Remember a hallmark card when you carry enough to send the very best. Daniel Joseph Cotton in Young Mr. Disraeli on the hallmark playhouse. His greatest stars in outstanding stories and presents as your host one of the most distinguished actors of the American theater, Mr. Lionel Barrymore. Ladies and gentlemen, this is Lionel Barrymore. Do you know there are times when a worn-out expression and overworked cliche is still the best way of saying something? Well, now that's why I'm not going to make an apology when I say of Benjamin Disraeli, truth is strange even fiction. If by some magic we could be carried back to the England of 125 years ago, I doubt that any of us would have dared predict that this humble young law clerk of foreign blood, Italian, Spanish, Portuguese, they would one day rise to the highest offices in the British Empire. Tonight on our hallmark playhouse we hope to give you some idea of the drama, the romance and the driving genius of this man as he steps from the pages of Ellsworth Thane's fine book called Young Mr. Disraeli. And on hand tonight the star of that role, we have a good friend of mine, Joseph Cotton. And now here's Frank Goss from Makers of Hallmark Cards. When you're looking for a way to say something to someone you care for, look for a hallmark card and you'll find the card you want to send.  That's why hallmark on the back of a greeting card has come to mean you cared enough to send the very best. Lionel Barrymore appears by arrangement with Metro-Goldwyn-Mayer, producers of the Technicolor musical Because You're Mine, starring Mario Lanza, Doretta Morrow and James Whitmore. And now here's the first act of Young Mr. Disraeli, starring Joseph Cotton. The office door listed them all. Mr. Swain, Mr. Stevens, Mr. Maples, Mr. Pierce, Mr. Hunt, solicitors all. Inside, the young secretary to Mr. Maples leaned back on his high stool and gazed dreamily at his reflection in the ancient wall mirror. The face which looked back at him was strangely foreign. The eyes dark and large. The hair swirling about the foreign and heavy curls. The secretary adjusted his flowing tie and smoothed the collar of his velvet jacket. Mr. Disraeli. Disraeli! Yes, Mr. Maples. Would you step into my office, please? Yes, sir. Yes, sir. Mr. Disraeli, I believe I asked you to write a letter to Mr. Smythe about his estate matter. I did, sir. I put it on your desk for your signature. Yes, I have it here. Did you read it over carefully? No, sir. Then I suggest you do so right now. London, May 14th, 1824. Dear Mr. Smythe, in response to your favor of the 10th... Go on. There is a sunny garden in the world. The azure flowing of a glorious river between green banks of vine enamored hills crowned with gray towers. Mr. Disraeli. I'm sorry, Mr. Maples. I meant to write the poem on another paper. Mr. Disraeli, we took you into our firm because your father requested it. He wished to help your career. But now, after three years, I can only conclude that you are what you are.  Oh, thank you, sir. What? I thank you in behalf of the sack which you are giving me and in behalf of my future readers. Your readers? Yes, sir. I'm going to write books, articles, speeches, poetry, everything. Someday I may even find a rhyme for messes, Swain Stevens, Maples, Pierce, and Hunt solicitors. Years of writing and for what? Were you talking to me, Ben? Just to myself, Sarah. Have you read this review of my book? Yes. The critics are so very wrong, Ben. Are they? I expect my sister to be prejudiced. Really, I'm not, Ben. It's a wonderful book. I suppose... I suppose if I hadn't poked fun at so many names in high society... But that's why everyone is buying a book, darling.  Edward Bullard told me that too. He said he wished one of his novels would make such a stir. You see, listen to your friends, Ben, and then sit down and write another book for your enemies. Yes, why not? Book after book. I'll make them read me, even if they hate me. I'll make England smile at itself, and after that... Yes, Ben. And after that... I'll travel. I'll see the world and learn. That said, I'll learn in order to write even better things. Here is Sarah, fortunate girl. You are now sister to the man who has talked and walked with the Sultan of Turkey himself. I am learning, dear Sarah. I know a bit about the world now, and I think of England's place in it. Dear father, I have just returned from the Suez Canal. It's a pity that England shows no interest in this vital waterway. But perhaps one day she shall. Yes, she must. August 19th. Dear Bullard, I'm homeward bound at last. When we meet again, do invite me to another of your brilliant dinner gatherings. I'm starved for all the talk of literature and politics. I appear on the streets of London with a Turkish walking stick in the face. Well, it's magnificent to see you again. I want to hear everything that's happened. Well, I should be the one to ask that, is he? Let me see. Well, I have an idea for a new novel. I'm going to call it Last Days of Pompeii. Excellent. What else? Oh, also, I'm now a member of parliament. Well, you don't seem very pleased. Oh, I am, yes. It's just that I've been alarmed over the political situation. Even at Gibraltar, we had the news that the Duke of Wellington was being booed in the streets. Imagine that, England's greatest hero. Well, there's worth still marbles are storming and burning the factories. There's even open talk of revolution crown. Well, William IV's an old man. The heir of parents, just a sheltered girl. It's beyond the crown's control. Reform is in the air. Reform? Forget that national character is fashioned by history and institutions.  Dizzy. What's the matter? Well, you've suddenly grown up. Yes, and we need men of your sort.  No, listen to me, Dizzy. There's to be a by-election at High Wickham. If you stood for elections... I'm a writer. And so am I. And an MP too. Dizzy. Promise you'll try. All right. If nothing else. At first I didn't think it was going to matter to me, but now... No, you're just ahead of your time. Come on, Dizzy. Let's go back to London. You see, there's a party tonight at the Windham Neuersals. And they've asked me to bring along that brilliant fate. Then you are my favorite reader. And certainly the most beautiful. Oh, how wonderful. Mr. Disraeli, you sound like a page from one of your old novels. Tell me, there's a line of yours which I admire, but can't quite recall. It begins... Fate, destiny, chance. Fate, destiny, chance. A particular and special providence. Idle words all.  That's it. But do you believe it, Mr. Disraeli? Until this evening I should have replied implicitly. But tonight proves there is a special providence. Good heavens. This is too enigmatic for me. Will you excuse me, my dear? Yes, of course. You mustn't mind my husband, Mr. Disraeli. As a member of parliament, his light is one continuous enigma. But now there must be someone here that you particularly wish to meet. There is. Lord Lindhurst. Lindhurst? But why? Because he's 60 years old and yet drives about with a full-grown tiger in his carriage.  As a symbol of England today, madam. England rides with a tiger which may devour her. Mr. Disraeli. Quite serious. England must control its savage element. She must bring order into her affairs. Because the world needs an England calm and powerful. Mrs. Lewis. Yes. I overheard your young friend. Would you introduce us, please? Of course. Lord Melbourne, may I present Mr. Disraeli? How do you do, sir? I agree with your wish for England's future, Mr. Disraeli. But such vehemence makes me curious about another matter. Yes, sir. What future of you plan for yourself? What do you want to be? I want to be prime minister. I mean it not as a boast, sir, but as a prediction. It's said that you will soon be prime minister yourself, Lord Melbourne. But after you, perhaps long after, I say that I shall be prime minister. When England needs me, I shall be waiting. We will return to the second act of young Mr. Disraeli, starring Joseph Cotton. How you promised yourself last year that this year you choose the Christmas card you want imprinted with your name early and avoid a last-minute rush. Well, tonight I want to remind you that it's time to put that good resolution to use. By ordering your Christmas cards now, you can have them in plenty of time for leisurely addressing.  Browse through all the cards in the Hallmark albums at your favorite store. Believe me, the 1952 Christmas collection is bigger and more beautiful than ever before. There's the Hallmark Gallery Artist Series with paintings by Grandma Moses Norman Rockwell, Winston Churchill and other top-ranking painters and a host of sparkling traditional and modern styles too, all ready to send Christmas in an envelope to friends and loved ones everywhere. Yes, you can count on it. You're sure to find that one perfect design in the Hallmark card family. And always the Hallmark on the back of every card you mail says you cared enough to send the very best. To Lionel Barrymore in the second act of Young Mr. Disraeli, starring Joseph Cotton. All the death of William IV, a new ruler sits upon the throne of England, a slender girl of 18, Victoria. It's a summer's evening in the year 1837 and a fashionable parlor in Grosvenor Gate. Mary Lewis sits quietly listening to her husband and young Benjamin Disraeli, the talks of becoming general election. Really, Dizzy, you mustn't stand on the sidelines. Get in it, man. Perhaps I've been in it too often already with them. Oh, will you listen to him, Mary? I mean it. I've stood for Parliament four times now and four times taken the drubbing. And each time, Dizzy, you've come out the better for it. You've come before the public. That's what counts. The papers have reported your speeches, praised them and denounced them. Why, you're in a fair way of becoming a public issue yourself. Now is your time, Dizzy. I'm sorry, Wyndham. Tonight... Well, this is one of my low moods. I wonder how many times you and Mary have pulled me out of the Daldrens in the past five years. It must be a bore, I'm sure. We understand, you, Dizzy. Even a future Prime Minister is entitled to his glooms. Oh, please, Mary, don't remind me of that. I shall never cease to, my dear, because one day you shall be. When the country is ready for you, the Queen will call you. The Queen. It's a long, heartbreaking struggle to gain her smile. For that matter, any woman's smile. And yet that's exactly what you need, Dizzy. For a long time I've been intending to prescribe the cure, the one sure remedy for your low moods. What is that? A wife. A wife? You're lonely, Dizzy. You need a companion. Do you have anyone in mind? No. But there are scores of women who have you in mind. Now, look here, Dizzy.  We need you in Parliament. If you say the word, we can campaign together. Well, that's tempting enough. Only you would be that generous, Wyndham. Well, will you do it? Where? Ah, Maidster. The butter is electing two members, and we could go in together. But I still need an issue, something I believe in and can fight for.  What was your last name? Oh, yes, yes, against the poor law. Sadly, the poor law. That's it. The cruelty of sending the poor to prison for their debts, the degradation of helpless human beings. If there's to be reform, let it begin with the forgotten people. Wyndham, I'm with you. Thank you, Dizzy. And thank you, Mary. Tonight, my dear, I think you've given us a new member of Parliament. Yes. I'm almost sure of it. Don't misjudge, Israeli. Mr. Speaker, in this my first speech before this honorable body... Can't believe it. The House of Commons has never treated anyone, sir. Well, I was there, my dear. It was a nightmare. They never heard a word I said. They hated me on sight. Because they fear you, Dizzy. Fear me. Wyndham's right. You came to Parliament with a reputation already made. You've written books. You've spoken before crowds and bent them to your will. The House of Commons doesn't like that. It wants to think that you will learn from it, Dizzy. Not it, from you. They'll listen to me yet. I'll make them listen. Yes, but not that way, Dizzy. The next time you speak, be like them. Be as dull as your listeners. And before long, they'll beg you to be different again. They'll beg you to be... ...Israeli. My sister Sarah said something like that to me a long time ago. Women understand these things instinctively, my dear. Isn't that so, Wyndham? Oh, yes. As a matter of fact, I've often said that... What? What's the matter? There's nothing, my dear. It was a hard day. I've overstrained myself again. I must sit down. Wyndham, perhaps a brandy? Yes. I hope it's only that. I'll fetch the doctor. Because it is mine, too. Who needs the peace and healing comfort of a stay in the country? I ask that you and Father and Mother invite her down, and first I shall be down to see you. Sarah writes me that you are growing restless, and it's time that you should be. It's time also that you return to London and to the friends who miss you. A bit more profile. Don't look out the window. Oh, you silly. I'm watching for the royal procession. The queen is riding to Kensington. Mary, you've never looked lovelier. Those dark circles under the eyes, what happened to them? Gone. Thanks to the wonderful care of your wonderful family. But not thanks to my weekend visits. In my vanity, I thought that you brightened considerably whenever I appeared. I know. It's London again. Callers, parties, the social world. Now, you know that's not true. I hardly ever go out. It's time that you must. Wyndham would want you to. Life is waiting for you. And love. Oh, I think they're coming now. The procession, queen. Mary, don't find excuses. Don't put me off. We've got to face what's happened to us. When it happened and how I'm not sure, but suddenly I discovered I was in love with you. And I hope I believe you are with me. No, Desi. No, we can't. My dear, I abolished that word long ago. Desi, there's been talk already. If you haven't heard it, I have. What kind of talk? Well, that because Wyndham helped you, you want to take care of his widow as a debt of honor. Oh. If that's all people can say. No, but there's more. That you want to marry Wyndham's money and that I'm older than you. Selling widow running after her youth. Mary. Mary, you... Well, but, ugly, if you love me... I do, Desi, with all my heart. Then that's all in the world, it matters. Oh, no, don't you see, my dear? If we marry, we convince everyone that the story is a true. The talk will never die. I see. I understand. Do you really? I understand that the woman I love has grown young and beautiful again because of that love and that she turns away from it a coward. I am. I am. But not a shooting. A card before the vicious gossip of idle tongues. Very well. Then live your empty life to please others. Cast me off and go alone to your grave as I will. But remember, remember to your dying day, one man whose honest love was poured upon sand. Desi. Oh, Desi. Because of you, no room or no lie can ever change that. Let there be enemies. I've won you. I'll open the window. Christmas is that it just seems much easier at Christmas to tell someone we like them. For instance, the people we see every day at work or those we do business with throughout the year. That's undoubtedly why so many business men send Christmas cards. It isn't a matter of business. It's a gesture of friendship. And that's why so many business men are welcoming the news that this year there is a special collection of hallmark Christmas cards especially designed for the businessman. These cards are all assembled in one hallmark album called the Hallmark Christmas Card Album for Men. Among the many designs you'll find in this book, you business men are sure to find the Christmas card you want to represent you and your company. Represent you with dignity, with friendliness. There are some designs where you can have a choice of several different greetings. Or you can word your own Christmas message and it will be printed to order for you at the same time your name is being imprinted. You'll find this Hallmark album for men at any of the fine stores that feature Hallmark cards. And you can be sure that any Christmas card you select from this album will be the kind of card you'll be proud to send. Because by ordering Hallmark Christmas cards you'll know that every person receiving one from you will see that Hallmark on the back and know immediately that you cared enough to send the very best. Here again is Lionel Barrymore. Joe Carton, it was a great treat to have you with us on Hallmark players tonight. Thank you for an excellent performance. Very glad you invited me, Lionel. I especially enjoyed portraying the earlier part of the life of Disraeli. Incidentally, I notice you often select stories of great people. Yes, yes, yes, sure we do. Particularly those whose faith and courage have inspired others. I think that's why I've always enjoyed Hallmark Playhouse. It's also probably one of the reasons I enjoy sending and receiving Hallmark cards. They are simple and sincere way to send the message of encouragement. Now what story have you chosen for next week, Lionel? Well, next week on Hallmark Playhouse we're going to present our dramatization which is the world of Scott's great narrative poem The Lady of the Lake. And our guest star will be the charming Joan Fontaine. Our Hallmark Playhouse is every Sunday. Our producer-director is William Gay. Our music is composed and conducted by David Rose. And our story tonight was adapted by Leonard St. Clair. Until Sunday then, this is Lionel Byron. We're saying good night. Phone-y in stores that have been carefully selected to give you expert and friendly service. Remember a Hallmark card when you'll carry enough to send the very best. Joseph Cotton will soon be seen in the 20th Century Fox release, The Steel Trap. The role of Mary Ann was played by Lorraine Tuttle and Virginia Greg was Sarah. Others in the cast were Ben Wright as Wyndham Lewis, Hans Conrad as Edward Bulwer, Ted DeCorsia as Maples and John Doddsworth as Lord Melbourne. Every Sunday, Hallmark cards present two great programs for the whole family's enjoyment. On radio, the Hallmark Playhouse with host Lionel Barrymore. And on television, outstanding dramatic entertainment on the Hallmark Television Theater, consult your paper for time and station. This is Frank Goss saying good night to you all until next week at the same time when Hallmark Playhouse returns to present Joan Fontaine in Sir Walter Scott's Lady of the Lake and the week following Fletcher Pratt's Trebles Boys starring MacDonald Carey and the week after that, Claude M. Fuses Daniel Webster on the Hallmark Playhouse. This is the CBS Radio Network.


Recently, the University of Pikeville announced the construction of the new Sachdeva Research and Entrepreneurship Incubator. The facility is named after Rakesh and Sema Sachdeva, who have contributed greatly to the Kentucky College of Osteopathic Medicine over the last 30 years. The new building will help students and faculty with biomedical and agricultural research. Well, it's the purpose is to provide a location where we can do a lot more research in high-tech agriculture and the intersection of agriculture and medicine. So the research and entrepreneurship incubator will include lab spaces, classroom space, a kitchen in there, as well as some other research facilities and a greenhouse that will allow us to do research we already have planned, as well as some research that we have hopes to do in the future with some collaborators we've been working with. We also will have several different facilities within the main building where we can have businesses that have ideas come in and start and see how it goes and then if those are successful we can expand those into other locations. Appalachian Community Care offers outpatient medication-assisted treatment for addiction, counseling and behavioral play therapy for children, accepting Medicare and all major insurance. Recovery is hard, regret is harder. Appalachian Community Care, Pikeville, Whitesburg,<PHONE_NUMBER>. Find them on Facebook. Construction will begin July 2024 and is expected to be completed within two years. This project will aid the growth of the university as a whole. You know everybody we've spoken to is pretty excited about it. The opportunity that provides like I said our goal really is that kind of overall wellness which fits in very well with the medical programs we have already on campus and what their mission is. It also I know as we've talked to collaborators and businesses in the area they're pretty excited about what it could mean in terms of the growth and the kind of the ability to attract businesses into our area who might not be here already. Reporting for Mountain Top News, I'm Nick Colum.


Hi everybody thanks for the introduction. As Laura said I'll talk about the painting as a body in the Tibetan Buddhist context which is of course the area of my studies and along with kind of Indian Buddhist art. And so what we see on the map here is a map of the Himalayas with its kind of main sites and the cultural connections in the west towards Kashmir, in the south towards Kathmandu and Nepal and the Indian plains and in the northeast towards the central plains of China and in the north towards Central Asia. And I came to this particular topic of the talk by seeing this painting in the Rubin Museum of Art in the museum I worked at until I kind of joined SOAS in 2014. And it's quite a fascinating portrait of a Ningma school hierarchy that we can't really identify so a religious kind of specialist so to speak with his attributes and his ritual tools on the desk. But what was surprising is when we look at the details and actually turn the painting around that he on the back of the painting he's actually represented from the back. And this of course triggered the question in how many paintings or what do paintings have at the back and what does that mean in terms of the interpretation of the painting as a whole. And of course this immediately kind of tells you why I call it the painting as a body because you essentially have here the painting representing the body of the teacher in its entirety on the front side from the front and on the back from the back. And so this would be the overview of that. And so I was starting essentially surveying different paintings and eventually that ended up in an exhibition that was called the flip side focusing on the backs of paintings. And it's actually quite common that the back are decorated and that they have a meaning that complements what is represented on the front. And we can see this on the basis of this mid 19th century Bhutanese painting of a goddess called Vajrayogini that when turned around is particularly revealing because in this particular case the cotton canvas that was used for the painting is transparent and we can actually see quite a lot of the relationship of what we find on the back in relation to the figures in the front. And so what we have here on the back is that for each figure we have three syllables that are essentially symbolizing the purification of the materials the the painting is made in and it's located at the forehead neck and heart of each of the figures. And then you have what would be the speech form or the mantra what would be the speech form of the figure represented at the front. And in the center of the painting we have a stupa kind of funerary monument originally that became the symbol of Buddhism in general especially in South Asia, Southeast Asia and Tibet in East Asia it became kind of the Bhagavata became the preferred monument in this respect. But in Tibetan Buddhism the stupa represents the mind and so this would be the mind form of the deity and we'll see that the stupa form aligns with the deity in the front of the painting. And so if you look where there's this kind of a squarish section above the dome that's where the head of the deity is and the base is exactly where the lotus base is and where the deity stands. So this would be a common way of representing deities on the painting in Tibetan Buddhism where the front body form of the deity is complemented by the back form back representing the speech and the mind form of the deity so more subtle forms of the deity itself. The same concept was then employed for teacher representations in and especially kind of in the 12th early 13th century and throughout the 13th century there are very very interesting paintings that kind of make a statement that compares the teacher the Tibetan Buddhist teacher of the time with the Buddha. And one of the most explicit paintings in that respect is this one and if we compare its composition with a composition that depicts Buddha Shakyamuni at his awakening with scenes of his life represented around him we'll see that the composition of this teacher representation derives from the Shakyamuni painting and there is a direct comparison between the two. In addition he is placed in the succession of the seven Buddhas of the past depicted standing on the very top of the canvas and the future Buddha and before the future Buddha Maitreya who is in the top right corner of the canvas of this representation again that would be something that is taken over from representations of the Buddha. The architecture around the teacher represents the temple of Bodh Gaya where the Buddha attained awakening and interestingly on Tibetan paintings then you find the practitioner represented and here in the in just opposite the bottom left corner of the practitioner in the bottom left corner we have a Buddha Shakyamuni represented which essentially means that he has changed place with the Tibetan teacher who is represented in the center of this painting and it's a clear reference to one particular form of Shakyamuni that apparently was present in the temple of Bodh Gaya the site of awakening and the holiest place of Tibetan world of Buddhism in general that had a peculiar feature namely a relatively disproportionately large head and a very short neck and these features are found copied in objects from essentially the 13th to the 15th century as kind of reference to the Buddha of Bodh Gaya and of course the Buddha on our painting as well has that particular element ascribed to it but this comparison of the teacher with the Buddha goes further yeah and in this particular example we have again a teacher portrait but and we look at this particular example more carefully and in greater detail it's a very prominent Tibetan Buddhist teacher of the 12th century called Pakma Dupa Dorje Gerpo who is represented and of whom eight different schools of Tibetan Buddhism branch off essentially and so if we'll look at the painting kind of more closely there are different elements I want to discuss about it the first one is the notion of a portrait that is kind of communicated in this case so generally portraits in Tibetan painting are rarely portraits of likeness yeah and it's very clear that in this particular representation the eyes for example are highly idealized and and compared to those painted for deities but that they the the artist clearly tried to distinguish the area around the mouth the nose has a peculiar shape and we have the beard and this enables us to kind of identify portraits of the same teacher within the same Tibetan Buddhist school and from approximately the same time as seen on the right side example that is still comparable but obviously painted by a different painter we can even use these physical features to compare it to a sculpture that depicts the same teacher and in this particular teacher representation he is shown frontally as a Buddha and I think that comes to the fore here so in the sculpture we have this comparison to Buddha Shakyamuni at the site of awakening strongly communicated because the teacher himself is represented frontally he touches the earth like the Buddha touched the earth when he attained awakening and even the the representations on the throne elude to this particular narrative event but it's very clear that he is a Tibetan teacher because he wears a vest underneath a sleeveless vest underneath the monastic ropes and they even a heavy cape that protects him from the cold of the Tibetan plateau in comparison to the relative heat of the Indian planes where these kind of dress features wouldn't be necessary what's the painting differs here of course is that it doesn't show the teacher frontally but it shows him in a succession of the Buddha rather than as the Buddha himself and that is also represented through the teacher on top so here you have the comparison with the Buddha image and if we look at the teacher he has a teaching gesture and if we look further up immediately at the top of him is another grey-haired Tibetan monk represented who is or can be identified as Gambopa the immediate teacher of Bagma Dupa and so what the painting emphasizes is less the the achievement of a single individual as it would be with Buddha Shakyamuni but the achievement of an individual in the tradition of Shakyamuni that is of course expressed through the teacher represented directly above him but then also through the Buddha representations left and right of essentially the arch or the rock arch at the top of the central panel that also eludes to the awakening of the Buddha at Bodhkaya and in this painting too we have references to body speech and mind the body of course is again the representation on the front but on the back we have writing that directly refers to the speech form of the teacher so he is essentially treated in the same way as a deity representation and we have the stupa shape here outlined in yellow and then written into it and it's a more ancient form of stupa that is represented here and this is something that Tibetans took over from Indian examples where stupas are occasionally represented on the back of sculptures like in this particular piece from the Asian art museum in San Francisco the a painting is when painted is just a painting yeah it's not a sacred item to become a sacred item it has to be consecrated and the consecration is indicated through the writing on the back on the one hand through the purification mantra that is written vertically the syllables om ahum as I mentioned before and on the other hand through what is called the Yidamaheto verse or what I call the consecration verse which is a standard verse in Buddhism a fairly old one that kind of represents the nucleus of the Buddha's teaching and that particular verse is used in this context as a means to consecrate the item with the teaching of the Buddha yeah and that's essentially in this section that is kind of singled out in red on the slide that consecration verse is found it's a text that is essentially written in Tibetan letters but using Sanskrit language so it's transliterated or actually transcribed into Tibetan again this is something that is found in on Indian objects already sometimes even on the front in this particular stele with the Buddha we have the consecration verse written on the halo behind the head and consecrating the item in this way the painting is of course also an embodiment of Buddhist practice and that is represented through essentially the text on the back which indicates different stages of the progress towards awakening with the right attitude what I call the foundation at the bottom worship or veneration as a major aspect of Buddhist practice the actual consecration or initiation into a particular practice of a deity and with that one receives the lineage transmission of that teaching and its practice is supposed to bring one to Buddha hood which would be represented at the very top of course you can read that also from top down as a kind of the blessing of the Buddha that is alluded to in the top verses on this particular painting we also have what I call the timeless body of the teacher represented because quite similarly to what we know of the life of the Buddha the teacher is here represented repeatedly yeah and he's and we know that in this particular painting because his particular speech form is repeated on the back of many figures all along the sides the bottom parts of the sides and along the bottom row of paintings yeah which to us then indicates that in each of these panels the same teacher is represented that is referred to by the verse that is kind of written on this slide and so if we turn it around again and look at these details the 10 fields flanking the main figure left and right show different beings or different types of personalities different occupations royals secular people Mahasiddha even the Buddha and the monkey that represent previous lives of this the same teacher yeah and so like the Buddha had previous lives that led to his final life and awakening the teacher is here considered as having these previous lives and usually these are kind of remembered and then written down and in the bottom section we actually have the same teacher represented over and over again with the same physical features which indicates that this is the last life these are events from the life that he led in the 12th century and the central sections here emphasize a kind of special feature of his life namely that he meditated in a grass hut which is kind of represented by this dormant building that is represented on two of these kind of central paintings of course now if the teacher's portrait is used as like a deity and consecrated like a deity the painting itself of course is also an object of worship like the the the portrait of the Buddha would be and that is of course expressed then in the painting on the back as well especially through the verses that added at the bottom of the inscription but what is more is that in a way the painting in this case represents a more total a more complete form of the teacher himself yeah representing his body on the front speech and mind on the back and it's clear that the painting itself serves as a kind of replacement for the teacher's presence and so within is a Derek Buddhist traditions the relationship of teacher to his disciple is extremely important and which which of course means that usually the disciple when he is at the same monastery he tries to meet his teacher every day he gets teaching transmissions very often but when the teacher is absent you quite literally can then or he can then use the painting as a replacement for the physical presence of the teacher himself yeah and I think that the fact that you have a front and the back kind of so closely planned together make clear that the painting here can serve as a quite literal replacement for the body of the teacher and the teacher's presence yeah and the teacher here by extension stands for the deity that he instructed his disciple to practice and one of these practices is of course that you imagine your teacher in form of the deity yeah and this is exactly what we have depicted here that by switching the position of the teacher and the Buddha yeah this relationship is indicated and the practitioner in the bottom left corner essentially practices the Buddha but the Buddha in form of his teacher and of course we have other paintings that essentially express the same sentiment independent buddhism especially around that time the paintings that I discussed the early ones the two are both of the taklung kakyu school which is one of the schools deriving from pakmojopa this particular drawing that I have on the screen now is from the trigon kakyu school another pupil of pakmojopa who founded his own school and on this particular case I'm not sure if we have a detail no the footprints of the teachers are represented alongside with the deities yeah and of course the footprints again refer back to the Buddha because the buddhist footprints were worshipped and or instill are worshipped throughout the buddhist world and equally here in Tibetan buddhism then the teacher's footprint and which is probably his yeah his actual footprint applied to the canvas before the drawings were made and the outline was kind of idealized is or the worship of the footprint is one of the kind of ultimate symbols of the devotion of the disciple to the teacher yeah in this particular case we see the folding lines of across the canvas and the damage that it made or that it afflicted to the drawing itself so actually this particular painting was probably not really used to hang it on the wall but it was folded up and probably used in an amulet box or something like that that was taken along and we'll see that the on the right side the central panels those were probably the parts that were on the outside the darker ones the the darker sections while everything else was protected from this being folded up so this would be another example but you you essentially find examples of that type throughout the history of Tibetan buddhism around yeah around 30 to 40 percent of Tibetan paintings have writings on the back that refer to the consecration and the purification of the materials and a much lesser percentage has a stupas painted on the back that refer to the mind form of the deity mantras the speech form of the deity found more often but what is in common in each of these is that they quite literally represent the body yeah and the body of the deity the body of the teacher that is represented in front of it and of course what you do in consecration is you essentially invite the deity into the canvas and you ask it to stay as long as samsara lasts and so as long as the paintings were a sculpture for that matter is well preserved it will be a fully functional representation of that deity or of the body of that deity thanks that's my little summary i'm sure there are many questions and we can go to those now thanks very much christian that really interesting session if people do have questions there's a few options in terms of how to ask them so we've got about i'd say about 15 minutes left if you do have questions for us so you can use the Q&A which is at the bottom of your screen you can also write to us in the chat to ask any questions that you have or if you would like to raise your hand and speak we'll be able to unmute you but just do remember that this session is being recorded and we also have ying day with us as well who is a student at soas so if you do have any questions about the student experience do feel free to ask those as well there is one question many of the paintings in the chat it essentially says many of the paintings shown are quite old to what extent have the colors deteriorated in the paintings that we have seen the colors haven't deteriorated much the paintings that i've shown were probably not used much yeah it's actually they are exceptional in the sense that they are so well preserved for the age after all 700 years is to to survive 700 years kind of essentially undamaged or at these good conditions is a rare instance which simply indicates that they probably spent most of their life rolled up in and that's a characteristic of the Tibetan tanker with scroll painting that you essentially can roll it up you have seen the textiles on top and bottom and so you can roll it up and store it and in this way it would preserve extremely long the other interesting element here is that most of the colors are probably not very light sensitive and so they wouldn't be affected by light that much because most of them are mineral colors at least yeah in the majority of Tibetan paintings yeah and there's another question how these paintings ended up in the museum of Europe and the US that's a very good question i think many ended up in museums in Europe and the US uh from work from the 19th century onwards of course in the 19th century the world is kind of you know ethnographic searches across the world uh from different cultures and so ethnographic museums around the world have Tibetan specimens of that time uh as far as they were kind of available to travelers who traveled through the region and tried to essentially buy them at that time uh and then that tradition essentially continued into the 1930s later on many came through the the art market it's assumed that many of the Tibetan paintings essentially left Tibet in the around and after 59 with Tibetan refugees going to India and that they may have sold them off for yeah for because they needed the means in this case and so that these are the early collections but the paintings are actually showed two of them at least only turned up in the 1990s on the art market and they apparently came from a horde of tackling related paintings that is yeah it's not entirely clear where it was but that most mostly distributed through the art market and so we don't have a real provenance for that then there is another one high painting is a representation and there's literally a body sounds very different to me as for example in Christianity as an imprint of the sacred officially not painted that could be repainted or copied yes uh yeah that's a very good question of course I think one always has to be kind of careful with this kind of intercultural comparisons there is in my we don't have a kind of comparable theological discussion in Tibetan Buddhism as we have it here mostly or in Christianity mostly because it wasn't as much contested the role of the teacher for example or the deity itself was never as much contested in that sense and it is also in the in the Tibetan Buddhist context they are not representing anything ultimate yeah they they are representing a means to get to the awakening in itself yeah and in that sense there's quite a different status that the painting has is there an exploration of the paintings within India and Sri Lanka as well I'm not sure you mean it's so as as a whole I we don't have a specialist on Sri Lanka specifically but we definitely have somebody teaching Indian Buddhism and Hinduism so I talk about Indian Buddhist art as well and yeah but not Sri Lanka specifically what museums do history of art students go to of course the in this case the source is extremely close to the British Museum it's just one block away so that's the easiest to go to and then the VNA of course would be another one but as you will kind of know there are plenty of museums in London that you could that have relevant materials and there is also there there are very good kind of library resources as well that have relevant materials in particular the British library that is nearby as well and so sometimes we include those visits into our courses as well was there a tradition to indicate names of artists and artists were artists preferred to stay anonymous I can't answer the second part if they preferred to stay anonymous but in most cases they remained anonymous because they didn't leave their names on the paintings but their exceptions to the rules they are quite a few of artists known from different time periods and from the 15th century onwards we know Tibetan painters that quite literally changed the history of Tibetan painting through introducing certain types of of painting techniques or motifs that were remembered later on in Tibetan connoisseurship yeah and so so in this case then these artists and their pupils are fairly well known and but the same is true for sculptors so they weren't it's not that frequent that we know the artists and so for example from none of the paintings that I showed we know who actually painted them would they have traveled that far I'm not sure what that refers to the artists artists of course would travel and would kind of you know work on commissions across the Tibetan plateau probably most famous among kind of Himalayan artisanship are the Navari artists the artists of the Kathmandu valley which often were invited from Nepal to Tibet to do certain yeah to accomplish certain works like the creation of stupas or the creation of certain paintings and that is a big topic in this case where we know that there is a lot of exchange then an interesting question what is your favorite part about teaching history of art I think my favorite part of that is going on fieldwork and actually doing the documentation myself finding out things that I haven't were that are not known yet and then writing about those and essentially reconstructing history the history of those and I've done a lot of kind of fieldwork in Himachal Pradesh in India as well as Nepal I'll travel regularly there I'll document regularly there and it's like reconstructing the history for the people who actually live there so this is something that I really like about this work that I'm doing do I have a favorite model module that I teach which one interests you most oh I was very fortunate I could build my modules around my interests so I actually like all of them that I teach and yeah and they are usually there are themes of cultural exchange especially the transmission of Buddhism from India to Tibet which is one of my areas that interests me most another area is quite similar in terms of exchange it's the Gandharan Buddhist art where there is a lot of cultural exchange as well as changing Buddhism itself that interests me and then the last question what sort of jobs does history of art feed into of course there is a lot or there are a lot of jobs around art markets and museums and those would be the majority that are available for yeah for students of history of art so curating or assessing objects for for auctions and so on another one okay are there a lot of students that do a combined degree combined with or there are a lot of students that do a combined degree with language and that's a very good idea in principle because if you study a foreign culture you better learn the language of that culture as well and so I studied both Sanskrit and Tibetan and obviously I've seen that in the case of of the presentation knowing what is written on the back and being able to read it is necessary necessary tool to actually interpret the object correctly and then we have another question yeah how these did the courses adapt to the pandemic yeah that's the the problem with the the pandemic is of course that like this particular session we have to teach from home and students actually many of our students currently didn't even come to London they can't actually enjoy the museums we can't do events related or showing them the objects in the museum directly so that actually yeah that cancels out a certain aspect of teaching that we would otherwise include that is probably the more kind of fun part and the most interesting part of the studies because seeing the life object is obviously different from seeing only pictures of it those who are in London of course can visit the museums independently and so they can essentially bring these two aspects together themselves at least as long as they were open now of course the museums are during this lockdown and during the first lockdown the museums were eventually closed as well and so yeah that's definitely affected but I hope by autumn that's hopefully not necessary anymore and that we can teach a regular in classroom maybe with recordings for those who are still can't attend in person and I think we we also have a question in the chat from Elina she's written I'm intrigued by the various hues and colors of some of the deities were some of them black were some of them lack no they didn't actually use lack in any of the the paintings I showed but what they sometimes do is polish the painting painted surface and that gives it a kind of lack like appearance there is rare evidence of lack actually be used in Tibetan painting so it's not unknown but it's it's rather rare with some of the deities black if it's black yes there are deity representations that are black there's actually a whole kind of category of Tibetan painting called naktang which is black painting these are essentially gold paintings on black ground or gold drawings on black ground usually on subjects that relate to kind of death channel ground wrathfulness and stuff like that and so also the kind of positive utilization of that is is painted on on black but I haven't shown a single example in that respect okay great thank you very much Christian and thank you for all those questions as well from everybody I think we're going to have to end the session here but but thank you very much for joining us and all the best the rest of the year and your application and decision-making process as well


ause a plan is presented to the IT director, it doesn't give the opportunity for that person to work collaboratively with input. That input should be given by the person who knows that infrastructure and that setup. So just wanna make sure that that's taken care of at the beginning so that they're not trying to back load things they didn't think of, potentially. It does see, Tracy, I think what you're also saying, well, what I'm hearing is there is a conflict between that third whereas and number two because number two says the IT consultants shall prepare a written plan for migration and the third whereas talks about it. Actually, is it the third or the second? Third, that it's gonna be a collaborative effort to develop that plan. So our whereas is not binding, right? Is that how you read those? I don't know. The terms below that are the more binding? Is that true, Bill? That's correct. If I can, we're sort of at this weird place always. Okay, the town IT director needs to know what they want to do, just in everything.  Just what are you thinking? Are your buildings gonna be connected? Are you gonna have a central phone system? You know, this stuff, and I think one of the things, the village thinks is, well, why don't you tell us what, or why don't you tell us some of the things you think we should do? And his response is, I think you should stay together. Because that's how it was built. So we're kind of like at this place, and so we're gonna meet this week.  Until we have some input from the town IT director based upon some meetings. We're just gonna go in circles. I love that idea. Yeah, that's a good one. All right, let's move on. All right. So these services, did we have any changes in here? Under item number two, the removal of the material event laws. So did we remove that because there's another place where material event occurred, or? I think because it wasn't defined what a material event was. That's correct. It was, I think Sue raised the concern that there wasn't a definition. And as I went back and looked at it, I didn't think it was necessary to have that material event contingency since you meet at the request of either the select board or the trustees. So it doesn't matter whether there's a material event or not, if you need a meeting, you just ask for it. Yeah, okay. And budgetarily, if there's a big change, we, that is mentioned in here. All right, all right. And then the trustees agreed that they're okayed with billing in the second quarter instead of doing it in the first and then potentially again in the second. That was the only. Page, top of page six. Top of page six, right? There's a strike through at such time that the city has notified the town as soon as, yeah, okay. So that's. This was the discussion about the automatically terminate. So the only automatic termination is if one of us goes bankrupt or if we agree to a new agreement those are the only automatic conditions. Seems right. All right, then maybe it looks like this one might be done. Yep. All right, cool. Okay. Do we need to, we don't need to have any more, any executive discussion on the executive session discussion on these tonight, do we? Do we ask for public input? Sure. Yep. Any public comment on any of those documents or the discussion we just had about said documents? See a hand in the room. I don't see any hands up online, right? I don't think we need any executive session on these documents tonight. Not today. No, okay. Then let's move on to the next agenda item. This is the one that I jumped the gun before a discussion on potential action regarding personnel. We need to, as I stated before, the village has stated that they're gonna hire a manager regardless of whether separation occurs or not. And announcements have gone out saying that we're gonna end the joint management. We do need a motion in public, an open meeting to take that action. I think the original memo we got on this included the motion stated in the negative saying should the select board not continue? I think we need to do it in the positive and then if we vote against it, if we don't wanna continue it rather than vote for or not. You get, you know, Roberts rules of order say motions need to be presented in the affirmative. And if you wanna vote against it, you vote no. You don't vote yes for a negative motion. You understand that, right? Yeah. So with regard to ending the joint management agreement, do we wanna have any discussion? You've discussed it quite a bit. We'll ask for any public comment. You'd like to comment on the possibility of ending the joint management agreement. Raise your hand. I do see a hand Lorraine. Yeah, I'm sorry. I'm not clear on what you mean by that. What are you ending? Does it mean that Evan would be only hired by us? I, or, because this contract ends in February, is my understanding? So the contract ends in, there's two documents. There's a, there's an MOU that establishes the joint management agreement. It's that MOU that we're discontinuing. And what impact does that have if you ended? The impact that has is that the village from the period from February 25th or whatever the, no, there's, so it's tied to Evan's contract as well. The MOU is very specific to Evan. It actually, the contract says, the MOU says that Evan is the joint manager. The contract that we have with Evan runs out February 25th. And so beyond that date, he would no longer be managing village affairs. They will need to have their own, and it also impacts HR support because there's a menu I guess of support that they've gotten through the manager's office that effectively will end with the termination of the MOU at the end of Evan's current contract. So does it mean that the town would fully take on Evan's salary? So we will have that discussion as well this evening. But that's part of the impact, I assume. Part of the impact, yep. And in a sense, does it kind of end Evan's job description? Because it's no longer your joint. We need to make, we're gonna make two motions tonight. And you may want to wait and see what transpires. All right, I'm just looking for impacts and potential. I'm not saying it won't be the way, I'm just trying to understand what you guys are actually discussing the potential impacts of it. Yep. All right, thank you. Yep. It also looks like there's someone waiting in the lobby or something that says something popped up on my screen. I just got it. I don't see somebody, they've been let in. They've been allowed in. Which I guess reminds me there's somebody who's identified as initials RM for the record. Can you identify yourself so that we can put you in the minutes? That was Regina's. That was Regina? Ah, okay. All right. So having had that awkward discussion, do we, somebody have the motion for the, ending the joint management agreement available? Or do you want me to go find it and make it available? That's because I don't think we had one. It's in the confidential folder. It's in Greg's memo, yeah. But it's in the negative and you said you wanted to make it. Yeah, you gotta reword it, hang on. Gotta be honest. I apologize, Andy, where is this in the specificity of the agenda? I got to F, G, shared services, H. This is not in there. I feel like we're discussing confidential and possible action on employee and personnel matters, but this is supposed to be executive session stuff. Well, we need to make a public motion. Right, but if we do that, that would be after discussion for the executive session. But I believe we still have some communication that we need to make as far as personnel matters go that's going to become relevant in there. I'm just asking because I agree that. Did I miss the intent here? You've discussed the shared manager, MOU. There's an announcement that's been made about the shared manager MOU and the select board has not taken any public action on that yet. Discussion's been had. I don't know if there's anything else to add about that piece of it. Staff didn't want to talk personnel, appointment of personnel, with you in executive session. There may not be another motion after that. I think for the shared manager MOU, I haven't heard anything new or to prevent you from making a motion, but that's up to the board. We need to have more executive session discussion about shared manager. No, I think the fact that there was already a public statement made. I guess I'm just concerned that I'm not sure that I see this on an agenda that the public would have looked at and said, hey, we're having discussions about. So in case people wanted to have comment. Yeah, I mean, really the extent of what's in here is simply discussion and potential action and it specifies that. We will likely be going into executive session, but there are no specific details. So I'm not. Discussion, yeah. I'm not terribly comfortable with it. Yeah, yeah, I getcha. I getcha. Right, right, right. I don't think personnel equates to MOU. Right. I'm talking about that. Yeah, right. Oh, I see. I mean, I may be cutting hairs, but if I was a member of the public looking at this, I would not have, I would not have looked at that and thought, hey, maybe I should show up because they might be discussing. Very good. The, by name of you, sorry. Okay, great. It's one of those tricky areas. I mean, if we try to be transparent in the agendas, we try to let the public know what's happening, but sometimes you need to have the discussion in executive session about a certain topic. Let's put it off for another two weeks and you basically put that, have that discussion in executive session and then direct staff to put something more specific on the agenda for the next available meeting. I think that it's a personnel decision. It's a personnel discussion and didn't specify it in the agenda because no decision had been made yet and it had been a confidential discussion up until the announcement was made. And it's one of those things you get, trying to respect confidentiality, trying to respect decisions that haven't been made yet and trying to respect the board's ability to have essentially difficult conversations about employment of personnel without saying exactly what this decision is when you haven't reached that decision. I, with regard to the joint management decision has already been made public, there is some concern that if we have public discussion about it, it could turn into a mud slinging event that would be inappropriate or to manage. And other board members, if you think about going forward with a... Because it's been publicly announced, I don't see why you couldn't just vote to accept the trustees part of it. They voted to end the MOU. They haven't got joint-shared managers? I think because it was a joint MOU, that's like what Austin will need us to. So we can each individually withdraw from it and then effectively. Because you can't have an agreement without the other partner. But yeah, yeah, yeah. Let me go. I'm happy with whatever the majority. No, I said because it's already been... Go ahead, I'm sorry. You're turning it present. We can ask them the question of procedure. That's a good point. So Bill, you have thoughts on whether we can go forward with a motion to end the joint management agreement or would it be more appropriate to warn an agenda item with more specific language that would result in effectively codifying a decision that's essentially been made and announced? I would say the latter. I agree with Patrick's view. Yeah, yeah. All right, it is. It is what it is, but why not just put it on an agenda?  Yeah, okay. Okay. Anybody have any? Yep. I think that's... That's legally covered that way too. Very good point, Patrick. Yeah, sorry.  As much as anyone. No, I think it's better to do it. Yeah. Hard lesson to learn when you do it wrong too. So thank you. Yeah. Well, and when Andy reads the rules, there can be no mud flinging, how's that? Yeah, yeah, yeah. That's, I'll have to write her down folks that starts happening. Okay, and then in which case, then we probably do at this point want to go into executive session to have more discussion and maybe we may come back and make a motion from there. So, but first we need to finish the rest of the agenda and then we'll come back to the... So, okay, moving on to consent agenda. I'd like to make the motion. We accept the consent agenda. Thank you. Thank you, Don. Thank you, Tracy. Any further discussion? All those favor, please say aye. Aye. Opposed? Okay, consent agenda is approved. Reading file. Any board member comments? Just a, an ask. The upcoming meeting schedule. Do you highlight if there's changes made to it? Or can it be high? Like, I look every time like it's in every packet and I always compare it to like the last one to see did something get added in or moved or changed or whatever. And I just, if there's a way to say like, this is a new meeting or the date changed or whatever. We generally don't add meetings unless the select board asks for them. Okay, so the assumption is that there's nothing different. I can talk to Tammy and see if she has any ideas of how to highlight it, but generally it's something that's been discussed on the board. Fair enough then. I'll assume no change. Right. Thank you for the winter salt information and the also the landfill certification. It's good to get that done finally. Thank you for that. Right. Another board, all the public board. Yep, yep, do good stuff. Right, anything else? Okay, then let's circle back to the executive session for discussion on protectional action regarding personnel. Whoever makes that motion, please add HR director to the list. And the attorney. Attorney's in there, I think. Okay. Yes, he is. Anybody got the... I have it up. Go ahead. I move that the select board enter into executive sesh to discuss the employment of a public employee in accordance with one VSA section 313A3 to include the town attorney, unified manager, deputy manager, assistant manager and HR director. Second. Thank you, Sue. Thank you, Don. Any further discussion? And right, we may or may not come back, but we will not come back on TV. We will come back to teams and come back down here to the room. Irene, I assume are you gonna hang around?  Okay, so we just joined back on teams. Okay. All right, thank you. All right, all those in favor, please say aye. Aye. Opposed? Okay, we're up in your office now. Yeah, well, yeah, we're gonna have to figure that out. They removed the TV this week, so I think we're done.


We're here today to collect water samples off the coast of Fukushima. You see the nuclear power plant behind me to analyse for various radionuclides in the water. The government of Japan invited the IAEA to participate in the sea water monitoring plan by providing expertise and providing independent analysis. We conduct these inter-laboratory comparisons where we compare results and we also conduct proficiency tests where we test various laboratories in Japan for their performance. We sent experts here earlier this year to collect samples and those samples have been analysed and compared with the results here in Japan. The results of the previous analysis show that the data that is being reported by Japan is very accurate. Our results were identical with the results coming out of Japan. What we do with the samples here is that we divide them in two. Half of them are analysed here in Japan and half of them are taken back to the IAEA laboratories in Monaco. Our results are compared with the results that come from Japan. By looking at the two together we're able to increase the confidence that we have in the results. Those results are made public so that people can be more confident in the data that is being reported regularly here in Japan. We will be conducting a number of missions just like this one over the next couple of years. Repeating this process time and time again the more times we do it the more confident we can be in the results that we produce.


When we come to CITEP CITEP cooperation, basically there is much that one can say about it in line with experience sharing, in line with understanding each other and also in line with supporting one another in terms of development specifically on technical capacities as well as food waste management is concerned. So with the set of jigari, as a technical person there is much we have got out of this cooperation and what we expected most was about getting more knowledge and more experience on how food waste is being managed. Kenya can't have the knowledge to do everything on its own. We have Milan coming in, we have Rwanda coming in and it's all different stakeholders with different intellectual skills, different, you know, that collaboration, that partnership, it's just about learning new things, sharing knowledge and with this you can even get better ways of managing food waste. We can get better understanding of how other cities are managing their food, can we implement it in this other city, will it work and all that collaboration that just sharing of knowledge and ideas basically is what I find really important. From jigari, I think I was able to, I picked that they also trying to bring up initiatives for implementation through institutions since I think it's easier to manage food waste through institutions before we can get to introducing the same concept to household level. This nasty situation due to the virus as we all know somehow forced us to set up an online platform that acts as a repository of Milan's good practices. I think one of the most interesting things about the platform, it came at a timely time if I may say so because of current situation in the world we can't meet face to face and it pretty much provided the necessary materials whether you could read all the materials in regards to the program, you could watch videos in regards to what Milan is doing, what other different countries are doing and I found that quite really interesting. It wasn't a situation whereby we had to go in a classroom, meet and get to learn these things but readily available at the click of a button. Videos that were done within the different institutions or the different, what do I call them, estates the residential areas as the people who are doing the different food distributions that it was actual, the people who are teaching us or the people who carry out the projects so I liked that about the platform training. And then the attitude change among our people so that they get to appreciate that food waste one can be a resource, it can employ and we can address it in a better way than just putting it in the dustbin in whatever form it is. Saja Corporation really help in bringing up the cities and actually you learn from your colleague, you learn from your sister city you know if they have done this one, which challenges have they made which steps have they passed through so in that way it helps also your city to plan and move according to what you have done from your colleagues. So it's all about basically learning from one another.


You hired me to keep a mob from lynching a man. Now you want me to hand them over. Just which side of that badge are you going to stand behind, Sheriff? Gun. Will Travel. Starring Mr. John Daener as Paladin. San Francisco, 1875. The Carlton Hotel. Headquarters of a man called Paladin. This is excellent, Sherry, hey boy. My compliments to the management. Oh, if I tell them about compliments later, Mr. Paladin, they ask me to give you a bill. It's a good idea not to tell them compliments to remind them you were wrong. Take this back to them. Tell them it'll be settled in a week's time. Oh, they'd be very happy. Then bring me some more Sherry. After that you better run up and pack my clothes. You going away again? To a place called Arcadia and to a man named Grayson. Oh, what for? It depends on Mr. Grayson. He happens to be a sheriff when he happens to have a prisoner. Everyone wants to lynch. Do you know you're coming? Not yet, but send him a wire.  Correct.  Not the kind of place a man wants to meet when he's too tired to understand anger and too weary to care about deceit. The greeting committee was a weather-boned woman flanked by a pair of burly men. I walked to where they stood, blocking the boardwalk. You got business in town, Mr.? Yes. Who was? The sheriff. About the Briggs murder? Yes. What's your name, Mr.? Paladin. Get on your horse, Paladin, and keep going. We don't need outside help. Tim Briggs is my son. I'm sorry, Mr. Briggs. Not Mrs. Briggs. It's Wither Briggs. No husband, no son. Just Wither Briggs. Good day, ma'am. Excuse me. Barry? You and Boke go back to the ranch. Get Tom here. Tell him the sheriff's tired of guns. Reach up. Sheriff Grayson. My name is Paladin. Oh. Come in, Paladin. Sorry about that gun in the belly. It's just that I got to be a mite careful about who walks in here. Not bad? Not yet. But it can be. They want to hang my prisoner without a trial. I'm glad to see you, Paladin. I guess I don't have to tell you that, but... I suppose I ought to tell you it'll be just the two of us. I can't get any more help. Have they tried anything yet? Just talked so far. But they know the judge will be in from Placer Wednesday. Gage will do more than just talk before he gets in. Excuse me, Papa. My daughter Julia, Miss Paladin. How do you do, Miss Grayson? How do you do? Can I take these cookies to him, Papa? Sure. Come along, Miss Paladin. You can have a look at our prisoner. Mr. Grayson? Hello, Julia. Hello, Andy. I don't send these cookies, Andy. Andy. Julia. Last night, I heard an owl. Did it keep you awake? I pretended it was you calling to me that it was time for us to go in a picnic. Out to the old barn? Yeah, Andy. Try one of these cookies. I pretended it was you calling. Andy. Andy. All right, Julia. Paladin, let's go out front. How long has he been like that? Since he was a child. He followed Julia around like a puppy, as for years. A man like that can't be held responsible for his acts. Try to tell that to the wit of Briggs. They found Andy in the old Smith barn near the body. Jim had been stabbed between the shoulder blades with a stake or a spike or something like that. Nobody ever did find out what it was. They say a person like Andy probably didn't know he'd done it. Just sat there.  Keeping a mob back is. It'd be easier to do if we could establish some reasonable doubt about his guilt. Is there anything in that barn, any murder weapon? Nothing, Miss Paladin. There's a murder weapon somewhere. Our job is to find it. There's always something.  Something to be sad, something to be explained. Something to be done. But then again, there's always the exception. The one chance that there's nothing. Huh? Let go of it. Down the street. Widow Briggs. Get in the other room, Julia. Don't let him have him. She'd have brought more men if she wanted to force a showdown now. I hope you're right, Mr. Paladin. The one riding in Calico. Who's he? Tom Chisholm. He was a friend, Jim Briggs. Now, he might be trouble. I'll handle it, Sheriff. It's my job. Just stay on the side, Grayson. Hello, Mr. Briggs? Mr. Briggs? His name's Paladin. You're tall and loose, Mr. Paladin.  Well, you seem to tell a cut in a notch on you. You want to try, Mr. Chisholm? Just might be I could beat you. Great, Tom. It's a dainty time for that. We've got to even things for my son, Jim. For your friend. His man's thinking to stop it. No, he ain't. He's got me sent. Tell Neil Grayson he's turning Andy over to us, Paladin. He stays here until he gets a fair trial. Now, Grayson will give the boy a fair trial. You hang him. I ain't here to argue points with you.  The town don't like gunslingers moving in and we're taking matters into our own hands. The men are coming back with me at three o'clock. We want Andy then. I hope you ain't got the good sense, Mrs. Briggs, thinks you've got. I'd like to cut a notch on a county youth. Three o'clock. Shock. Come on, Tom. It just won't rest until she sees Andy hanging from a tree. Paladin, maybe I got you into something bigger than we can both handle. We've got two hours, Mr. Grayson. Well, it can be done in two hours. I don't know. But there has to be some explanation. A man in there can't explain it. He has a child's mind. Man? Even a man like Andy doesn't kill someone and then hide the weapon he used without hiding the body or trying to get away. There's no way of knowing how Andy's mind would work. Besides, where the Briggs and the others wouldn't listen to words. No. No, it has to be something they can see. I'm going out to that barn. I want to go, too. I want to help. Ah, Julia. Papa Andy's my friend. I may be the only friend he's ever had. Mr. Grayson, what? I think it's a good idea. Julia. Yes? Julia, why would Jim Briggs come up here? Why not? He might have come up here with somebody. He was quite the bold rumble. Woman? Yeah. A jealous woman might have killed him. Yes. Yes, he had a lot of friends. But he was true to none of them. Well, any of a dozen people could have killed him. Like who? Oh. There was Bessie Carraday in the Baltimore house. Bessie doesn't let many men run roughshod on her. And there's Jill Prentice. She taught school last year. And then there's a marty dealer. Jim had a terrible fight with a few months ago. She pulled a knife on a man. And then there's Jim's own mother. She used to get jealous of any women Jim had got serious about. And then... And then... And then there was you. What? Were you a friend of his? Well, Mr. Paladin, I... Were you? Yes. Is that Saddle Spike over there on the wall? The weapon that killed Jim Briggs? Yes. Mr. Paladin... And he didn't do it. Oh. I am the one who killed him. How? I pushed him against it. I didn't mean to. It was an accident. Go on. I met Jim here. It was the first time. He was used to having his way. He took it for granted.  You ran away? Yes. He died without knowing that Andy was somewhere around. Yes, I couldn't tell Papa. He'd never believed that that was the first time that I met Jim here. It would have destroyed him. Man's life depends on you, Julian. Julian, you'll have to tell your father. I know. He rode back to Arcadia without speaking anymore. There wasn't anymore to be said. But there was a lot more to be done. The man's life had to be saved. And another man's life had to be ruined. Julian? What is it? Paladin? Julia has something to tell you, Mr. Grayson. What is it, Julian? What I have to tell you is... I killed Jim Briggs. No. I did, Papa. I did. You tell him, Mr. Paladin.   Put the gun away, Grayson. Andy's a clawed, a vegetable. What's he got to live for? Andy didn't kill him. Stay back. I've got to protect my daughter. Nothing will happen to Julia with an accident. No one will blame her. Papa, Papa. Get some things together, Julia. Sorry, Mr. Grayson. Please, Paladin. She's my daughter. Stay with him, Julian. Paladin. Mrs. Briggs. Chisholm, listen to me. There's no need for this sort of thing. We can talk. We've done all our talking, Paladin. Don't try it. I've got five more bullets for five more men. That's the way it has to be. Is one of those bullets for me, Mr. Paladin? Mrs. Briggs, time you knew. I killed your son. Julia and Andy almost ready, Mr. Grayson? Almost. The stage is leaving pretty soon. So many years thinking I was a man of principle, upholding the law, and then I find myself acting like a criminal, or a human being, or just a father. No. No, not where my job is concerned. You're only a man, Grayson. Not a monument. The best man is only that way because he's a human being. Maybe. I'm going to give up his badge just to sing. No. That would accomplish nothing. That must be a bad excuse for a father. If he couldn't even trust me to come to me, tell me what she'd done. So that's what's bothering you. Perhaps it'd be best if you knew the truth. Come on. What I'm doing, you just watch. Yes, Andy, you'll like it. There'll be nice people to take care of you and things to do. Now watch. Ready, Julia? Oh, yes. All ready. Come along, Andy. Oh, never mind. If you come on with me... Let me go! Let me go! You, come with me. Let her go! It's all right now, Andy. Yes. You knew. Yes, I knew, Julia. Take him outside. Come on, Andy. Andy killed Jim Briggs after all. Of course. How did you know? Well, it didn't make sense to me that Julia hadn't confessed immediately. Not of it was really an accident caused by Briggs forcing his attentions on her. Then Briggs was slammed against a saddle hook higher than my shoulder. Julia couldn't have done that. It had to be someone with strength enough to lift him. Andy saw her struggling with Briggs and moved into protector. Don't ask her about it. She wants it this way. All right. I can't let Andy go free. That hospital can take better care of him than any jail in a lynch mob. Yeah, I guess so. Mr. Grayson, you keep right on wearing that bench. You've done a good job with this town and for your daughter. Oh, Mr. Palady, I don't see you come in and already you're going out. Where to? How come? I got back from Arcadia an hour ago. Oh, you have dinner? Now at the warp. But now at After Dark, where you go? Opera, dancing, driving in part? For a walk. A walk? In dark? Why not? Alone? Why not? Well, you are pretty lonely out there. Foggy damn fog around. Pretty spooky, I think. Hey, boy, have you ever walked around San Francisco after dark? Oh, I don't know. You could try it sometimes. San Francisco is a wonderful city. Filled with excitement and adventure. This is just the sort of night to find it. Do you feel good? I feel fine. And so, good night. Good night, Mr. Palady. You're back. Nice man like me, Mr. Palady. Hey, goodbye. Have Gun will travel. Created by Herb Meadow and Sam Rolfe, he is produced and directed by Norman McDonnell and stars John Daener as Paladin, with Ben Wright as Hayboy. Tonight's story was written by John Mubow and adapted for radio by John Dawson. Featured in the cast were Lynn Allen, Harry Bartell, Virginia Gregg, Barney Phillips and Richard Perkins. Cute Douglas speaking. Join us again next week for Have Gun will travel. Here's a tale of two trigger-happy suitors with hair-trigger tempers on Gunsmoke. Next on the CDS Radio Network.


Make sure you guys drink a water. Make sure you guys are eating. Now make sure your weapons clear and if you need CLP My name is Alexa Sacroponte and I'm a cadet with the Culver battalion Hofstra RTC So I got recruited to play softball at a Delphi University And I saw that they had an Army RTC program. So I wanted to serve and play softball. So that's how I ended up here So we're out here qualifying today in preparation for advanced camp this summer, which is something that MS3s go to In Kentucky and we learned how to be a future officer So I'm hoping to branch aviation took the Civ test just waiting on the physical. So we'll see if I get that If not, I'm looking armor military intelligence, but my main is aviation I'm looking forward when I Commissioned to just being in the real Army getting at a cadet world and seeing what that's like being around soldiers You know just immersing myself in the army basically the OCs from the 174th infantry brigade have been great today We don't get a lot of hands-on experience with weapons So they've been showing us everything helping us zero and then helping us qualify


What's on internet? This is a video right up for the challenge, EXT Super Magic from PicoCT at 2018. My name is John Hammond and let's just dive right in. This challenge does not have a whole lot of solves and I think it was kind of a really struggling point for a lot of people. It's in the forensics category, it says, we salvaged a ruined EXT or EXT Super Magic 2 class mech recently and pulled the file system out of the black box. It looks a bit corrupted, but maybe there's something interesting in there. You can find it at this location on the shell server and we have a download. So you can download it with Wget. I've got it in my file system already. I've downloaded it already. And what do we do with this, right? It's a forensics challenge, so we can run foremost on it. We can see if we've got anything in there. So JPEG, EOG, all these things, but there's nothing good or particularly visible here. You can try and make out some text, but all it's trying to tell you is that your flag is in another file. So this is a rabbit hole and a red herring. It just kind of sucks. It wasn't very good for us. So binwalk, right? Strings or anything we could do to try and get some information out of this. Exit tool, nothing really good here. Flag.JPEG, could I unzip this kind of thing? Like what? I didn't know what to do with it. So I checked the hits, right? You can do that. It's PicoCTF. That's cool. They say, are there any tools for diagnosing corrupted file systems? What do they say if you run them on this one? Sorry for my stutter. Getting all excited here. So this is FSCK, File System Check. And we could run this on it, right? We could just simply run FSCK and try and tab autocomplete. But it would normally just try and want to run it on some of your devices. So if I tried to LS and were to give it simply this, it wouldn't want to work with it. I admittedly didn't know, like, okay, what do I supply here? I don't know anything about this thing. Do I need to give it a superblock or a block size? I don't often use File System Check. But I kind of noticed something in that this was EXT4, FSCK, File System 4. So I tried to see are there any other FSCKs that I could work with? FSCK.EXT2. That seemed to be a thing. So maybe I could run that on EXT Supermagic. It seemed to want to work with it. And it seemed okay. It read it just fine. But it told me everything that I kind of expected. Like, okay, it's corrupt. It's broken. There's something wrong. Bad magic number in superblock. Superblock invalid. Bad magic number in superblock. So this rings a bell, right? Knowing the challenge prompt, knowing what it is that we're actually working with here called EXT Supermagic. Maybe EXT has got to be the File System. Super's got to be the superblock. And magic number has to be the superblock thing. I'll probably say 2 class because it's EXT2. We could have tried EXT3 or whatever we wanted on it, but I knew that one kind of rang a bell. Looks like both would work. Nice. But EXT4 handles it just fine as well. Weirdness. So now we kind of have a little bit more of an objective. We know that the superblock is kind of corrupt. It has a bad magic number. That's why if we were to run File on this, it won't tell us straight up, it's an EXT file system. It won't tell us what kind of file system it is or what kind of file it is. It just thinks it's data. So what I did from there was I tried to kind of Google and look around. I figured EXT2 File System, superblock magic number as you could see in my history already. Superblock magic number. And you can see some research that I did. I went straight to Sack Overflow, the user, whatever the case may be, and I read this thing, this article where they said, okay, they had a corrupt file system. The magic number was broken. And they say the magic number is a sequence of bytes that use in all files in certain formats, usually at a given position, typically at the beginning, that kind of note the signature or the fingerprint of that file. So when we're applying this to a file system format, for example, EXT2, EXT3, EXT4 File System always has the bytes 0x53 and 0xef at positions 1080 and 1081. So good to know, right? Maybe that is something that's wrong. We can go ahead and check that out. If the file command were to run on it and it would be able to recognize the bit by those magic numbers, then it would properly tell us it's an EXT file system. But since it didn't, maybe this is wrong. So let's go ahead and check it out. I don't know if HexEdit will be particularly what we want to use right now because we'll see the position just in Hex. Yeah, that's no good. I want to go ahead and try and run this with like Gex or something, EXT, Supermagic. So now I have a specific one that I can go ahead and go to. So a GUI that I can use and I can hit Ctrl J or from the file menu to go to byte. And we want 1080 and 1081. So let's go to 1080. And now my cursor is there. But you can see that it is not 0x53 and EF. So let's change those. Let's do 0x53 and 0xEF. Great. Now I can save this, save buffer EXT Supermagic image. And now if I go ahead and check this out, if I run file on that, it says it's a Linux file system. Okay, let's try and extract this or not extracted. I'm sorry, but mount it now. I don't know if Foremost will actually work on it any better now. I don't think it will, but we can go ahead and mount it. Let's just create a mount point directory. Mount mount, sorry. Let's correct that just for good sake. And we'll go ahead and mount this file at the mount point right here. And we will need to be root. So let's sudo that. Enter my password here. And now I have mount point. So let's CD there. See what we have. Wow, lots of stuff. Will flag.jpeg actually open for me? It will. You can zoom in here. Interesting picture. Your flag is this. So let's take note of that. I didn't mean for that. That's split. Let's move up in the directory, get in the proper place, and let's run nano for flag.txt. Try and type out our flag. Picoctf a7db29 ecf7db9960f0a19fgge9d00af0. Again, your flag may be very different than mine because of Picoctf's random generation. So keep that in mind. Did I type it right? I really free and hope so. I think I did. Yeah. All right. Cool. So that was that. I struggled on that challenge for a long time, and I think a lot of people did. Like, don't hesitate. Like, don't be ashamed. No worries if you did. Look at how many people solved this challenge. So it took a lot of time, right? But that's the point of a catch of the flag.  Just you don't give up. You're trying offensive securities logo, and eventually you'll track something down. Research is good. Finding different tools are good. Just trying to figure out what you can do to examine this from many different angles and many different perspectives until you get something. So let's mark that challenge as complete. We did it. Before I go, I want to give a quick shout out to the people that support me on Patreon. Thank you guys so much. I cannot say it enough. $1 a month on Patreon will give you a special shout out just like this at the end of every video. $5 or more will give you early access to everything that are released on YouTube before it goes live. If you did like this video, please do like, comment, and subscribe. Join our Discord server, link in the description. It's a cool community full of CTF players, programmers, and hackers. You can hang out with people just like me or anyone else, or get a hold of me. And they're just super smart people, like guys in the computer science, cybersecurity scene, programmers, and sweet things. We're going to be tackling a lot of catch of the flags as they come up, so it's just a cool place to hang out. Thanks for watching, guys. Hope to see you in the next video. Hope to see you on Patreon. Take it easy.