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Wholly revised in 2005 from an earlier statement adopted May 1987; amended May 1990, May 1995, June 1996, January and May 1999, May 2000, June 2001, January 2003, January 2011, January 2017, January and June 2018, January 2019, June 2019, and January 2023.
This Statement on Standards of Professional Conduct addresses dilemmas and concerns about the practice of history that historians have regularly brought to the American Historical Association seeking guidance and counsel. Some of the most important sections of this Statement address questions about employment that vary according to the different institutional settings in which historians perform their work. Others address forms of professional misconduct that are especially troubling to historians. And some seek to identify a core set of shared values that professional historians strive to honor in the course of their work.
1. The Profession of History
History is the never-ending process whereby people seek to understand the past and its many meanings. The institutional and intellectual forms of history's dialogue with the past have changed enormously over time, but the dialogue itself has been part of the human experience for millennia. We all interpret and narrate the past, which is to say that we all participate in making history. It is among our most fundamental tools for understanding ourselves and the world around us.
Professional historians benefit enormously from this shared human fascination for the past. Few fields are more accessible or engaging to members of the public. Individuals from all backgrounds have a stake in how the past is interpreted, for it cuts to the very heart of their identities and world views. This is why history can evoke such passion and controversy in the public realm. All manner of people can and do produce good history. Professional historians are wise to remember that they will never have a monopoly on their own discipline, and that this is much more a strength than a weakness. The openness of the discipline is among its most attractive features, perennially renewing it and making it relevant to new constituencies.
What, then, distinguishes a professional historian from everyone else? Membership in this profession is defined by self-conscious identification with a community of historians who are collectively engaged in investigating and interpreting the past as a matter of disciplined learned practice. Historians work in an extraordinary range of settings: in museums and libraries and government agencies, in schools and academic institutions, in corporations and non-profit organizations. Some earn their living primarily from employment related to the past; some practice history while supporting themselves in other ways. Whatever the venue in which they work, though, professional historians share certain core values that guide their activities and inform their judgments as they seek to enrich our collective understanding of the past. These shared values for conducting and assessing research, developing and evaluating interpretations, communicating new knowledge, navigating ethical dilemmas, and, not least, telling stories about the past, define the professional practice of history.
2. Shared Values of Historians
Historians strive constantly to improve our collective and diverse understanding of the past through a complex process of critical dialogue—with each other, with the wider public, and with the historical record—in which we explore former lives and diverse worlds in search of answers to the most compelling questions of our own time and place. Incorporating multiple schools of history and hitherto underrepresented points of view is critical to ensuring the integrity of our scholarship and historical practice.
Historians cannot successfully do this work without mutual trust and respect. By practicing their craft with integrity, historians acquire a reputation for trustworthiness that is arguably their single most precious professional asset. The trust and respect both of one's peers and of the public at large are among the greatest and most hard-won achievements that any historian can attain. It is foolish indeed to put them at risk.
Although historians disagree with each other about many things, they do know what they trust and respect in each other's work. All historians believe in honoring the integrity of the historical record. They do not fabricate evidence. Forgery and fraud violate the most basic foundations on which historians construct their interpretations of the past. An undetected counterfeit undermines not just the historical arguments of the forger, but all subsequent scholarship that relies on the forger's work. Those who invent, alter, ignore, remove, or destroy evidence of any kind make it difficult for any serious historian ever wholly to trust their work again.
We honor the historical record, but understand that its interpretation constantly evolves as historians analyze primary documents in light of the ever-expanding body of secondary literature that places those documents in a larger context. By "documents," historians typically mean all forms of evidence—not just written texts, but artifacts, images, video, statistics, oral recollections, the built and natural environment, and many other things—that have survived as records of former times. By "secondary literature," we typically mean all subsequent interpretations of those former times based on the evidence contained in primary documents. This distinction between primary and secondary sources is among the most fundamental that historians make. Drawing the boundary between them is a good deal more complicated than it might seem, since determining whether a document is primary or secondary largely depends on the questions one asks of it. At the most basic level, though, the professional practice of history means respecting the integrity of primary and secondary sources while subjecting them to critical scrutiny and contributing in a fair-minded way to ongoing scholarly and public debates over what those sources tell us about the past and also what they fail to illuminate.
A growing proportion of the records of recent history are created and preserved in digital form, which brings new problems for archivists and historians. Historians should be aware of the challenges and opportunities presented by these new formats.
Honoring the historical record also means leaving a clear trail for subsequent historians to follow. Any changes to a primary source or published secondary work, whether digital or print, should be noted. The ease with which digitally preserved records are reproduced and accessed facilitates this practice but makes accurate citation even more vital. This is why scholarly apparatus in the form of bibliographies and annotations (and associated institutional repositories like libraries, archives, and museums) is so essential to the professional practice of history. Such apparatus is valuable for many reasons. It enables other historians to retrace the steps in an argument to make sure those steps are justified by the sources. A proper apparatus also offers readers the opportunity to indicate gaps in the historical record that might cast doubt on a given interpretation. Knowing that trust is ultimately more important than winning a debate for the wrong reasons, professional historians are as interested in defining the limits and uncertainties of their own arguments as they are in persuading others that those arguments are correct. Finally, the trail of evidence left by any single work of history becomes a key starting point for subsequent investigations of the same subject, and thus makes a critical contribution to our collective capacity to ask and answer new questions about the past. For all these reasons, historians pride themselves on the accuracy with which they use and document sources. The sloppier their apparatus, the harder it is for other historians to trust their work.
The trail of evidence in bibliographies, notes, museum catalogs, databases, and other forms of scholarly apparatus is crucial not just for documenting the primary sources on which a work of history depends, but the secondary sources as well. Practicing history with integrity means acknowledging one's debts to the work of other historians. To copy the work of another and claim it for one's own is plagiarism—an act historians abhor. Plagiarism violates the historical record by failing to reveal the secondary sources that have contributed to a given line of argument. It is a form of fraud, and betrays the trust on which the historical profession depends. Much more will be said about it later in this Statement on Standards.
Among the core principles of the historical profession that can seem counterintuitive to non-historians is the conviction, very widely if not universally shared among historians since the 19th century, that practicing history with integrity does not mean having no point of view. Every work of history articulates a particular, limited perspective on the past. Historians hold this view not because they believe that all interpretations are equally valid, or that nothing can ever be known about the past, or that facts do not matter. Quite the contrary. History would be pointless if such claims were true, since its most basic premise is that within certain limits we can indeed know and make sense of past worlds and former times that now exist only as remembered traces in the present. But the very nature of our discipline means that historians also understand that all knowledge is situated in time and place, that all interpretations express a point of view, and that no mortal mind can ever aspire to omniscience. Because the record of the past is so fragmentary, absolute historical knowledge is denied us.
Furthermore, the different peoples whose past lives we seek to understand held views of their lives that were often very different from each other—and from our own. Doing justice to those views means to some extent trying (never wholly successfully) to see their worlds through their eyes. This is especially true when people in the past disagreed or came into conflict with each other, since any adequate understanding of their world must somehow encompass their disagreements and competing points of view within a broader context. Multiple, conflicting perspectives are among the truths of history. Everyone who comes to the study of history brings with them a host of identities, experiences, and interests that cannot help but affect the questions they ask of the past and the sources they consult to answer those questions. No single objective or universal account could ever put an end to this endless creative dialogue within and between the past and the present.
For this reason, historians often disagree and argue with each other. That historians can sometimes differ quite vehemently not just about interpretations but even about the basic facts of what happened in the past is sometimes troubling to non-historians, especially if they imagine that history consists of a universally agreed-upon accounting of stable facts and known certainties. But universal agreement is not a condition to which historians typically aspire. Instead, we understand that interpretive disagreements are vital to the creative ferment of our profession, and can in fact contribute to some of our most original and valuable insights.
Disagreements and uncertainties enrich our discipline and are the source of its liveliness and its scholarly improvement. In contesting each other's interpretations, professional historians recognize that the resulting disagreements can deepen and enrich historical understanding by generating new questions, new arguments, and new lines of investigation. This crucial insight underpins some of the most important shared values that define the professional conduct of historians. They believe in vigorous debate, but they also believe in civility. They rely on their own perspectives as they probe the past for meaning, but they also subject those perspectives to critical scrutiny by testing them against the views of others.
Historians celebrate intellectual communities governed by mutual respect and constructive criticism. The preeminent value of such communities is reasoned discourse—the continuous colloquy among historians holding diverse points of view who learn from each other as they pursue topics of mutual interest. A commitment to such discourse—balancing fair and honest criticism with openness to different ideas—makes possible the fruitful exchange of views, opinions, and knowledge wherever those exchanges take place, from scholarly books and articles to social media and face-to-face encounters. At the same time, it's important to bear in mind that unmediated platforms, are perhaps more likely to generate conflict, often through misunderstanding. The AHA encourages communication that maintains the principles of mutual respect and constructive criticism.
A great many dilemmas associated with the professional practice of history can be resolved by returning to the core values that the preceding paragraphs have sought to sketch. Historians should practice their craft with integrity. They should honor the historical record. They should document their sources. They should acknowledge their debts to the work of other scholars. They should respect and welcome divergent points of view even as they argue and subject those views to critical scrutiny. They should remember that our collective enterprise depends on mutual trust. And they should never betray that trust.
3. Scholarship
Scholarship—the discovery, exchange, interpretation, and presentation of information about the past—is basic to the professional practice of history. It depends on the collection and preservation of historical documents, artifacts, and other source materials in a variety of institutional settings ranging from libraries to archives to museums to government agencies to private organizations. Historians are committed to protecting significant historical evidence wherever it resides. Scholarship likewise depends on the open dissemination of historical knowledge via many different channels of communication: books, articles, classrooms, exhibits, films, historic sites, museums, legal memoranda, testimony, and many other ways. The free exchange of information about the past is dear to historians.
Professional integrity in the practice of history requires awareness of one's own biases and a readiness to follow sound method and analysis wherever they may lead. Historians should document their findings and be prepared to make available their sources, evidence, and data, including any documentation they develop through interviews. Historians should not misrepresent their sources. They should report their findings as accurately as possible and not omit evidence that runs counter to their own interpretation. They should not commit plagiarism. They should oppose false or erroneous use of evidence, along with any efforts to ignore or conceal such false or erroneous use.
Historians should acknowledge the receipt of any financial support, sponsorship, or unique privileges (including special access to research material) related to their research, especially when such privileges could bias their research findings. They should always acknowledge assistance received from colleagues, students, research assistants, and others, and give due credit to collaborators.
Historians should work to preserve the historical record, and support institutions that perform this crucial service. Historians favor free, open, equal, and nondiscriminatory access to archival, library, and museum collections wherever possible. They should be careful to avoid any actions that might prejudice access for future historians. Although they recognize the legitimacy of restricting access to some sources for national security, proprietary, and privacy reasons, they have a professional interest in opposing unnecessary restrictions whenever appropriate.
Historians sometimes appropriately agree to restrictive conditions about the use of particular sources. Certain kinds of research, certain forms of employment, and certain techniques (for instance, in conducting oral history interviews) sometimes entail promises about what a historian will and will not do with the resulting knowledge. Historians should honor all such promises. They should respect the confidentiality of clients, students, employers, and others with whom they have a professional relationship. At much as possible, though, they should also strive to serve the historical profession's preference for open access to, and public discussion of, the historical record. They should define any confidentiality requirements before their research begins, and give public notice of any conditions or rules that may affect the content of their work.
4. Plagiarism
The word plagiarism derives from Latin roots: plagiarius, an abductor, and plagiare, to steal. The expropriation of another author's work, and the presentation of it as one's own, constitutes plagiarism and is a serious violation of the ethics of scholarship. It seriously undermines the credibility of the plagiarist, and can do irreparable harm to a historian's career.
In addition to the harm that plagiarism does to the pursuit of truth, it can also be an offense against the literary rights of the original author and the property rights of the copyright owner. Detection can therefore result not only in sanctions (such as dismissal from a graduate program, denial of promotion, or termination of employment) but in legal action as well. As a practical matter, plagiarism between scholars rarely goes to court, in part because legal concepts, such as infringement of copyright, are narrower than ethical standards that guide professional conduct. The real penalty for plagiarism is the abhorrence of the community of scholars.
Plagiarism includes more subtle abuses than simply expropriating the exact wording of another author without attribution. Plagiarism can also include the limited borrowing, without sufficient attribution, of another person's distinctive and significant research findings or interpretations. Of course, historical knowledge is cumulative, and thus in some contexts—such as textbooks, encyclopedia articles, broad syntheses, and certain forms of public presentation—the form of attribution, and the permissible extent of dependence on prior scholarship, citation, and other forms of attribution will differ from what is expected in more limited monographs. As knowledge is disseminated to a wide public, it loses some of its personal reference. What belongs to whom becomes less distinct. But even in textbooks a historian should acknowledge the sources of recent or distinctive findings and interpretations, those not yet a part of the common understanding of the profession. Similarly, while some forms of historical work do not lend themselves to explicit attribution (e.g., films and exhibitions), every effort should be made to give due credit to scholarship informing such work.
Plagiarism, then, takes many forms. The clearest abuse is the use of another's language without quotation marks and citation. More subtle abuses include the appropriation of concepts, data, or notes all disguised in newly crafted sentences, or reference to a borrowed work in an early note and then extensive further use without subsequent attribution. Borrowing unexamined primary source references from a secondary work without citing that work is likewise inappropriate. All such tactics reflect an unworthy disregard for the contributions of others.
No matter what the context, the best professional practice for avoiding a charge of plagiarism is always to be explicit, thorough, and generous in acknowledging one's intellectual debts.
All who participate in the community of inquiry, as amateurs or as professionals, as students or as established historians, have an obligation to oppose deception. This obligation bears with special weight on teachers of graduate seminars. They are critical in shaping a young historian's perception of the ethics of scholarship. It is therefore incumbent on graduate teachers to seek opportunities for making the seminar also a workshop in scholarly integrity. After leaving graduate school, every historian will have to depend primarily on vigilant self-criticism. Throughout our lives none of us can cease to question the claims to originality that our work makes and the sort of credit it grants to others.
The first line of defense against plagiarism is the formation of work habits that protect a scholar from plagiarism. The plagiarist's standard defense—that he or she was misled by hastily taken and imperfect notes—is plausible only in the context of a wider tolerance of shoddy work. A basic rule of good note-taking requires every researcher to distinguish scrupulously between exact quotation and paraphrase.
The second line of defense against plagiarism is organized and punitive. Every institution that includes or represents a body of scholars has an obligation to establish procedures designed to clarify and uphold their ethical standards. Every institution that employs historians bears an especially critical responsibility to maintain the integrity and reputation of its staff. This applies to government agencies, corporations, publishing firms, and public service organizations such as museums and libraries, as surely as it does to educational facilities. Usually, it is the employing institution that is expected to investigate charges of plagiarism promptly and impartially and to invoke appropriate sanctions when the charges are sustained. Penalties for scholarly misconduct should vary according to the seriousness of the offense, and the protections of due process should always apply. A persistent pattern of deception may justify public disclosure or even termination of a career; some scattered misappropriations may warrant a formal reprimand.
All historians share responsibility for defending high standards of intellectual integrity. When appraising manuscripts for publication, reviewing books, or evaluating peers for placement, promotion, and tenure, scholars must evaluate the honesty and reliability with which the historian uses primary and secondary source materials. Scholarship flourishes in an atmosphere of openness and candor, which should include the scrutiny and public discussion of academic deception.
5. Teaching
Teaching is basic to the practice of history. It occurs in many venues: not just classrooms, but museums and historic sites, documentaries and textbooks, newspaper articles, web sites, and popular histories. In its broadest definition, teaching involves the transmission of historical knowledge to people who do not yet have such knowledge. Whether it occurs in the classroom or the public realm, it performs the essential work of assuring that the past remains a part of living memory in the present.
Good teaching entails accuracy and rigor in communicating factual information, and strives always to place such information in context to convey its larger significance. Integrity in teaching means presenting competing interpretations with fairness and intellectual honesty. Doing so can support one of the most important goals of teaching: exciting the interest of those who are encountering a new historical topic for the first time, leading them toward the insight that history is a process of living inquiry, not an inert collection of accepted facts.
The political, social, and religious beliefs of history teachers necessarily inform their work, but the right of the teacher to hold and express such convictions can never justify falsification, misrepresentation, or concealment, or the persistent intrusion of material unrelated to the subject of the course. Furthermore, teachers should be mindful that students and other audience members have the right to disagree with a given interpretation or point of view. Students should be made aware of multiple causes and varying interpretations. Within the bounds of the historical topic being studied, the free expression of legitimate differences of opinion should always be a goal. Teachers should judge students' work on merit alone.
Course offerings, textbooks, and public history presentations should address the diversity of human experience, recognizing that historical accuracy requires attention both to individual and cultural similarities and differences and to the larger global and historical context within which societies have evolved. The American Historical Association is on record as encouraging educational and public history activities to counter harassment and discrimination on campuses and in the public realm. It encourages administrators to speak out vigorously against such incidents. At the same time, the Association strongly disapproves of efforts to limit or punish free speech, whether it be verbal or written, regardless of the medium of communication. We condemn the violation of First Amendment rights to free speech, as well as the harassment and vilification to which individuals have sometimes been subjected for exercising these rights. Tenure exists to protect the right to academic freedom of expression; without that right, teaching and scholarly research would be muzzled and inadequate.
6. History in the Public Realm
Because interpreting the past is so vital to democratic debate and civic life in the public realm, historians regularly have the opportunity to discuss the implications of their knowledge for concerns and controversies in the present—including present controversies about past events. It is one of the privileges of our profession to share historical insights and interpretations with a wider public, wherever the locus of our employment. We should welcome the chance to do so, and the institutions that employ historians should recognize the importance of this aspect of our work. Historians should not be subject to institutional or professional penalties for their beliefs and activities, provided they do not misrepresent themselves as speaking for their institutions or their professional organizations when they are not authorized to do so.
Practicing history in the public realm presents important challenges, for when historians communicate with a wider public, they must represent not just a particular interpretation or body of facts, but the best practices of the discipline of history itself. This means they must inevitably walk a tightrope in balancing their desire to present a particular point of view with their responsibility to uphold the standards and values that underpin their professional authority as historians. This challenge can be especially complex for public historians, whose daily working lives frequently require multiple levels of accountability, and for historians working in advocacy roles.
Public discussions of complex historical questions inevitably translate and simplify many technical details associated with those questions, while at the same time suggesting at least some of the associated complexities and divergent points of view. While it is perfectly acceptable for historians to share their own perspectives with the public, they should also strive to demonstrate how the historical profession links evidence with arguments to build fair-minded, nuanced, and responsible interpretations of the past. The desire to score points as an advocate should never tempt a historian to misrepresent the historical record or the critical methods that the profession uses to interpret that record.
Historians who work in government, corporate, and nonprofit institutions, as well as those occasionally entering public arenas as political advisers, expert witnesses, public intellectuals, consultants, legislative witnesses, journalists, or commentators, may face a choice of priorities between professionalism and partisanship. They may want to prepare themselves by seeking advice from other experienced professionals. As historians, they must be sensitive to the complexities of history, the diversity of historical interpretations, and the limits as well as the strengths of their own points of view and experiences and of the discipline itself. In such situations, historians must use sources, including the work of other scholars, with great care and should always be prepared to explain the methods and assumptions in their research; the relations between evidence and interpretation; and alternative interpretations of the subjects they address.
7. Hiring Practices and Employment
The American Historical Association firmly supports fairness and due process in all decisions involving the appointment, promotion, and working conditions of historians. Institutions should develop published rules governing their employment practices, and it should go without saying that they should follow these rules. The AHA endorses the right of all historians, including employed graduate students, to organize and join unions or other collective bargaining units and engage in collective bargaining if they choose to do so. We affirm the democratic right of employees to decide whether to organize and how to negotiate their salaries and working conditions. This applies even to institutions that are not required by law to honor the results of employee votes taken by secret ballot on collective bargaining and union representation.
Although some historians are self-employed, most work for academic institutions, corporations, government agencies, law firms, archives, historical societies, museums, parks, historic preservation programs, or other institutions. To the extent they can influence the policies and practices of their workplace, the AHA encourages historians to do whatever they can to persuade their institutions to accept and enforce rules to ensure equity in conditions of employment. If they work in an academic institution, they should urge it to accept the 1966 Statement on Government of Colleges and Universities, jointly formulated by the American Association of University Professors (AAUP), the American Council on Education, and the Association of Governing Boards of Universities and Colleges.
Fairness begins with recruitment. Historians have an obligation to do all possible to ensure that employment opportunities in the field are widely publicized and that all professionally qualified persons have an equal opportunity to compete for those positions. This means not only the placement of job notices in appropriate publications (for example, the AHA's Perspectives on History) but also the inclusion in such notices of a completely accurate description of the position and of any contingencies, budgetary or otherwise, that might affect the continued availability of the position. An institution should not deceive possible candidates by omitting qualifications or characteristics that favor certain candidates over others (for example, a preference for unspecified minor fields). If an employer decides to alter a job description or selection criteria, the institution should re-advertise. The AHA strongly discourages institutions from charging application fees for post-doctoral fellowships and other positions, since these discriminate against candidates whose financial resources are limited.
Fairness also involves equal treatment of all qualified applicants and procedures that are considerate to all applicants. For example, an employing institution should promptly acknowledge all applications and, as soon as practicable, inform applicants who do not meet the selection criteria. Likewise, it should keep competitive applicants informed of the progress of the search and promptly notify those who are no longer under consideration. It should do everything possible to accommodate finalists in arranging interviews, including the payment of expenses, where appropriate. Finally, it should ensure that those who conduct interviews adhere to professional standards by respecting the dignity of candidates, focusing their questions on the qualifications needed for the position, and avoiding questions that violate federal or state antidiscrimination laws.
Employment decisions always involve judgments. But, except in those cases in which federal law allows a specific preference, institutions should base hiring decisions as well as all decisions relating to reappointment, promotion, tenure, apprenticeship, graduate student assistantships, awards, and fellowships solely on professional qualifications without regard to race, color, national origin, sex, gender, gender expression, gender identity, sexual orientation, marital status, family status, religion, political affiliation, veteran status, age, or disability. A written contract should follow a verbal offer in a timely manner, and institutions have an obligation to explain as clearly as possible the terms of such contracts. Once signed, a contract should be honored by all parties as both a legal and ethical obligation. Employers have an obligation to clarify all rules and conditions governing employment and promotion.
Any person deserves the professional respect and support necessary for professional growth and advancement. Such respect precludes unequal treatment based on any nonprofessional criteria. In particular, it precludes any harassment or discrimination, which is unethical, unprofessional, and threatening to intellectual freedom. Harassment includes all behavior that prevents or impairs an individual's full enjoyment of educational or workplace rights, benefits, environment, or opportunities, such as generalized pejorative remarks or behavior or the use of professional authority to emphasize inappropriately the personal identity of an individual. Sexual harassment, which includes inappropriate requests for sexual favors, unwanted sexual advances, and sexual assaults, is illegal and violates professional standards. Sexual harassment can also include unprofessional and unethical behaviors, such as intentionally misgendering someone, refusing to use a person's preferred pronouns, or making inappropriate remarks about a person's gender identity or sexual orientation in the workplace.
Historians should receive promotions and merit salary increases exclusively on the basis of professional qualifications and achievements. The best way to ensure that such criteria are used is to establish clear standards and procedures known to all members of the institution. An institution should have an established review process, should offer candidates for promotion or merit raises opportunities to substantiate their achievements, should provide early and specific notification of adverse promotion or salary decisions, and should provide an appeal mechanism.
Of particularly grave concern to historians are those institutional decisions that lead to disciplinary action—most important, questions of suspension and dismissal, because they may involve issues of intellectual freedom. All institutions employing historians should develop and follow clearly written procedures governing disciplinary action. These procedures should embody the principles of due process, including adequate mechanisms for fact-finding and avenues for appeal. Academic institutions should adhere to the AAUP's 1940 Statement of Principles on Academic Freedom and Tenure. Other institutions that employ professional historians should provide a comparable standard of due process.
Historians who work part time or off the tenure track should receive compensation in proportion to the share of a full-time work load they carry, including a proportionate share of fringe benefits available to their full-time colleagues; they also should have access to institutional facilities and support systems, and appropriate involvement in institutional governance.
8. Reputation and Trust
Historians are obligated to present their credentials accurately and honestly in all contexts. They should take care not to misrepresent their qualifications in resumes, applications, or the public record. They should apply the same rigor and integrity in describing their own accomplishments as their profession applies to the historical record itself.
The status of a book, article, or other publication that is still in the production pipeline is often an important piece of information for search committees, tenure/promotion review committees, and fellowship committees. Yet the profession has no standardized terminology for works in progress, often rendering their status unclear. The AHA suggests the following lexicon.
"In Press": the manuscript is fully copyedited and out of the author's hands. It is in the final stages of the production process. "Forthcoming": a completed manuscript has been accepted by a press or journal. "Under contract to . . .": a press and an author have signed a contract for a book in progress, but the final manuscript has not yet been submitted. "Submitted" or "under consideration": the book or article has been submitted to a press or journal, but there is as yet no contract or agreement to publish.
Historians should not list among the completed achievements on their resumes degrees or honors they have never earned, jobs they have never held, articles or books they have never written or published, or any comparable misrepresentations of their creative or professional work.
Historians should be mindful of any conflicts of interest that may arise in the course of their professional duties. A conflict of interest arises when an individual's personal interest or bias could compromise (or appear to compromise) his or her ability to act in accordance with professional obligations. Historians frequently encounter such situations as participants in some form of peer review—for example, reviewing grant applications, vetting manuscripts for publication, evaluating annual meeting program proposals, or selecting prize or award recipients. Historians should identify and, where appropriate, recuse themselves from any decisions or other actions in which a conflict of interest or the appearance thereof arises; they should avoid situations in which they may benefit or appear to benefit financially at the expense of their professional obligations. An individual should normally refuse to participate in the formal review of work by anyone for whom he or she feels a sense of personal obligation, competition, or enmity.
9. Additional Guidance
This Statement on Standards of Professional Conduct offers general guidance about core values and practices of the historical profession. Because no document of this sort could ever be comprehensive, the AHA typically amends this Statement only when some new issue arises that is of such general concern that a formal policy declaration seems warranted.
For additional advice about ethics and best practices among professional historians, readers are urged to consult other declarations and publications of the American Historical Association, including best practice statements and wise counsel documents readily available on the AHA website.
Valuable insights can also be gleaned from the publications of several other historical associations, for instance, the Ethics Guidelines of the National Council on Public History; the Statement of Professional Standards and Ethics of the American Association for State and Local History; the Evaluation Guidelines of the Oral History Association; and the Principles and Standards for Federal Historical Programs of the Society for History in the Federal Government, among others.
We encourage all historians to uphold and defend their professional responsibilities with the utmost seriousness, and to advocate for integrity and fairness and high standards throughout the historical profession.


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Nearly a quarter of a century since their debut album Licensed To Ill hit the shelves, the Beastie Boys' creative juices show no sign of drying up.
Prior to talking to them about the album and a good deal more, DiS sat down with an EMI iPod to give Hot Sauce Committee Part 1 an aural going over and made some notes to give you an idea what to expect.
1. Tadlock's Glasses
The joking original mooted title of the album, Ad-Rock, Mike D and MCA get rolling with a curious nod to the driver of Elvis's back-up singers. Distorted electronic squiggles dominate a slightly warped atmosphere that reprises yells of "And you don't stop..." like 'Sure Shot' was recorded 15 years later on a stack of good drugs. Promising start...
2. B-Boys In The Cut
Banging bass and the throwback feel of To The 5 Boroughs are tempered by what appears to be the gruff tones of MCA, lyrics buried beneath an oddly satisfying muddy treatment as pitch-shifting vocals dip between layers of fuzziness. Ch-check it out.
3. Make Some Noise
Our EMI iPod (presented only after a high security full-body metal detector search for potential recording devices) reads 'Make Some Noise If You're With Me', but whatever the title this is a definite future crowd hyper, almost Daft Punk-esque bass-line overlaid with thwacking dusty drums.
4. Nonstop Disco Powerpack
Lyricism more entangled than vines in a rainforest, a funky break and whistles rattle around as the mic is passed with a frequency. And unless there's some serious yoghurting occurring on DiS's part, Ad-Rock also appears to make the album's strangest statement, proclaiming "See one last profiterole and make my play". Finger-licking good.
A playful vaguely squelchy electro intro is the signal for the Boys to rewind the clock, rhyming as if they were 20 years old again. Throw a vocoder breakdown into the mix, you say? Sure, why not...
6. Too Many Rappers (featuring Nas)
The indisputable high point of the record, thumping percussion accompanies the central sentiment: "Too many rappers/Not enough emcees", although the ever-goofy threesome claim we misheard chat about "crack rappers"; the line in question is, they assure us, directed at "crab rappers". There's no disputing the proudly spat declaration "Grandpa been rapping since 1983", though, and when Nas swaggers in with a seamless, highly conscious verse, Mix Master Mike might begin to look over his shoulder nervously as his fourth Beastie Boy mantle comes under threat. The most straight up hip-hop tune in recent BB history and all the better for it.
7. Say It
A menacing bass-line and more subtly overdriven mic effects give that in-the-booth feel, yet to the point where picking out individual lines beneath the hulking whole is tricky. Ends with a circus music-style mini-skit.
8. The Bill Harper Collection
The album's first proper skit, purportedly an in-joke concerning the group's business manager's record collection. "Hi Adam, it's Bill. Thanks" is the solitary vocal sample in 23 seconds of silliness. Dude sounds like a riot. To the extent we suspect he may own Creedence Clearwater Revival records.
9. Don't Play No Game That I Can't Win (featuring Santigold)
The reggae-tinged backdrop, faintly whiffing of an off-cut from former Beasties collaborator Lee 'Scratch' Perry, betrays that Santigold very much takes the lead here. Sadly, there's little chemistry, the ideas seemingly evaporate about midway through and the whole debacle is closer to Santigold featuring the Beastie Boys. Disappointing. Still, MCA, we think, restores a little cred, complaining about "clams with no tartar sauce". Cream cakes and clams = ghetto, we think you'll agree.
10. Long Burn The Fire
Ad-Rock is in combative mood here, boldly offering "I check my rear view/Emcees ain't getting closer", while a superhero-ish element imagines biting through haters with sharks teeth, clawing them with tiger's claws and shooting poison out of their eyes. Rage Against The Machine-worthy bottom end and rampant organ seal the deal.
11. Bundt Cake
Another skit, this time a mere 21 seconds over a crisp drum break with snatches of cyber vocals.
12. Funky Donkey
"Put this on a zip disc/Send it to your lawyer" is an opening threat that doesn't go unnoticed. The rhymes are almost throwaway over a beat that could almost sample Adamski, if only we knew the Beasties would never rewire something so simple to decipher.
13. Lee Majors Come Again
Already out there in the scary wide world as a sly snippet giveaway with select copies of the recent Check Your Head re-issue (ditto an a cappella of 'B-Boys In The Cut', fact fans), this is a hardcore punk days nod with meaty guitar chug. Ad-Rock, it seems, declares "I seen your grandpa in apple bottom jeans" and successfully manages to make it a dis, an achievement in itself, frankly...
14. Multilateral Nuclear Disarmament
For such politically active musicians it always seems frustrating that the Beastie Boys have rarely strayed into global social issues on record; nothing really changes here, beyond the title, although the vocals are once again a touch buried to be sure, something close to liquid g-funk and disconnected phased-up beats three-quarters of the way to an Usher hit obliterated by robot voice effects of prime 'Intergalactic' intent. This is either Kraftwerk scored by Dr Dre or our headphones are a bit shonky.
15. Pop Your Balloon
Continuing the pop-brushed theme, a quite dramatic sweeping intro doesn't, as it really easily could, push into a Britney Spears moan-fest, instead pivoting off an insistent break and plenty of nasal Ad-Rock delivery.
16. Crazy Ass Shit
More food talk! This time "smoked salmon". Damn, we're hungry now. A sampled child's voice is the key to the not-so-safe-for-kids 'Crazy Ass Shit' though, "You can't stop/You've got to keep on" becoming a youthful mantra.
17. Here's A Little Something For Ya
Initial bass burps raise eyebrows – are the Beasties about to follow Snoop Dogg into dipping tentative toes into dubstep? Once that opening has passed, however, it's more familiar ground: playful rhymes, a terrace refrain, an organ breakdown, followed by what appears to be an untitled secret outro, proudly shouting out New York City with hands on hearts.
Hot Sauce Committee Pt. 1 is set for release on September 15th 2009 (and we hear the second part should follow shortly after as it is already mostly recorded too).

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Decluttering: Store Or Keep?
As you look around your house, you realize that you have accumulated more than will fit into the square footage available in your home. It may be that you cannot abide junk and regularly rid your home of worn out items and things no one wants anymore. Still, you see that too many things are cluttering your home and hiding its style and pizzazz. You decide to rent a self storage unit. It will allow you to rotate your treasures in and out of your house at the whim of your inner design guru. Now comes the hard part. What should stay and what should be tucked away in your self storage unit?
- Hold onto clothes that are in season and that you wear regularly.
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- Show off collectors' items in a display cabinet.
- Make room for sporting gear that someone in the house uses every few days (basketballs, yoga mats, bikes and more).
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- Store out-of-season clothing and footwear.
- Box up extra items that clutter your cupboards like excess towels, the good silver used only on holidays, extra blankets needed only in winter and toothbrush holders that have been replaced by a fresh design.
- Store the rocker that only grandma sits in when she visits every six months or the footstool that no one uses but everyone trips over.
- Store photos and wall hangings that make the room look too busy or just don't fit your current design scheme.
- Pack away extra toys that you have no room for. Rotate them in and out every few weeks so that your child can enjoy all of them. Involve your child in the decisions.
- Put away your college student's bags, balls and other belongings that spill out of his closets into other rooms or that make his room uncomfortable for guests.
- Stash tax documents and other papers that may be needed but are seldom reviewed.
- Store collectors' items that take up too much room and don't look good on display. If you have several collections or many items, you may want to rotate them.
- Pack up out-of-season sporting gear.
- Bundle garden tools together in the off season and stick them in a garbage bin in your self storage unit.
- Ultimately, use your discretion to decide what stays and what goes. Label your stored goods well. If you are keeping them, you should rotate what you can into daily use every so often.


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Oracle of the Mermaids
Mermaids are the messengers between the ocean realm and the world of human experiences. Oracle of the Mermaids can teach you ways to heal your past, love yourself more deeply, live authentically, embrace your creativity, and find your life purpose. When you connect with your Mermaids, you tap into the vast reservoir of the Feminine Divine, which in turn enhances your ability to draw love into your life, raise your self-esteem, create sensual bliss and glow with health and attractive vitality.
Overflowing with mermaid magic, legends and lore, the 168-page guidebook features in-depth messages and clear, accurate card spreads to help you to find answers for yourself and others.
Features 45 illustrated cards by renowned fantasy artist Selina Fenech.


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Use in Asia and China Restaurants


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Victor Lustig "Why didn't I think of this!"
"Hospital industry claims that the charges don't matter because few actually pay the "list" price "defy common sense," Burger said. "If there is no reason for the high prices, why bother charging them?" Burger asks. See Hospitals Dismiss Significance Of Chargemaster Prices?
New Data: Hospital Charges Leap 22 Points Just in Most Recent Year
Skyrocketing hospital charges have become a major factor in driving up overall healthcare costs, and exaggerating a healthcare crisis nationally as increasing numbers of Americans are priced out of access to needed medical care or pushed into financial ruin or bankruptcy, say nurses.
It's also a reminder of the ongoing gaping hole in the Affordable Care Act on its weak provisions for controlling costs, says National Nurses United, the nation's largest organization of registered nurses, following release of new national and California data on the relationship of hospital charges to hospital costs.
The findings reveal:
- S. hospitals charge on average $331 dollars for every $100 of their total costs, in statistical terms a 331 percent charge to cost ratio.
- While hospital charges over costs have been climbing steadily over the past 15 years – the charges took their biggest leap ever in 2011– a 22 point vault.
- From 2009 to 2011 (the most recent year for which the data is available), hospital charges lunged upward by 16 percent, while hospital costs only increased by 2 percent.
- S. hospital profits, pushed upward by the high charges, hit a record $53.2 billion, while nurses see more and more hospitals cutting patient services and limiting access to care.
"There is no other word for this than price gouging," said Deborah Burger, RN, co-president of NNU whose research arm, the Institute of Health and Socio Economic Policy produced the findings based on an analysis of publicly available Medicare Cost Reports.
"The consequences for patients and families are immediate and severe. High hospital charges get passed along by insurance companies to employers and individuals. Employers drop health coverage or shift the burden of cost to workers, many of whom then must choose between getting the care they need or paying other bills in a still stagnating economy for so many," Burger said.
- NNU also released data for California showing that California hospitals soared past the national average with a charge to cost ratio of 451 percent, or $451 for every $100 of costs.
NNU's findings augment data released recently by Medicare on hospital charges for select individual medical procedures. The NNU data goes the next step showing total hospital charges over cost. The RNs say the findings show a trend of exploding charges – especially in the two years since the market crash – and they warn of the devastating effects.
In California, for example, the California Healthcare Foundation last month issued a report showing that since 2002, premiums in California have risen by 170% — more than five times the inflation rate. During that same period the number of California employers providing coverage dropped from 71 percent to 60 percent; 21 percent said they'd increased workers' co-insurance premiums while 17 percent said they had reduced benefits or increased other out of pocket costs. More than one-fourth of workers in small firms have deductibles of $1,000 or more on their health plan.
Hospital industry claims that the charges don't matter because few actually pay the "list" price "defy common sense," Burger said.
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Hospitals generally negotiate with insurance companies on payments. The higher the starting point on a charge, the higher the ultimate reimbursement. Uninsured individuals with far less bargaining power are too often hit with the full list price.
Though hospitals claim many of those bills are written off as charity or uncompensated care, many patients end up hounded by hospitals or bill collectors, a major reason why medical bills account for more than half of all personal bankruptcies. News reports of patients socked with $50,000 or $100,000 hospital bills have become distressingly common.
*"Hospitals should be providers of care, not loan sharks," said Burger. "But we also know that price gouging is widespread throughout the health care industry, and that is a symbol of what is wrong with our profit-focused healthcare system, and why we need real reform."
"Effective reforms would include a crackdown on inflated charges as well as greater public oversight and protection generally. Ultimately, the only long term solution is still the transformation of our broken healthcare system to a more humane system, such as in expanding and improving Medicare to cover everyone," Burger said.


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Svenskmarockanska terrorkopplingar igen
Marockansk press rapporterar att man gripit fem personer ur en terroristcell. Ligan leds av en Abou Yassine, som är en gammal kämpe från GIA med kopplingar till Sverige.
Maghreb Arabe Press:
The cell is said to be led by a person identified as Abou Yassine, a former Salafia Jihadia prisoner, who served a two-year jail term for involvement with Ansar Al Mahdi, a cell that was disbanded in 2006 after planning to tumbled the monarchy.Andra telegram nämner också att Abou Yassine är född i staden Tétouan, känd för militant islamism och kopplingar till Sverige.
Abou Yassine, who was released in 2008, has been every since trying to set up this cell in the Moroccan, Spanish-occupied town of Sebta, the source said. He has been providing to its members his experience as an inveterate militant and a former drug trafficker in Spain.
Security services impounded three vehicles registered in Sebta, in addition to a large patch of documents and audio CDs and tapes preaching jihad and encouraging suicide operations and the execution of Al Qaida hostages.
The group have also established ties with traffickers in Morocco and trade links with French terrorist Robert Richard Antoine Pierre, known as Abou Abderrahmane.
Abou Yassine has also ties with the activists of a terrorist cell in Sweden and Afghan Moroccans, the source maintained.


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Acceptable Use Policy
This computer application is the property of the University of Texas at San Antonio. Improper or unauthorized use of this application may lead to criminal prosecution or other disciplinary action. Use of this application, authorized or unauthorized, constitutes consent to monitoring of the system and the user's acknowledgement of accountability and responsibility.


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PayPal is making another acquisition in the e-commerce space as it moves beyond payments and into physical and online retail.
The digital payments giant announced a deal to acquire start-up Happy Returns on Thursday for an undisclosed amount. The 120-person Santa Monica-based company lets people return things they bought online, in person.
"The post-purchase experience is something we've been looking into, since it's such a pain point — people want to shop online and return in store, and vice versa," Frank Keller, senior vice president of consumer in-store and digital commerce at PayPal, told CNBC in a phone interview. "For retailers, we're providing more comprehensive services beyond payments."
Thursday's deal follows PayPal's $4 billion acquisition of Honey, a browser extension that lets consumers find and use coupons while shopping online, in late 2019. PayPal also announced a deal in March to buy cryptocurrency security company, Curv, for $200 million. PayPal had been an early venture investor in Happy Returns.
The acquisition will help solve sometimes messy logistics of returning and shipping items for merchants, and help drive foot traffic to those businesses as the economy reopens, Keller said. Eventually, he expects the product to incentivize more merchants to sign up for PayPal products. The company, founded by Max Levchin and Peter Thiel, works with roughly 31 million businesses that will eventually have access to the in-person returns network.
The deal also fits into CEO Dan Schulman's recent, public focus on PayPal's "commerce platform." Schulman underlined online shopping as a key leg of growth during an investor day earlier this year.
The pandemic-induced boom in online shopping helped drive record payment volume and revenue for PayPal in recent quarters. During first-quarter earnings last week, Schulman highlighted plans to roll out a "next-generation digital wallet" this year, which he described as "all-in-one, personalized app" that will "provide increasingly customized and unique shopping, financial services, and payments experiences."
Happy Returns has roughly 2,600 drop-off locations where shoppers can return products for an immediate refund or exchange. The company also highlights a lower environmental impact. It relies on reusable totes instead of cardboard, to transport returns. The start-up works with direct-to-consumer brands including Rothy's, Revolve, Everlane, as well as brands like Dressbarn and Steve Madden.
"It's a far better consumer experience, because it doesn't involve printing labels, cardboard boxes, and most importantly for shoppers it doesn't involve waiting to get your money back," David Sobie, CEO and co-founder of Happy Returns, told CNBC.
PayPal has been a Wall Street favorite during the pandemic as consumers shift to online banking. Executives expect the trend to continue, and paying online will "remain essentially unchanged in a post-Covid world," Schulman said during first-quarter earnings call. Shares are up nearly 70% since May of last year. But after a tech-driven sell-off this week, PayPal's stock is up about 3% for the year.
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As we complete our coverage of The New York Palace's renovations project, take a look back at some of our best posts. From interviews with new Palace artists to a look inside our team's new cafeteria and locker rooms, we hope you enjoyed following along this process with us. 1. Palatial Locker Rooms 2. The Metropolitan Suite 3. The Ultimate Cafeteria Experience 4. Art for All! 5. 50th Street Entrance is Open! 6. Our New Lobby 7.The Complete Towers: A … Read More
Tag Archives: New York City Landmarks Preservation Commission
New Spaces at The Palace
As we reach the end of our renovations coverage on A New York Legend is Reborn, take a peek into some of our newly-finished spaces at The New York Palace. Trouble's Trust Over the past few months, you may have seen posts like When History Meets Evolution, hinting at a special area opening at The New York Palace this fall. That area is Trouble's Trust, a bar serving handcrafted cocktails under our Lobby's grand staircase. The bar features a modern … Read More
The Palace Fireplace
In our blog posts Italian Influences and Our New Lobby, we gave readers a glimpse at the magnificent fireplace displayed on The New York Palace's second floor mezzanine. Now that the renovations have been revealed, we invite our guests and admirers to take in the beauty of this masterpiece. The fireplace is only the second work of its kind, and was originally created by the great American sculptor Augustus Saint-Gaudens. A world-renowned artist of the American Renaissance, Saint-Gaudens is also … Read More


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Cooking For Engineers
Joined: 10 May 2005
Posts: 16776765
Posted: Sun Feb 05, 2006 10:09 am
Post subject: Recipe File: English Toffee
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Recipe File: English Toffee
Article Digest:
Toffee is a hard candy made mainly with sugar and butter. In America, the term "English toffee" is generally used for toffee prepared with a coating of chocolate and almonds. This recipe is easy to prepare and yields a full flavored, crunchy toffee that has just a little "stickiness" when chewed.
To create toffee, we will basically heat sugar and butter until the sugar reaches the hard crack stage (300°F / 150°C). If you don't allow the sugar to reach this temperature before cooling, the texture will be different. For example, if heated to the soft crack stage (the temperature range just below hard crack), the candy would be more like a butterscotch than a brittle, crunchy toffee. (In some parts of the world, this is also considered a toffee, but it's not what comes to mind when I hear the word.) If the sugar is heated beyond 320°F (160°C), then it might not retain its solid form and turn into liquid caramel over time.
Assemble the ingredients: 6 oz. (170 g) semi-sweet chocolate chips, 1 cup (200 g) sugar, about 1/2 cup (60 g) chopped almonds, 1 (5 mL) teaspoon vanilla extract, 1/8 teaspoon salt, and 1 cup (225 g) unsalted butter.
Select a small saucepan. Make sure the saucepan is large enough to contain about double the volume of the butter and sugar. As the mixture cooks, it will bubble and increase in volume - using too small of a pan may result in overflows.
Melt the butter in the saucepan with the sugar and salt plus a little (about 2 teaspoons, 10 mL) water. The extra water will make it easier for the sugar to heat evenly and melt together.
Stir the mixture constantly while heating over medium-high heat. The butter and sugar will bubble and foam as the water boils off. This can take several minutes because butter contains a decent amount of water. The volume of the mixture will increase dramatically at this point. At this point the temperature should be relatively constant at a few degrees above the boiling point of water.
Once the water has boiled off, the mixture will collapse and thicken. The temperature will also start to rise again. The goal is to remove the pan from the heat once the mixture passes 300°F (150°C) and before it reaches 320°F (160°C). Use an instant read thermometer or candy thermometer to keep track of the temperature as you heat and stir because the temperature can change pretty rapidly once the water boils off.
When the mixture reaches 300°F (150°C), remove it from the heat and stir in the vanilla extract. Pour the mixture onto either a silicone baking mat or a large sheet of parchment paper set on top of a sheet pan. The silicone baking mat is probably easiest to work with since it won't slide around on the sheet pan. If you're using parchment paper, one way to keep it in place is to dab the underside of the four corners with a little bit of butter. That will help the paper stay put while the toffee is poured on.
Right after pouring, use a spatula (again silicone works best for working with toffee) to spread the toffee into a rough rectangular shape.
While the toffee is still hot, sprinkle the surface with the chocolate chips. Wait until the bottoms of the chips start to turn shiny and dark brown as they melt from the heat of the toffee, about two minutes. Use your spatula to spread the chocolate. If the chocolate is still mostly solid, wait another minute before attempting to spread again.
Spread the chocolate so that it covers the toffee.
Sprinkle the chocolate surface with chopped almonds. If not using finely chopped almonds, such as the slivered almonds shown in the photos, visually inspect the the surface of the toffee to make sure the almonds are making good contact with the chocolate. Lightly press down on those pieces that are barely touching the surface of the chocolate.
Let the toffee cool for about twenty minutes until the sheet pan returns to room temperature. Slip the pan into the refrigerator to cool down and set for at least thirty minutes.
Remove from the refrigerator and peel the toffee from the baking mat or parchment paper. Working quickly so the chocolate doesn't melt too much, break the toffee into chunks of the desired size and place into an airtight container. During the breaking of the toffee, you'll lose quite a few almond pieces, but don't worry, this is normal.
Because the chocolate isn't tempered, this English toffee should be stored in the refrigerator to keep the chocolate from melting if the room gets warm.
English toffee
(makes about 1.5 lbs or 700 g)
1 cup (225 g) butter
heat until 300°F (150°C) while stirring
stir in
pour onto sheet pan
melt and spread chocolate on top
sprinkle almonds on top
cool in refrigerator and break apart
1 cup (200 g) sugar
2 tsp. (10 mL) water
1/8 tsp. (0.8 g) salt
1 tsp. (5 mL) vanilla extract
6 oz. (170 g) semisweet chocolate chips
about 1/2 cup (~170 g) chopped almonds
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Posted: Sun Feb 05, 2006 5:19 pm
Post subject:
I am amused that the google ads are showing stretch mark treatments.
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Posted: Sun Feb 05, 2006 8:50 pm
Post subject: Fridge
Does the moisture in the fridge make the toffee soft and chewy, or is it's time on the cold box too short for this to happen?
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Michael Chu
Joined: 10 May 2005
Posts: 1654
Location: Austin, TX (USA)
Posted: Mon Feb 06, 2006 3:09 am
Post subject: Re: Fridge
Raistlinxw wrote:
Does the moisture in the fridge make the toffee soft and chewy, or is it's time on the cold box too short for this to happen?
I keep mine in an air tight container. Unfortunately, I don't have any toffee left to experiment with, but, next time I make a batch, I'll keep one out of the container and see what happens to it.
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Joined: 27 Sep 2005
Posts: 15
Location: Florida
Posted: Mon Feb 06, 2006 8:53 pm
Post subject:
Oh my, this sounds heavenly.
I haven't been able to find satisfactory toffee here for baking and eating, so making my own sounds like a wonderful solution. However, I don't have parchment or one of those silicone mats - is there something else I could use instead?
Mixing toffee into Rice Krispie Treats is also delicious. <3
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Joined: 06 Feb 2006
Posts: 1
Posted: Mon Feb 06, 2006 11:13 pm
Post subject:
I'v done a bit of candy making and a marble slab is very nice but most people don't have them, but you can use a glass cutting board instead just put a little bit of butter on it first.
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Posted: Wed Feb 08, 2006 4:56 am
Post subject:
I've made this kind of toffee in the past, and just used a buttered cookie sheet, with and without foil (butter the foil instead of the cookie sheet) and it worked fine. This was one of my favorite "discoveries" when I was learning to cook, knowing I could make it at home. But, we eat it too fast so we don't make it often - it's too good!
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Posted: Wed Feb 08, 2006 7:54 am
Post subject:
The other night I was making a butterscotch topping for some sticky buns, and while I was going for a softer candy stage than hard-crack (I was shooting for softball or thereabouts, but really I was eyeballing it for just the start of coloration) the recipe I had called for you to add the butter (one stick (1/2c) for a cup of sugar) as soon as you were ready to stop the sugar from getting hotter. The butter was cold and I had chopped it into 8 chunks, and it worked like a charm. It's a fair bet that this recipe started with the butter in because you migth not have time to fully mix the butter and sugar once the sugar starts to get really cool and firm.
So if you're going for a softer texture on your butterscotch, add the cold butter later-- it'll hang on to its water content and it'll stop the sugar's heat-up.
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Posted: Wed Feb 08, 2006 11:38 am
Post subject:
I like the fact that it's called English Toffee despite the fact teh only thing I've ever had in England which is similar is a Scandinavian Daime/D'aim bar
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Posted: Thu Feb 09, 2006 10:41 pm
Post subject:
This looks really good. I love this stuff.
I ought to make a batch... but for the last few years I've been being it online for some family and friends for Christmas just so I can have some. If you haven't tried this, it's worth it. So good.
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Posted: Sun Feb 12, 2006 1:36 am
Post subject:
Yowza-- I burned my first batch-- evidently I've got the heat too high, and maybe I should get out a wider saucepan, as I'm using my smallest (which I thought would be okay because it has very high sides). Anyway, the heat was high (I've got an electric burner, not gas, alas) and the candy started taking on a very dark color well below 300F degrees.
I decided to carry it to the finish, because all it would cost me from that point was a teaspoon of imitation vanilla extract and a small portion of chocolate chips. The candy came out darker than the semi-sweet chocolate was, in color. It's still cooling, but I'm game to take a taste, at least. But it won't be going with me to tonight's party as initially planned.
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Posted: Sun Feb 12, 2006 9:36 pm
Post subject:
I have a similar recipe for toffee that I make during the holidays. It used to make up beautifully, but the last few times I have attempted to make it I have had trouble with it breaking (separating) before it gets to 300 degrees. I have tried practically every brand of butter and make sure I use cane sugar. Does anyone know why this happens?
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Joined: 13 Feb 2006
Posts: 1
Posted: Mon Feb 13, 2006 4:57 am
Post subject: English Toffee
Well I tried it :o) Everyone likes them. "Not too sweet" and "Nice as a gift" were some of the comments I got :o)
I didn't have parchment paper - actually I've never heard of parchment paper in the baking context.
I read somewhere that we could also use
aluminium foil
. So i used that and it turned out just fine.
Malaysians tend to like the ones that are more chewy though so i'll make a couple adjustments next time - First thing i gotta do is get a themometer! :o) Thanx for this recipe!
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Posted: Mon Feb 13, 2006 3:12 pm
Post subject:
Why is it called english toffee?
I have lived in england all my life and i have never seen anything like that!
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Michael Chu
Joined: 10 May 2005
Posts: 1654
Location: Austin, TX (USA)
Posted: Mon Feb 13, 2006 7:17 pm
Post subject:
Anonymous wrote:
Why is it called english toffee?
I have lived in england all my life and i have never seen anything like that!
I don't know why toffee+chocolate+almonds is known as English toffee, but butter toffees were first created in England in the late 1800's. My guess is that an American family began to produce these candies and marketed them as English Toffees in the early 1900's. Soon, that's what they were known as: English Toffees. (English muffins have a similar origin story.)
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On 28 March 2010 19:22, Robert Kern wrote:
On Sun, Mar 28, 2010 at 03:26, Anne Archibald <email@example.com> wrote:
On 27 March 2010 20:24, Andrea Gavana <email@example.com> wrote:
Hi All,
I have an interpolation problem and I am having some difficulties in tackling it. I hope I can explain myself clearly enough.
Basically, I have a whole bunch of 3D fluid flow simulations (close to 1000), and they are a result of different combinations of parameters. I was planning to use the Radial Basis Functions in scipy, but for the moment let's assume, to simplify things, that I am dealing only with one parameter (x). In 1000 simulations, this parameter x has 1000 values, obviously. The problem is, the outcome of every single simulation is a vector of oil production over time (let's say 40 values per simulation, one per year), and I would like to be able to interpolate my x parameter (1000 values) against all the simulations (1000x40) and get an approximating function that, given another x parameter (of size 1x1) will give me back an interpolated production profile (of size 1x40).
If I understand your problem correctly, you have a function taking one value as input (or one 3D vector) and returning a vector of length 40. You want to know whether there are tools in scipy to support this.
I'll say first that it's not strictly necessary for there to be: you could always just build 40 different interpolators, one for each component of the output. After all, there's no interaction in the calculations between the output coordinates. This is of course awkward, in that you'd like to just call F(x) and get back a vector of length 40, but that can be remedied by writing a short wrapper function that simply calls all 40 interpolators.
A problem that may be more serious is that the python loop over the 40 interpolators can be slow, while a C implementation would give vector-valued results rapidly.
40 is not a bad number to loop over. The thing I would be worried about is the repeated calculation of the (1000, 1000) radial function evaluation. I think that a small modification of Rbf could be made to handle the vector-valued case. I leave that as an exercise to Andrea, of course. :-)
It seems like this whole interpolation stuff is not working as I thought. In particular, considering scalar-valued interpolation (i.e., looking at the final oil recovery only and not the time-based oil production profile), interpolation with RBFs is giving counter-intuitive and meaningless answers. The issues I am seeing are basically these:
# Interpolate the cumulative oil production rbf = Rbf(x1, x2, x3, x4, x5, x6, final_oil_recovery)
# Try to use existing combination of parameters to get back # the original result (more or less) possible_recovery = rbf(x1[10], x2[10], x3[10], x4[10], x5[10], x6[10])
1) If I attempt to use the resulting interpolation function ("rbf"), inputting a single value for each x1, x2, ..., x6 that is *already present* in the original x1, x2, ..., x6 vectors, I get meaningless results (i.e., negative oil productions, 1000% error, and so on) in all cases with some (rare) exceptions when using the "thin-plate" interpolation option; 2) Using a combination of parameters x1, x2, ..., x6 that is *not* in the original set, I get non-physical (i.e., unrealistic) results: it appears that RBFs think that if I increase the number of production wells I get less oil recovered (!), sometimes by a factor of 10.
I am pretty sure I am missing something in this whole interpolation thing (I am no expert at all), but honestly it is the first time I get such counter-intuitive results in my entire Python numerical life ;-)
The interpolation with a large number of points can be pretty erratic. Did you use all 1000 points in the RBF? Do see what's going on you could try 2 things: 1) Use only a few points (10 to 100) 2) Use gaussian with a large negative smooth I had problems in the past with rbf in examples, and in one case I switched to using neighborhood points only (e.g. with scipy.spatial, KDTree) Josef
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