Yalcin Sonat/Shutterstock

Future-proofing the energy system

In the future, wind and solar capacity is set to increase and electricity demand will jump due to more heat pumps and electric vehicles. The report models what the consequences of January’s extreme drop in wind speed would be in such a future energy system – increasing the number of wind turbines and solar panels alone is not enough. Other strategies are required to keep the lights on in a low-carbon electricity system.

Importantly, getting more of our electricity from weather-dependent sources does not mean that plans for a low-carbon energy system are impossible. But other technologies will be needed to plug the gap between the renewable generation at any given moment, and the demand at that time.

One option is increasing the amount of energy storage, using excess electricity at times of high winds to store energy for future wind droughts. Energy storage comes in many forms including pumped hydropower (pumping water uphill and letting it fall to release energy later), batteries and potentially green hydrogen (generated from the electrolysis of water).




Read more:
Quantum computers can accelerate the transition to net zero power grids


Other options include interconnection with other countries’ networks and building other forms of low-carbon generation, like nuclear power stations. An interconnector to Denmark – Viking Link – came online at the end of 2023. This means Britain can import energy from Denmark when domestic wind generation is low, and export energy in the other direction when there is a surplus of renewable power, smoothing out electricity supply fluctuations in both countries.

Further new interconnectors, between the UK and the Netherlands, Belgium and Germany, are planned.

An alternative is to adjust demand to match the available supply. This is called “demand flexibility”. For example, consumers may be offered very cheap – even free – electricity during periods of excess renewable electricity generation, encouraging them to use more electricity when there is plenty of it.
Businesses may also be incentivised to reduce usage when supply is tight.

New technologies can help reduce energy use at peak times, making it easier to match supply levels. For example, smart car chargers communicate with the grid and operators to adjust charging times to when there is less demand. Demand flexibility is already being trialled, and is likely to become more common in the future.

Britain needs the right mix of these solutions to maintain a system that continues to provide electricity in the ever-changing British weather. Much of Britain’s electricity will come from wind when it blows. But storage, interconnectors and flexible electricity use – informed by research into the frequency and severity of dunkelflaute – are vital components.

With this mix in place, days like January 8 will become much easier to manage.


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The Conversation

Matthew Wright receives funding from the Natural Environment Research Council through the Oxford NERC DTP.

Ben Hutchins receives funding from Natural Environment Research Council (NERC) through the Scenario training programme.

James Mollard receives research funding through a Network Innovation Allowance Project with National Grid Electricity Transmission. He is affiliated with the Royal Meteorological Society.

ref. How a more flexible energy grid can cope better with swings in Britain’s weather – https://theconversation.com/how-a-more-flexible-energy-grid-can-cope-better-with-swings-in-britains-weather-267577

The Mona Lisa, a gold toilet and now the Louvre’s royal jewels: a fascinating history of art heists

Source: The Conversation – Global Perspectives – By Penelope Jackson, Adjunct Research Associate, School of Social Work and Arts, Charles Sturt University

The world’s largest art museum, the Louvre has approximately half a million objects in its collection, with about 30,000 on display, and sees on average 8 million visitors per year. That’s big on any scale, with a lot of people and objects to keep watch over. And Sundays are particularly busy.

In a cleverly conceived operation, four men wearing fluorescent vests pulled up at the Louvre in a flat-decked truck at 9.30 Sunday morning. Quickly setting to work, they raised an extendable ladder to the second storey. Climbing it, they cut through a window, entered the Galerie d’Apollon and, brandishing power tools, helped themselves to nine exquisite objects.

The objects taken were France’s royal jewels, formerly belonging to the Empress Eugénie, Napoleon III’s wife and arts patron.

This is where it gets tricky for the thieves: what can you do with these priceless objects? They can’t wear them – too big and glitzy to go unnoticed – and they can’t sell them legitimately, as images are all over the internet.

The jewels.
Jewels of Empress Eugénie photographed in 2020. The diadem, left, and diamond bow brooch, right, have been stolen. The crown, centre, was stolen but has been recovered.
Stephanie de Sakutin/AFP via Getty Images

The best-case scenario, from the thieves’ perspective, is to break them down, melt the precious metals and sell the gems separately.

Empress Eugenie’s crown, which the perpetrators took and subsequently dropped as they fled the scene on motor scooters, contains eight gold eagles, 1,354 brilliant-cut diamonds, 1,136 rose-cut diamonds and 56 emeralds. In short, this amounts to a sizeable stash of individual gems to try and sell.

Timing is everything

For the Louvre, any heist is a major blow. It calls into question their security, both electronic and human. Five security staff were nearby who acted to protect visitors and the alarms did ring, but the entire heist was completed within seven minutes.

Timing is crucial with heists.

A gold toilet.
America, a fully functioning toilet made of 18-karat solid gold, on display here at the Guggenheim in 2017.
MossAlbatross/Wikimedia Commons, CC BY-SA

In 2019, an 18-karat gold toilet titled America (2016), from the artist Maurizio Cattelan, was stolen from Blenheim Palace, England. It was taken in five and a half minutes. It weighed 98 kilograms and was fully functioning. In other words, the two men who took it (and were later caught and served prison sentences for their crimes) worked quickly and efficiently. At the time of the theft, as gold bullion it was estimated to be valued at A$6 million.

Van Gogh’s painting The Parsonage Garden at Neunen in Spring (1884) was stolen from the Singer Laren Museum, in the Netherlands, during their 2020 COVID closure. It was recovered in late 2023 after an investigation by Dutch art detective Arthur Brand.

The 2017 theft of two Gottfried Lindauer paintings from Auckland’s International Art Centre took just a few minutes to complete. The thieves ram-raided the front window of the auction house where the paintings, valued at NZ$1 million, were displayed. The portraits were recovered five years later through an intermediary, with only minor damage.

Recovering the stolen

The National Gallery of Victoria’s Picasso painting Weeping Woman (1937) was famously taken by the Australian Cultural Terrorists in 1986 – but only noticed as missing two days later.

Recovered just over two weeks later, the painting was left for the gallery staff to collect in a locker at Spencer Street railway station. The motivation behind the theft was to highlight the lack of financial support given to Victorian artists, but the true identity of the thieves remains a mystery.

In 1986, 26 paintings of religious subjects were stolen from the gallery at the Benedictine Monastery at New Norcia, Western Australia.

The thieves were poor planners: they hadn’t factored in that three men and the stash of paintings couldn’t fit into a Ford Falcon. The paintings were cut from their frames, ostensibly butchered. One was completely destroyed. The thieves were caught and charged.

Where to next for the thief?

Recovery of objects from heists is low. It’s impossible to put a number on but some say art recoveries globally are possibly as low as 10%.

Paintings are more difficult to sell on – you can’t change their physical appearance to the point of not being recognised.

However, with objects such as the gold toilet or jewels, the precious materials and gems can be repurposed. Time will tell if the Napoleonic jewels will be recovered.

Never say never. The Mona Lisa (1503), undoubtedly the main attraction at the Louvre, was stolen in 1911 and recovered two years later. The thief, Vincenzo Peruggia, was an Italian handyman working at the Louvre and was caught trying to sell it.

Men stand with the Mona Lisa.
The ceremony for the return to France of the Mona Lisa, Rome, 1913.
Mondadori via Getty Images

This latest heist at the Louvre highlights the vulnerability of objects in public collections. The irony being they’re often gifted to such institutions for safekeeping.

Those who guard objects are usually paid a minimum wage and yet they are tasked with a huge responsibility. When budget cuts are made, it’s often security staff that are reduced – such as the Art Gallery of New South Wales’ announcement just last week.

The thieves on Sunday knew what they were after and why. We aren’t privy to their motivation. We know the stolen jewels are part of France’s history and are irreplaceable. Their theft denies visitors of experiencing them individually for their beauty and craftsmanship, as well as collectively within the context of France’s history.

But part of me can’t help thinking how the French were partial to helping themselves to artworks and precious objects belonging to others. So perhaps this could be a case of déjà vu.


Penelope Jackson’s Unseen: Art and Crime in Australia (Monash University Publishing) will be published in December 2025.

The Conversation

Penelope Jackson does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.

ref. The Mona Lisa, a gold toilet and now the Louvre’s royal jewels: a fascinating history of art heists – https://theconversation.com/the-mona-lisa-a-gold-toilet-and-now-the-louvres-royal-jewels-a-fascinating-history-of-art-heists-267849