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zero accounting software accounts payable agent reports get ready to be an office hero with zero support accounting instruction by clicking the link below giving you a free month membership to all of the content on our website broken out by category further broken out by course each course then organized in a logical reasonable fashion making it much more easy to find what you need than can be done on a YouTube page we also include added resources such as Excel practice problems PDF files and more like QuickBooks backup files when applicable so once again click the link below for a free month membership to our website and all the content on it here we are in our custom zero home page we set up in a prior presentation scrolling in a bit holding control down up on the scroll wheel currently at 175 percent zoom in opening the demo file but going to reset it first that will reset the data and open the demo we're going to do the setup process we do every time duplicating some tabs to put the major financial statement reports in right click in the tab up top to duplicate it right click in the duplicated tab to duplicate it again back to the tab in the middle we're going to go to the accounting drop down and bring the balance sheet into play here the big balance sheet tab to the right accounting drop down we now want the income statement or profit and loss report tab to the left in the date drop down we would like a custom date for 2022 and there it is update that report now when we're thinking about our reports these are the major two financial statement reports and then all other reports generally give more information about one or multiple line items in it we're now going to look at the accounts payable which has a similar related report as the accounts receivable the accounts payable representing us owing money to others to vendors to people that we bought goods and services from on account in essence and we can we have to give more information about it because this is just one number so we don't want just the information by date if I drill down on this number that's gonna give us the transactions that constructed the accounts payable by date the bills increasing it and then the receiving of the payment from I mean sorry the paying of the bills decreasing the payable going back to the balance sheet what we would like to see is a report breaking out by vendor who we owe the money to and more detail than that by how old it is that we owe the money to these vendors so let's go to the second the last tab right click on it and duplicate it again and open up our aging report to check it out accounting drop down reports we're gonna go into our aging reports down here payable and receivable aging age payable summary let's do that one and so there it is so it looks like the aged receivable summary but now we're talking about people we owe money to or companies that we owe money to let's hit the drop down up top let's customize the date range bring it on up to the 31st and okay so now we've got the same point in time the bottom line of the report and the total down here breaking out who we owe the money to should tie into what's on the balance sheet 10,000 291 84 tying out to what's on the balance sheet here 10,000 291 84 so let's just give a quick recap of when this report would be useful if I go back to my flow chart now we're up in the vendor cycle this means that we're paying for goods and services that we're gonna use within our business at the end of the cycle we expect money to be going out now if we do that and we just pay people in the most simplified type of way say when we just pay them electronically maybe and then we use bank feeds to just record the expenses as they become due as they decrease the checking account with like a check type form then we're using in essence a cashed-based type of system and we won't have any accounts payable account in that case because accounts payable is an accrual account however if we're receiving the bills entering the bills into the system that's gonna increase a payable account and then we'll have to track and manage when those payable accounts are due and then pay off the payable account now notice that small businesses oftentimes are might be on more of an accrual based method for the revenue side if they're in an industry that needs to invoice like a bookkeeping firm law firm but might be on a cashed based system for the the vendor side or the expenses side due to the fact they can just make electronic transfers either with credit cards or bank transfers in that instance and therefore don't have to manage the accounts payable but as the businesses get larger and larger the management strategy of trying to pay your bills as late as possible becomes more and more important in other words if you're gonna pay your utility bill either today or 15 days from now because it's not really due until 15 days from now they're not gonna penalize you if you pay them 15 days later doesn't matter if that's the only payment you're making but if you make thousands of payments that 15 days becomes more relevant and if you make very large transactions that 15 days becomes more relevant so you want to hold on to your money longer and so then you can have again full departments that are there managing the accounts payable trying to pay out the payables as late as possible in such a way that they can hold on the money as long as possible while still taking advantage of any kind of discounts they can get and whatnot from paying sooner that's the game generally but the general idea is that you won't have accounts payable unless you're doing an accrual based kind of method for it if you have the accounts payable then again you see just the amount that you owe to to vendors here but you generally would want to sort that now you might sort that in the system say by going to the business drop down and sorting your bills bills representing things that we entered into the system that we have not paid that we have not paid and go to the awaiting payment these bills then are the things that increase the accounts payable so you would think if you totaled up these bills it would tie out in essence to what's on the balance sheet for accounts payable we don't get a total here because that's not how it really works but generally in here this is where we would often go to manage the payment of the bills or we can go into the contacts drop down and the suppliers and now we're sorting same information but by who we owe to and we can go into a specific supplier if we have a specific supplier question however it's nice to see a nice formal report breaking out that same information by vendor who we owe the money to because you get the nice total down here which helps you to visualize what is actually happening how are these payables actually tied into the accounting system they're part of the they are the accounts payable account they tie into the accounts payable and then we can also sort by how outstanding the items are with our nice 30 60 90 and older kind of outstanding brackets which gives us a good visual of which which items are going to need to be paid and when so if I go back up top here you got the similar kind of kind of options you've got the due date so you could sort this by due date which is probably most common or the invoice date which in this case you might it might more formally be called the bill date notice that those terms are kind of interchangeable a bill and an invoice depending on which side of the table that you're on we're talking about accounts payable here so so we're talking about stuff that we bought from somebody oftentimes you know some people get a lot more strict with those terms but you have to understand that when you're in accounting software you're you're using terms a little bit differently than you would use in main parlance type of terms so a bill oftentimes people would say well that means that you entered something into the system that's going to increase accounts payable from a strict accounting software standpoint but in the broader standpoint you could bill someone else like you could that which we would call an invoice from an accounting standpoint but you could call it a bill you're billing someone so we have to use a terminology from a specific side of the table when we're thinking about our accounting transaction so you gotta gotta get your mind wrapped around that and then you've got your drop-downs here so again we could add more periods like we saw with the aging so maybe I want four periods of 30 you could change from 30 days to some other period week and month so I'll just add the four updated just so we can see the change so there we have it here and then you've got your column so you've got the aging contact contact account number contact group you can add the email for example outstanding tax you can add the phone if you wanted to so now you can kind of organize this if you wanted to print it out for someone so that they have the contact information and you could you could you could contact them and plead for an extension or something like that depending on what the case may be and then you've got the group by document type and your filter options that are similar to what we saw with the receivable side of things so the bottom line is accounts payable is only going to be on the account on your books when you enter bills if you're on an accrual system for the vendor side of things for the payment side of things it's only going to show you the total amount here which represents in essence the outstanding bills and the payables you want to break this information out not by date which you can get by drilling down on this data but rather by who you owe the money to and then you can break that further out by the aging report and then in practice when you're actually going in and paying off the amounts that you owe to these vendors you would be going into either the the vendors themselves here or going into the pay bills and items and the ones awaiting payment in that and we've seen that process in prior presentations


It used to be pepperoni and pineapples, but then I stopped eating pork. But I still love pineapple on my pizza. So now I just do it with chicken. My cell phone. Tissue. I have tissue. Secret party drink. Margaritas. I don't make them. I drink them though. I drink them really well. Depending on whose party it is, I am known to become the impromptu DJ. I'm known to switch up the music and really get it going. Double Decker is something. Like a lot of meat. Yeah. Um, I mean, I'd probably just be like a club sandwich. Sounds, yeah, cool and classy. Think there's as long as arms. I feel like there's more, still awkward, but more that you could possibly accomplish. Yeah, yeah, maybe the same. I don't really watch reality TV, honestly. I don't neither. How do you get a Canadian to say sorry? Punch him in the face. Yeah, that sounds like that. Probably something to my mom. She was wondering why we haven't been communicating. It's because we're like, the time difference is crazy different from here in Toronto. So I just had to let her know, like, ma, in London, I'll get you back when you're awake. Probably my publicist is telling her what I wanted for lunch. I usually just do like a peace, like a peace sign. Like it just, you know what I'm saying? Like, am I looking so fine? Finding love. Something serious. Always serve face and selfies. I rarely smile in selfies. Brandy's Cinderella is what popped in my head. Yeah. Yeah, I mean Cinderella, classic, for sure. You didn't really have a whole ton of time to rehearse. It comes with having a small budget in New York. So we pretty much just had to hit the ground running. Do our work beforehand. Understand that this film was riding on the love between Tisha and Fani and making sure that that was believable. They, I think, took three scenes from the script that we were working on. And ultimately, it honestly just felt like a rehearsal. We would do the scene one way and then Barry would give us direction.  And yeah, and I don't know how chemistry is gauged necessarily, but like, I feel good about it. And guess what, it's all right. I learned so much about being confident on a film set. Yeah, just really, you know, owning the space of like, I'm here, I have a right to be here and I got some work to do. I think my favorite thing about working with Kiki was just like, you know, just her energy. She had this like, raw energy that she don't really get to see in actors or actresses who have been around for a little while. So I appreciated that. Definitely have their awkward quality to it. But I think what's special about this film and Barry's direction is that it's not even, like it's not even a sex scene. Like it's a love scene. It's just they are taking this next step in expressing how much they love each other. And what's wonderful about Barry is that he allowed that moment to take its time. It wasn't rushed and it gave us time to, you know, really keep checking in with each other, you know, as Tish and Fani, but then also as Kiki and Stefan, like, okay, now we're doing this and gonna keep on going. Definitely when the family was together, like if Coleman was there, if Coleman was on set, we definitely were having a good time.


If we have a different number of balls to place across those five boxes and we do still do so in a Random manner, then we can calculate how many balls would be placed in each box on average for example if we had 30 balls to be placed in five boxes and We do so in a random manner then on average We have in each box six balls six balls per box in general if we have n objects and We need to place them in m places and n is greater than m Then we would on average if we randomly distribute those n objects Would place n divided by m objects per place


Can you tell what that noise is? It's the sound of money being printed. To be precise, it's the sound of Euro banknotes being produced. It could be at any one of the 11 printing locations in the Euro area. Between five and six billion banknotes are printed each year to satisfy demand and replace worn-up banknotes. This is a highly secure area and almost no one is allowed to go in. Here, every can of ink, sheet of paper and scrap of waste material is accounted for. The process starts with the production of a very special kind of paper. Euro banknotes are printed on paper made of pure cotton fibres. This gives the banknotes their special crispness and makes them resistant to wear and tear. At this stage, a watermark and a high-tech security thread are embedded in the paper. A metallic foil is applied to the paper using pressure and heat. At the end of the production process, the paper is cut into sheets and securely transported from the paper mills to the printing works. There are four stages to the printing process. The first stage is called offset printing. Here, a multicoloured background is printed simultaneously on both sides of the paper. This calls for extreme precision. Then comes the silkscreen printing when the emerald number is applied to the front of the banknotes. The shiny ink contains special high-tech pigments which allow the number to change colour from emerald green to deep blue when the banknote is tilted. The number also displays an effect of the light that moves up and down. During the intaglio printing, ink is applied to the paper under high pressure. This creates high-definition images and a relief structure that can be felt on the left and right edges of the banknote. The numbering press prints a serial number on the back of the notes. Each banknote is given a unique combination of two letters and ten digits. The first letter and the serial number identifies the printing works where the banknote was printed. For instance, these banknotes were printed in Italy. The printed sheets are thoroughly inspected by both machines and humans. Individual sheets are selected at random during each production phase to ensure consistent quality and identify any misprints. The sheets are counted at each stage of the printing process. The printed sheets are then moved onto the finishing process. With surgical precision, cutting machines slice piles of 100 sheets into strips and then again into stacks of banknotes. The quality of the finished product is then checked in an automated process. This ensures that all Euro banknotes are identical regardless of where they have been produced. The notes are checked and counted once more before being wrapped in self-sealing plastic film and neatly stacked in cardboard containers slightly bigger than a shoebox. Each box is made to fit 10,000 banknotes. The freshly printed Euro banknotes are either stored in high security vaults or shipped via road, sea or air across the world, ready to enter circulation. To find out more about Euro banknotes, visit our website.


Oshun State Government has solicited for collective efforts from residents to attain a better future irrespective of any political differences and sentiments. Governor Buiga Oyatola made the call on the 30th anniversary banquet, an award ceremony in honour of past governors and administrators held in Ushobu, the state capital. 28 persons received awards in four categories. Oshun State was created on 27 August 1991 from part of the old Oyo State by then military president General Ibrahim Babangida. Describing the event as symbolic, Oyatola who ensured a minute silence was held in honour of the first civilian governor of the state, the late Ishiaka Adeleki. Governor Oyatola said the banquet and awards are designed to recognize and celebrate distinguished citizens and friends of the state who have helped to build Oshun the founding fathers dream. The governor also urged citizens to continue to collaborate with the government to achieve sustainable development. In appreciating the honours on the state governor, Rotimi Akeridolu, commended the Oshun State government for recognising the services and labour of the former governors. The state is in a very good hand now and you can see changes in what is happening in the state. So I am sure that with this foundation and giving the governor another four years after his first term, the state will stand to gain a lot from it. Some of the awardees commended the government to scribe in the event as a welcome development. Thirty years of Oshun State has shown significant awareness of the development. I want to see Oshun more and more growing in the culture as they used to be. Also we continue to be the leader in the whole Nigeria when it comes to art and culture. I thank the governor, I thank all the citizens of Oshun State and I wish all the very first press live. Insha'Allah I will continue to be serving the state as long as I live insha'Allah. Dignatories including the Alaa thing of Oyo, Obalamidia Dayemi, from Oyo governor, Alawakala and from Oyo Oshun and Ogun's deputy governors among others graced the occasion.


Anytime I do a video about text editing on Linux or Unix-like operating systems in general, yeah, I show you guys the VIM text editor or Emacs or GNU Nano or any of these cool text editors that are available on Linux, somebody always makes the remark that Ed is the standard editor. Ed is a very old text editor that dates back to the late 1960s, and these people, although they're making a joke, they are actually partly right because if you actually read the man page for the Ed editor, it actually says Ed is the standard editor. It's the standard Unix text editor. It should be available on all Unix-like operating systems, and it's a really good thing to know for those of you that do work in system administration and IT, you deal with a lot of Unix systems, then it's a good idea to at least have a basic working knowledge of the Ed editor, and that's what we're going to talk about today. So let me switch over to my desktop, and I'm going to go ahead and open up a terminal, and I'm going to zoom way in here so you guys can see everything, and I'm going to go ahead and open a file in Ed. Actually, let's just open a new file. So I'm going to do edtest.txt. So this file doesn't exist, so I get this message test.txt, no such file or directory, but then I don't get my shell prompt back. Why not? Because we're still in Ed. And by default, Ed doesn't actually have a prompt, or it's kind of hard to tell what's going on with Ed. One of the real complaints a lot of people have with Ed is it's very terse. It is actually very infamous in its terse-ness, meaning it doesn't print much information on the screen at all. By default, you don't get a prompt. By default, you don't get error messages. If you type something that Ed can't understand, for example, if I did B here and hit enter, I get a question mark. That is what Ed defaults to any time there's an error. It doesn't give you an error message, it's because Ed is such an old program dating back to the late 1960s. People use computers very differently back then. For one thing, you didn't typically have display monitors that would display the entire document you're working on. Typically, you were interacting with teletype printers. You would enter some information in Ed. You would change a few lines of text, and then you would get that information printed out to you. Because of computing being so different back then, so slow, so costly sometimes, characters on the screen, especially characters that were printed out, cost money. That's really the reason that Ed is so terse is because the terse-ness actually was very appropriate in the early days of Unix, because consoles were teletypes, modems were really, really, really slow, memory was very precious. Every single character that was printed, that meant time, paper, ink, wear on the equipment. As computer technology, of course, evolved, once we get into the late 1970s, early 1980s, then computing was a little bit different. You had display monitors. People didn't interact with teletype printers anymore, and then you saw the rise of more modern text editors that we're familiar with today, like VI, Vim, Emacs. What I want to do is I actually want to get out of Ed and restart it the right way, because I want to give it a prompt, because visually we need a prompt. So I could just do Q to quit, very similar to the Vim commands for quitting, right? You could do colon Q to quit out of Vim. Here in Ed, you just do Q and hit Enter, or I could do W for right. That might be interesting, even though it's an empty document. I do want to save it, and it tells me this document, it wrote it, but it returns a zero, meaning zero bytes. That's how big this document is, meaning it's an empty document, and then I do Q to quit. And now let me rerun Ed, so this time I'm going to give it this flag, Ed-P, and let's give it a prompt. So we can specify any prompt we want. Typically, what you want to use is something like a asterisk or a colon. You don't want to use a dollar sign, because a dollar sign, of course, symbolizes the actual bash shell, you know, the standard default shell on Linux, and you don't want to confuse yourself. You want to make sure you know when you're in a proper shell and when you're inside Ed. So I'm going to set it to a colon here, and once again, let's open test.txt. When I hit Enter, you see it immediately tells me how big the file is. It's currently zero bytes, and then we get the colon, which is our prompt. Now one thing I think most people want are proper error messages. You don't want to get an error and only receive that question mark. That question mark maybe was appropriate back in the 1960s when you didn't, it was costly to have a whole bunch of information outputted, but I want a proper error message when I get one. So I want to do capital H and hit Enter. And now when I do something that Ed doesn't understand, it will give me a real error message rather than just a single question mark. So if I did B again, which is not an Ed command, and hit Enter, now I get the question mark, but then I also get a proper error message this time, unknown command. So let's go ahead and start typing some stuff into this empty document. One thing those of you that are familiar with VI and VIM, you will notice that the Ed commands are very similar to VIM commands, because VI really kind of evolved from Ed. It was kind of the next step of evolution of text editing, where Ed started out in the 60s, and then once VI came around in the 70s, they really kept a lot of the same keybindings and syntax. So to insert a line of text here, what we want to do is type A and hit Enter. And now we don't get a prompt on the next line, because that's letting us know we're in insert mode. So anytime I have the prompt, we are in command mode, meaning whatever letters I happen to type, they're essentially keybindings to run a command. And then the lines that don't have a prompt, that is insert mode, meaning I can start typing lines of text. So it's very similar to VI and VIM, where you have normal mode, command mode, insert mode, and Ed, you really have two modes. You have command mode, where you enter commands, and then insert mode, where you're typing text. So A was, hey, add a line of text. So let's go ahead. This is line one. And then I'm going to hit Enter. And then Ed, anytime you're done with a command, type period, and hit Enter. And that just created one line of text. This is line one. If you wanted to read it, what you could do is you could do comma P, and that prints out the entire document. There's only one line of the document. Now comma P, and that's actually shorthand for one comma dollar sign P, which is a range, meaning line one to the very last line of the document, P to print. That's the same thing, but you can just shorten it to just comma P, and it works the same way. Now let's go ahead and add another line of text. So A, and this time I'm going to do, this is line two, woo, hoo. Hit Enter, then hit period, and then hit Enter again. And now when I do comma P, we should get two lines of text. You see, this is line one, and then this is line two, woo, hoo. Now one thing about the terseness of ed once again, it doesn't give us line numbers.  Here we're only dealing with two lines, it's obvious what line we're on. But if you wanted actual line numbers instead of P for print, you do N for print with line numbers. So if I did comma N, I get lines one and two, and I get the actual line numbers preceding those lines as well. And one thing about ed being a line editor, you've got to make sure that you know what line you're on any time you're running commands, because it's going to do those commands on the line you're on. So anytime you want to figure out what line you're on, you can always hit P, and it will print out that line, or just hit N, and it will print out that line plus the line number. If you want to print out a line that you're not currently on, just give it a range. So if I did one P, for example, that's going to print out line one for me. If I did one comma two P, it's going to print out a range, lines one through two. So let's go ahead and do a P, because I want to make sure or actually do a N. I'm on line two. I'm going to go ahead and add one more line, so I'm going to hit A again. And this time I'm going to do this is line four, and hit enter, and then hit period to finish that command. And now when I do comma P, you see I've got this is line one, this is line two, and this is line four. I made a mistake, right? Line three actually reads this is line four. Well, let me go ahead and P, to make sure I know what line we're on, so it prints out this is line four. Well I want to go ahead and insert a line that says this is line three. Well if I hit A, that line will appear after this is line four, because A always inserts the next line of the document, which makes sense typically when you're adding lines to a document, you're always adding the next line. But if you wanted to add a line before the one you're on, instead of A, type I. And now I'm going to do this is line three. Hit enter, and then period to finish that command and hit enter. And now when I do comma N, because we'll get the line numbers this time when we print it, you see that fixed the problem. I inserted line three in the proper place on line three. And because you're going to be printing lines of text all the time, we should also discuss some other things you could do.  But maybe you want to go back or forwards printing a line. So if I actually did minus one P, it prints the line before the line I'm currently on. If I did plus one P, it would print the line after the one I'm currently on. So you can actually do plus or minus plus numbers for the P and N commands. Now say I want to change a line. I did one of these lines and it didn't turn out right. I want to go back and change that line of text. Well, first of all, let's make sure we know what line we're on. So I'll do it in. Currently I'm on line three. So the line I want to change is actually line four, the very last line. So I'm going to do four and then I'm going to give it this command C for change. Now that's very similar to VIM and VI that uses C for change. So you do CW for change word, you know, in VIM. Same thing with ID. C means change. In this case, it means change line because again, it is a line editor. So I'm going to do four C. And now I get the insert mode here and this is where I type a new line four. The old line four goes away and I change it. And this time I could say I'm changing line four. Hit enter, then hit period and then hit enter again to signify I'm done with that change. And now when I do colon in, you see the changed line four appears. And just like C signifies change and add and in VIM, D signifies delete both in add and in VIM. So if I wanted to delete a line, I just give it a line number or a range of lines and then give it D. So if I wanted to delete line one, I would do 1D, hit enter. And now when I do comma in to print out everything you see. Now line one is actually this is line two woohoo because we deleted the line that read this is line one. Now very similar to VIM, you can undo commands, but in ed, you can only really undo the last command. You only get one shot at it, right? So I just deleted line one and as long as I don't run any other command in between, I can always type U and hit enter and that should undo the last command, which means if I do comma in to print out everything. Now I've got all four lines back including the line one that I had deleted earlier. Now let's talk about copying lines and pasting them somewhere else. Well, we're also gonna talk about just moving lines somewhere else. So to copy a line and paste it somewhere else, you use the T command. To move a line somewhere else, you use the M command. And these commands need to be wrapped in numbers. So what you would do, for example, you could run something like two T zero. Now what this does is it says line two, copy it to position zero. Let me run that. And now when I do comma in, you see what was line two is actually now three, because we copied it and we pasted it in the zero position. Meaning the copied line became the new line one. You see now we have five lines instead of four. Now if you want to move lines, what you could do is something like I could do one M two, meaning take line one and move it to the second position. If I do that and then do comma in, you see how I just move the lines around that shifted the order. So a number T and then another number copies a line and pasted it somewhere. A number M and another number moves a line somewhere. Now how do you search for a string of text in a document? Well, everyone knows in Vim, it's very easy. You just hit the slash character and then type the string that you're searching for. It's the same way in it actually. So if I wanted to, I could type the forward slash and then I could type a string. For example, I see that the word this appears several times in the document. So I hit enter on that. It gives me line one because it gives me the first instance of that.  And of course you can do regular expression. So I could do the forward slash and then the carrot symbol for the beginning of the line capital T and it will give me the first instance of that. And if I wanted to do that again, I would have to once again do the search again. It's a little tedious as not as straightforward as searching through Vim where you do the forward slash and the string and then just hit enter and then in, in, in to go to the next instance of that string you were searching for. You can't really do that in ed because of course ed is not displaying the whole document for you anyway. Again, it is kind of a strictly a line editor rather than a full blown text editor. And speaking of searching for things and using regular expression. So let's talk about the global command in ed. So what the global command is typically you give it a range of numbers. So it could be, you know, first line to last line and then G for the global command slash and then give it a regular expression such as I'm just going to do a string of text RE and then slash and then the command you actually want to run on the lines that contain that string of text or that regular expression. Maybe I just want to run the P command for print. So if I actually ran that what this is going to do is it's going to search for every line that has RE that particular string and then print it. Now I don't have a single line that contains that but I could add one really quickly. So I'm going to do a to add a new line and I'm going to say this is a really cool document. And then I'm going to enter and then period to end that command. And now I'm going to do comma in to show you now I've got a new line on line five because we were actually on line four when I ran that command. This is a really cool document. And now let me run that global command. So once again I can do a range meaning do this on every single line of the document lines one through the last line and then G slash RE is the string we're going to search for slash P and then hit enter and it's going to print the line that contained RE because RE is part of the word really. Now why did I make a new line just so I could do this because I wanted to actually show you where grip comes from historically. Because this command was so commonly used in ed eventually people created the actual grip command and there's actually now a command line utility called grip that does something similar. Other than the global command you also have a substitution command here in ed which would be S slash and then a regular expression or a string of text slash and then what you want to replace that string with. So what I'm going to do is I'm going to substitute the word really and I will change that to very and then of course give it an ending slash and then if I run that and then do comma in. You see line five is now this is a very cool document where before it read this is a really cool document and just like the global command the G command you can add ranges to it line numbers line ranges you can do that with the S command the substitution command as well. One cool thing that you can do inside ed is you can run shell commands inside ed so if I wanted to run something I don't know we'll just do a simple date command all I need to do is the exclamation point followed by the name of the shell command I want to run. And you see I get the output of that right here in ed because you know sometimes you want to run a shell command but you're already inside ed you don't want to exit ed run the command and then come back to ed you can just do it right here inside ed. One cool thing you can actually do is you can have this output into the document itself so instead of just doing exclamation command I could do r for read and then exclamation and I'll do the date command one more time and now it tells me there's 32 bytes and let me do a comma in to print and the reason it was telling me the number of the bytes in the output of the date command in the line it added because of course it it's going to tell you the size because that's one of the things with ed anytime you make changes it typically spits out byte information you know the number of bytes in that line that you just added or the number of bytes in the document if you write to the document. By the way we should talk about writing to the document how do you write in vim you do a colon w how do you write in ed well we don't do a colon because our prompt was the colon I mean you can make the prompt anything you just do a w for write and then the name of the file you're writing to in my case we had already created a file test.txt if I don't give it a file path it's just going to write to test.txt so I'm just going to do w and hit enter and it tells me the document is 178 bytes to quit out of ed q for quit just like in vim colon q it's up in ed it's just q and if you wanted to do both commands at the same time write and quit just wq for write and quit and hit enter so that was a very quick look at the ed editor ed it's not very hard it really is and I think a lot of people think it's a really hard thing to use but honestly in that 10 or 15 minutes of me playing around there I showed you pretty much all of the basic commands now is ed something that you're going to use as your primary text editor all the time no because ed is not really a text editor in the modern sense of it or again ed is really a line editor it's really it really dates back to a previous generation of computers a way of doing things that's no longer appropriate because now it is kind of tedious and slow like you you would never write a novel inside ed right we have more appropriate things now so typically if you're going to do anything that requires a lot of time in a text editor making massive edits and really complicated things you're just going to open up vi or vim on most unix like operating systems these days but it's a good idea to have some basic working knowledge of ed because again ed is the standard editor and you never know maybe one day you'll actually ssh into some unix machine and it might be the only text editor on the system that can and does happen sometimes and now if you ever are faced with a situation like that hopefully this video will help you out now before i go i need to thank a few special people i need to thank the producers of this episode i need to thank absy gaib james michael paul wesekami alan chuck kurt david dylan gregory hyko erion alexander peace arching fedora polytech raver red prophet scott steven and willie these guys they're my highest tiered patrons over on patreon without these guys this episode about the ed editor would not have been possible the show is also brought to you by each and every one of these ladies and gentlemen as well all these names you're seeing on the screen right now each and every one of these fine ladies and gentlemen help support my work over on patreon because i don't have any corporate sponsors it's just me and you guys the community if you like my work and want to support me please consider subscribing to distro tube over on patreon all right guys peace i finally found an editor more painful to use than nano


So Priscilla, what is your definition of service design? My definition of service design would be to design the interactions between technology and people among the process and always thinking in the front and in the back and that's it.


Mitchell Stark, the tall lefty for Australia, has got two different deliveries he bowls. This breakdown's brought to you by DraftKings. This is the first one and his most popular one. It is out swinger to the lefty batsman, in swinger to a righty batsman. And it's gonna slide and swing from left to right with a nice tight spin using the new ball. The next one's the wobble seam. And that's gonna be more true. And then it bounces and then it might spray everywhere but for the most part it's gonna go straight and that's a wobble seam spin. These are the two grips and you can see he's got his hand behind the ball, just the same on both. It's just the way the seam in his hand and the grip on his fingers, different. The ball's a little twisted. And he just yanks the wobble seam down where it kind of rolls the spin off of his fingers and you can see two different flights of the ball. When you put them together, they get you a little cross action which can confuse the batter. They're gonna go like two worms hanging out. So here he is in the fourth over facing Leitham and he's gonna open them up, just kind of throws the out swinger right at the stumps. Let's see and Leitham protects it, just blocks it, no runs. And then again, and this time, he just flicks it off his leg to the boundary for four where this couple greet each other hello. Haven't seen each other in a while, he feels good. That's his first boundary of the test match. He's off, he's feeling good and now Stark's gonna say, okay, you wanna flick him, leg side. Here's one, flick this. And he puts it way behind his leg and Leitham's like, no, I'm not gonna play that. You're not gonna induce a bad shot out of me.  Stark says you're not gonna play it, that's fine. I'll go with the wobble seam right at the stumps.  It's not see you later, plan work to perfection. I don't know if it's in plan or he's just reacting to what Leitham's doing and what's happening, but the sequencing there is perfect because he thinks this is gonna swing away and then at the last second realizes, oh, wait, that's the straight one. I gotta protect the stumps and is late to protect the stumps and then chops it on. You can see the wobble seam there, no real tightspin. They're just like, oh, I gotta protect. Oh, I didn't protect, did the opposite. Chopped it right on. I don't know if that would have hit. If he did leave it, it might have went high. Yeah, it's definitely going high.  Thank you to DraftKings for sponsoring this breakdown. Thank you to Mitchell Stark for throwing those beautiful balls. Thank you to Tim Leitham for doing what he did and thank you to you guys for watching and again, thank you to DraftKings for sponsoring the video. Appreciate them as always.


The challenge of the Yukon it's Yukon King swiftest and strongest lead dog of the Northwest placing the trail for Sergeant Preston of the Northwest Mounted Police in his relentless pursuit of lawbreakers on King on your skin gold gold discovered in the Yukon a stampede to the Klondike in the wild race for riches back to the days of the gold rush with Sergeant Preston and his Wonder Dog Yukon King as they meet the challenge of the Yukon. The Polar Star Mine was near the top of Lookout Mountain and it wasn't often that Sergeant Preston stopped there. His rare visits however were always great events for buddy Stuart the Foreman's son. Once the Sergeant brought the boy a pair of skis and taught him how to use them on the mountain trails. It was on his next visit that they found blaze. They were following the twisting turning trail that led down through the forest on the south slope of the mountain to the Indian Village at the bottom. King was romping at their side when he suddenly disappeared among the trees. A moment later he was back on the trail barking excitedly and the Sergeant and buddy stopped in a flurry of snow. What's the matter boy? He's found something. All right King lead the way. I know buddy. We've had a new snow. There's no way to see them. Don't worry about King's son. He can smell them. He's part wolf. He's wild that's certain. No other tracks around. Something must have happened to his mother. The traps caught his leg. We'll set him free and take a look at it.  There, there. I'll try not to hurt you. The leg's broken. Yes it is. Can you fix it? I think so buddy. Get me a stick about so long. Oh sure. The sergeant set the broken leg and applied a splint. The puppy yelped in protest. When the splint was firmly bandaged he was content to nestle inside the sergeant's parka as the sergeant and buddy started up the trail toward the mine. I'm going to call him Blaze. You going to keep him? Of course. Might be all right for a while. My father won't mind. He said I could have a dog as a pet. Blaze may be too much wolf to make a pet. Honest? It's possible. You'll have to wait a few months buddy. He may learn to like you so much he'll forget the forest. Only time will tell though. That was how Blaze came to be adopted by the stewards. His broken leg healed and as he grew he seemed perfectly content to play with buddy and follow him everywhere he went. But a year later there was a change. Fully grown now Blaze would sometimes disappear from the camp for days at a time when he would return. Where have you been?    Being chained was an experience that Blaze hated. It seemed to bring his wolf nature closer to the surface and day and night he would lift his head to the skies and howl. Eventually his howling got on the men's nerves and a conference was held in Adam Churchill's office. Adam owned the polar star and with him in the office were Rex Cooper the company bookkeeper and Matt Stewart Buddy's father. Buddy sat facing the three men. It was Adam who spoke first. Buddy Blaze has been howling for the last hour. Yes sir. I don't think you'll stop for another hour. No sir. A man can stand just so much Buddy. Yes sir. And I've stood it. That's all I have to say. Yes sir. Buddy. Yes Mr. Cooper. What you must realize is that Blaze is more wolf than dog.  But if I don't he'll run away. Son you don't want to be cruel do you? No Pa. Well that's what it amounts to. Tying Blaze up is worse than beating him. You can see that can't you? Yes Pa. What are you going to do about it? I'll set him free Pa. Good boy. Well thank you Buddy. Now perhaps we'll get some sleep around here. When Blaze was set free he thanked Buddy by licking his hand. He looked up into the boys face for a long moment. Then he turned and ran out of the camp and into the forest. Goodbye. Goodbye please. He never returned to the camp. But sometimes at night Buddy would climb to the ridge above the mine with a choice cut of caribou steak. And sometimes Blaze would visit him there. Blaze would eat the steak and the boy and the wolf dog would play together. But when Buddy started down the slope to the camp Blaze would stay behind. His home was in the forest now. Good night Blaze. The situation might never have changed if it weren't for something that happened down in Skagway the following winter. Rex Cooper made the long trip to the American port to pick up some equipment which had been shipped from the States. The skipper of the Portland Queen had had news for him. It isn't about your equipment. That will be unloaded tomorrow morning. Well then? Adam Churchill's niece booked passage with us in Portland. Beth Martin. The girl who lives in New York is only relative. But Adam had no idea she was coming up here. At least he said nothing to me and he would have. Or is she? Wait a minute. You said bad news. Yes. The girl was ill when she came on board. Pneumonia. The ship's doctor did everything he could for her. But two days out from Portland she died. That's tragic. Under the circumstances there was only one thing to do. She was buried at sea. Here's the death certificate. Will you take charge for belongings in her papers? Of course. You'll explain to Mr. Churchill we did our best. I'm sure you did. It will be a shock for Adam but of course he never saw her. He's only... What? Nothing. Papers. I'd like to see them. Let's see now. Here they are. Thank you. Rex Cooper was a good accountant and a shrewd man. But he was bitter over the fact that in a land where so many men made fortunes, he was forced to work for a salary. As he looked through Beth Martin's papers an idea came to him. An idea that could only lead to murder. The photograph of Beth's mother reminded him of a girl who sang at the El Dorado. And his idea became a decision. That night he talked with a girl and Meryl at a corner table in the cafe. You don't like it here, do you, Annie? I hate it. Why don't you quit? Well, I intend to as soon as I make enough money to pay for my passage back to the States. Do you have any family there? No. But I won't have to work in a cafe. How would you like to make a thousand dollars? Very much. But the question is how? A thousand dollars in expenses. You'd only have to take a trip up to the Polar Star Mine on Mukat Mountain. You may have heard of the owner. His name is Adam Churchill. No. He's an old man and not in the best of health. I have some news that will be a great shock to him. Might be too much for him. I'd like to spare him if it's at all possible. You see, he has a niece. I should say. Rex described the way in which Beth Martin had died and then he made his proposition. Anne was startled. You want me to take the girl's place? Yes. But it's impossible. Why? What just is. Not at all. Adam never saw Beth.  Here's her picture. Well, I suppose there is a resemblance. A marked resemblance. Still, that isn't enough. Why isn't it? Well, I don't know anything about the girl. Well, neither does Adam. She must have written to him. Not very often. When her mother died, perhaps every six months since then. And I've read the letters. I can tell you everything that was in them. Adam and his niece were strangers, believe me. Well, then why should it make so much difference to him? The fact is... I say strangers, but Beth was his last living relative and he always looked forward to the day when they would meet. I'd like to see him have that pleasure before he dies. You want me to go up to the polar star and stay? How long? A month or two? Then what? You go back to the stakes. Still pretending I'm Beth Martin? Why not? Well, it wouldn't stop there. He'd expect letters from me. He'd expect to keep in touch with me. Is there anything wrong in that?  You have no family. Why shouldn't you adopt an uncle? Well, if you put it that way... A thousand dollars in expenses. A lot of money. It's yours. And you honestly think I could get away with it? I honestly do. Well, as you say. Why not? Rex had his own reasons for deciding that Anne shouldn't travel back to look out mountain with him. Instead, he gave her enough money to cover her expenses and she left Skagway a week after he did on a mail sled. In Dawson, she went directly to the offices of the Northwest Mounted Place. How do you do? I'm Beth Martin. How do you do, I'm Sergeant Preston. Do you happen to know my uncle, Adam Churchill? Oh, of course. He's an old friend. Well, I want to pay him a surprise visit. Well, I've made it to Dawson all right, but what do I do now? Is there some place in town where I can hire a dog sled and a driver to take me to Lookout Mountain? Why should you hire anyone? Well, that's... I don't understand. I'm heading for an Indian village on the far side of Lookout Mountain tomorrow morning. I'll be glad to take you as a passenger and, of course, there'll be no charge. Why, thank you, Sergeant. Thank you very much. That was how it happened. The Sergeant Preston escorted Adam on the last stage of our journey to Lookout Mountain. When Buddy saw them coming, he raced down the trail to meet them. No! Hello, Buddy. Working for your uncle. Hello. Who are you? My name is Beth. Beth Martin. Beth? Buddy's father is your uncle's foreman. Is Mr. Churchill your uncle? That's right.  For a while, Buddy. Nobody told me you were coming. Nobody knew it. This is a lie. Oh, I'll say. Can you ski? Well, I'm afraid not. Well, you're pretty anyway. Oh, thank you, Buddy. Hello. Hello. Your uncle will be in the office, Beth. Let's go inside. All right. Rex, this is Adam's niece. Come in. Come in. It's Beth, isn't it? Yes, it's Beth, Mr. Cooper, Rex Cooper. Mr. Churchill, a surprise for you. What's going on in here? Sergeant Preston. And the young lady who's come a long way to pay you a visit. Well, I don't believe I've had the pleasure. No, Uncle Adam. You haven't. Uncle? You're Beth. I... Yes. My dear. My dear, of course. Yes, you have Mary's eyes. You're very much like her. But why didn't you let me know? Well, I was afraid you wouldn't let me come. If you don't want me to stay, I'll go. Want you to stay? Indeed we do. I'm only finding it hard to believe our good fortune. She can't ski. Well... Well, you shall keep your buddy, and we have a new cabin, my dear. That shall be yours. Welcome. Welcome to Lookout Mountain. Adam ordered a holiday for all the men, and a feast was prepared to celebrate Anne's arrival. Afterwards, the sergeant drove on to the Indian village. That night there was a knock on the door of Anne's cabin. Who's there? It's Rex. Look, come on in. Is this wise? Yours is the only light in the camp. Everyone else is asleep. I wanted to reassure you. You did very well today. Well, I don't like it. You certainly won't like what I'm going to tell you now. What do you mean? Adam's guessed there's something wrong? He won't guess anything until it's much too late. Too late? You're not leaving here, Anne. Well, I suppose I can play the game for a month or two. It does seem to make Adam happy to have me here. He doesn't look well. I suppose if he were to learn the truth... The truth is that Beth Churchill was murdered. Well, you said that... I know what I said. But you showed me the death certificate. A forgery. By whom? By you? You forged that paper? Perhaps. But why? So that you would agree to what I propose. I'm not getting mixed up in any murder. I'm going straight to Adam and telling him... You'll sit down. Don't take your hands off me. Hold your tongue and listen. There are men in Skagway who will swear that Beth Churchill was last seen alive in your company. I don't care what they swear. A few weeks later, you arrive at Lookout Mountain pretending to be Beth. If the police ever find out about her death, you will be accused of murder and there's no way you can prove your innocence. You tricked me into coming up here to cover up what you did. Why did you kill her? I didn't. You did. That's a lie. Listen. You won't be accused of anything as long as you keep your mouth shut. You'll be perfectly safe as long as you're Beth Martin. Now, be reasonable. And let me explain how much it will mean to both of us. It means nothing to me. You are Adam's only heir. When he dies, you will own the Polar Star. I won't. You think I'm going to keep up this horrible pretence for years? You're crazy. Who said anything about years? It might be only a few days. She isn't that ill. No. But sometimes when he can't sleep, he goes to the mine at night. There might be an accident. I see. An accident? It would seem to be one. It could even happen tonight. I see. And afterwards. I've told you, you're his heir. The Polar Star is worth hundreds of thousands, and it will all go to you. Except for the half that goes to me. Oh, silence is golden. It's fair enough, isn't it? I'd be rich. We'd both be rich. And you would take care of the accident? Of course. The first time Adam inspects the mine after the rest of the camp is asleep. How about those men in Skagway? Can you trust them? I'll take care of them. And you're sure there's no way in which we could be caught? There's no way. Well, there's no choice, is there? I either play the game your way or hang for murder. That's it. I'll play the game. Good girl. Good night. Pleasant dreams. The company dogs were kept in a run near the Stuart cabinet. About midnight, buddy was waken by their barking. He ran to the window to see what was the matter. It was a bright night and he could see someone trying to harness a team. It was the girl. Quickly, buddy slipped into his clothes and ran outside. Buddy, will you help me? Will you help me harness this team? What for? I must get Sergeant Preston. Please help me. What do you want with the sergeant? Well, he's needed here. It's a matter of life and death. It is? Help me harness the team. Well, there's no sense in taking a team. The sergeant has his own. Yes, but I must get there. Well, what I mean is there's no sense in your going. I could make it down to the village in no time at all on my skis. Then I could ride back up with the sergeant. What's he needed for? What's the matter of life and death? I can't explain, buddy. But please, would you go? Would you give him the message it's life or death? Oh, sure. I'll go. Go on. Get back in there. Boy, in two seconds. Just as soon as I get my ski. Well, hurry, buddy. The trail curved down the wooded slope in such a way that the angle of descent was fairly gradual. But there was only a small cover of powdered snow on the crust and the going was fast. The turns were sharp, and Buddy, spurred on by Anne's message, made no effort to check his speed. Toward the bottom of the slope, he went into one of the turns too fast. He cracked into a tree. He carried off, and as he hit the ground, the sharp rock cut his cheek. He lay absolutely still.  They moved closer and closer. But just as they were about to spring, a larger wolf crashed through the underbrush. A patch of white fur gleamed on his chest. It was Blaze. He threw himself between Buddy and the wolves and warned them off. There was no stopping them now, though, and both of them attacked Blaze. King was buried deep in the snow outside the lodge where his master was sleeping. Still, the sound of the battle reached him, and he jumped to his feet, searching the breeze with his nose. There were wolves up there on the wooded slope, and there was also a man, a boy. It was the boy who lived on top of the mountain. King threw himself against the door of the lodge, barking a demand for the sergeant's attention. Yeah, some other king. Trouble up the mountain? Sounds like wolves to me, fella, but I'll follow if you insist. King routed the other dogs out of their burrows, and when the sergeant came out of the cabin dressed for the trail, they were lined up in front of the sled. Need the sled, do we? It was only a matter of seconds to harness the team. Up front, boy. I'm King! I'm King! King was allowed to run free as a loose lead, and he charged up the trail ahead of the team. By the time he reached the turn where Buddy still lay unconscious on the ground, two other wolves had joined the attack on Blaze. Blaze's strength was ebbing fast, but now King took over the defense of the helpless boy, whirling and slashing, driving the snarling brooks back. As the sergeant drove up, he fired over their head. Then they turned tail and ran. But Blaze didn't run. He crouched beside Buddy and looked up into the sergeant's face, asking him with his eyes to help the boy. You'll be all right, Blaze. Sergeant. Yes, Buddy? That's Blaze. I think he saved your life. Why don't I take your skis off? What are you doing here this time of night? Beth sent me for you. She said it was life and death. Huh? What's happened? I don't know. That's all she said. Well, I'll put you on the sled and cover you up. Well... There. Here, King. Woo-hoo! I'd better harness you for the uphill pull, steady boy. That does it. All set, Buddy? I'm fine! I'm King! I'm your husband! Woo-hoo-hoo! Yes, he's going to make sure you're taken care of. Master King, on your knees! After Buddy left the camp, Anne sat by the window in her darkened cabin, waiting for him to return with the sergeant. Suddenly, a light showed in Adam's cabin. Cooper said when he can't sleep that... he may be going to the mine now. I've got to stop him. My dear. Please. What's the matter? Are you afraid, the wolves? No, I'm not afraid of the wolves. I'm afraid of a man.  Beth, you've been having a bad dream. You don't know what you're saying. Yes, I do. And I'm not Beth.  My name is Anne Merrill. I've been singing at the El Dorado in Skagway. Cooper hired you? Why should he do a thing like that?  Your life is in danger. I'm ready to make a full confession as soon as Sergeant Preston gets here. But I saw the light in your window, and I was afraid you might be going to the mine. I was. The shory in one of the tunnels is weak. Stay here. That's all I ask. Stay here until the sergeant arrives, and then we... Well, a charming domestic scene. Why the gun, Cooper? Don't raise your voice, either of you. How much have you told the man? Anne, my name is Beth. You've been talking too much. I can see it in your face. That's too bad. You've probably told him everything. She told me enough. I thought so. But I didn't believe a word of it until I saw that gun in your hand. Just why do you want to kill me? The plan's been spoiled. Anne and I would have shared your mind after you died. He didn't tell me what he planned to do until tonight. Beth is dead, Mr. Churchill. How she died, I don't know. Down in Skagway, Cooper told me it was pneumonia, and he wanted me to come up here to... Oh, it sounds fantastic. To keep you from learning the truth about Beth, to save you from the shock. And tonight he told me she'd been murdered, and that I'd been framed for it. He threatened to turn me over to the police and us. I took orders from him. Oh, Mr. Churchill, I swear that I didn't have anything to do with any killing. I don't know whether your niece is dead or not. I only know that this man is stark-staring mad. That's enough. He said there'd be an accident in the mine. I had to keep you from going here. You're both going there.  Yes, tonight. You're crazy. There's to be an accident, a cave-in. What can you possibly gain from our deaths? After you've gone, I'll find a will, Mr. Churchill. The Polar Star will be left to me. Now, I've wasted enough time. Get moving. We're headed for the mine.  Okay. Oh, Mr. Polar. Just a second, King. I'll unharnish her. She was so anxious you'd think she'd be waiting up here.  There's a light in Anne's cabin. She may be over there, but we'll knock her first. No one in here. Come on, King. The sergeant hurried across to Anne's cabin and looked in the window. Amping. How are your first tracks in the snow? Heading for the mine. Seem to be. Here, King. Follow the trail. You go home, buddy. No, I don't like the looks of this. That said, life and death. Come on, King.  Down this tunnel. You recognize it, Mr. Churchill? The one where the shoring is weak. An accident in here won't be unexpected, will it? What do you intend to do? Pull a shoring down on our head? That's all arranged. Stop a minute. See? Blasting powder behind these timbers. All I have to do is light the fuse. And be buried with us. Hardly. You two are going to march on down to the end of the tunnel. Move, or I'll shoot. Come on, Anne. That said, little farther. Better. Now I'm going to light the fuse. It'll be time for me to get out of the tunnel, but not for you. Because I'm going to keep you covered as I back up. I'll shoot if you move. Remember that. A match. And the fuse is lit. Stay where you are. Look. Hey. The sergeant saw what was happening as he entered the tunnel. He brought the barrel of his gun down in Cooper's head, knocking him to the ground. Then he sprinted down to the charge of blasting powder. Pulled out the fuse and stamped on it. Adam, where are you? Right here, sergeant. Come on, Anne. Rex, however, hadn't been knocked out. He leveled his revolver at the sergeant. But King was watching him, and his jaws closed on Cooper's gun hand. Now! The gun fell from his grasp. And a moment later, the sergeant snapped a pair of handcuffs on his wrist. Good work, King. He won't bother us anymore. Sergeant, you saved our lives. So it seems. I had no idea that Cooper was such a dangerous character. All right, I. But there's no doubt about it. He meant to kill us both. And I'll tell you why, Sergeant. I'll be glad. That can wait till we get above ground. On your feet, Cooper. All right.  She wasn't murdered. The death certificate was perfectly genuine. She died on the way from Portland. She was buried at sea. That can be checked easily enough. It's true. Can you lie to me? Just to make me help you with your awful scheme.  Watch it, Cooper. The charge against you is attempted murder. You're under arrest in the name of the Crown. I warn you that anything you say may be taken down and used in evidence against you. I'll take him to his cabin. Sergeant, are you going to arrest me? Well, I suppose you could be charged with conspiracy to defraud if Adam wants to press charges. Oh, nonsense. Nothing of the kind. She only wanted to keep an old man from feeling alone in the world. What's more, she succeeded. I admire your courage, Anne. I may have lost the name of the Crown, but I feel that I've gained a daughter. Mr. Churchill. I'll leave you two to talk it over. Come on, Cooper. All right. As the sergeant and Cooper stepped outside, Buddy raised the bedroom window and called across to him. Everything under control, Sergeant? Everything's under control, Buddy. That was only a scratch on my cheek. I'm glad, son. And you know what? What, Buddy? Bleeding. I don't think so either, Buddy. You get back to bed now. Yes, sir. Come on, Cooper.  This case is closed.  In our next adventure, two men are sitting at a corner table in the cafe at Gold Ledge, talking in low tone. I am sure, Bull. He is pretending to be an ordinary dog puncher in order to get evidence against us. The man is really Sergeant Frederick. The man is really Sergeant Preston. What are we going to do, Rusty? He's up to you. Get rid of him. You will be traveling with him to Whitehorse and back. The gorge is the ideal place.  It is impossible to recover the body. When you come back, you report an accident. It is the end of Sergeant Preston. Yes, Sergeant Preston's disguise has been penetrated. A gang of desperados have decided he must die, and the spot for the murder has been picked. The trail that rims the edge of the precipice. Don't miss this next exciting adventure. These radio dramas, a feature of the challenge of the Yukon Incorporated, are created by George W. Trendle, produced by Trendle Campbell Enterprises, directed by Fred Flower Day and supervised by Charles D. Livingston. The part of Sergeant Preston is played by Paul Sutton. The challenge of the Yukon is brought to you every Saturday and Sunday. This is Jay Michael, wishing you good bye and good luck until our next adventure. This is the Mutual Broadcasting System.


Shmai, hoffa chi ar fawr yn dewyth gyda Llywodraeth Cymru? If you're looking for a new career, then a job in the Welsh Government is a great place to start. We're the devolved government for Wales, and we're responsible for a wide range of policy areas to build a fairer, more equal and greener Wales. Mae Llywodraeth Cymru yn atabol i brifweinidog Cymru, a fobald Cymru trwy Senedd. We're looking for a diverse range of individuals to join the Welsh Civil Service, who are keen to work in a variety of exciting roles to make a practical and positive impact to citizens across the country. We're searching for flexible and innovative people to work with our stakeholders and partners across the public service who put collaboration at the heart of everything we do to make our nation a better place in which to live and work. Here at the Welsh Government, we've got an excellent track record of working in social partnership with our recognised trade unions, ensuring that we strike the right balance between our interests and those of our employees. Something you'll hear more about later in this film. And this is why the Welsh Government needs you. We're making up to 50 places available on our next corporate apprenticeship intake that is due to launch in March this year. There are three different pathways, a business administration, finance and digital data, and a technology pathway. Apprenticeships run for a period of 18 months, supporting apprentices to attain a level 3 NDQ qualification in the relevant discipline in an environment which supports and enables work-based learning. Feth ydych chi ddysgwyl rangbyddiol nhw'n mynd o agwasanaeth sydd fel siwodraeth cymry? Yddech chi ni ddechrau gyda 31 diwrnod o williau blyneddolethal? Yn nhw'n gwestal, a gwyliau cyhoeddus y brand? Ymrystri automatig yn hynlyn pension y gwasanaeth sydd fel? A mynediad at gynlluniau beicio'r gwaith a chargwyrdd? Mae'r sgwysig sydd wedi bod yn ymweld gyda'r Lleunas Pwgol. Rwy'n gweld bod rhaglion yn ymddangos i'ch cymrydol, ac mae'r cyllid yn unig ein bwysig. Mae'r amser o'r gweld yma, argyfwyrgyndingau a'r cymryd, i'r amser yn ymddangos i'r ffordd o'r canfodau yn ymddangos i'r ffordd. Mae'n amdannos i'r ffordd o'r cymryd, ac mae'n amdannos i'r ffordd o'r canfodd o'r anodd, We're proud to be an inclusive, equal opportunities employer. We're also committed to being an anti-racist organisation and working to the social model of disability, which recognises that people are disabled not by their impairments but by barriers in society. We've signed the changing faces pledge to be seen, which commits us to encourage more people with a visible difference to join our organisation, a campaign that's close to my own heart after growing up with a visible scar on my face. Rwy'n gweithio yn amriwiath wrth recriwtio. Nod e'n team i'w cynnaethu amriwiath yn Llywodraeth Cymru. Rydyn mynd gwneud hyn drwy gyfnogi amgeiswyr o'r dachrae i'r diwedd a sicrhau ei bod yn profi proses recriwtio dig ac agored. Mae'r team amriwiath wrth recriwtio yn wrw ddredig am amriwiad Llywodraeth Cymru i gynnaethu amriwiath yn y gweithle. Think that we are going to have a culture in which everyone is able to make their best possible contribution and to feel able to be themselves at work. We guarantee an interview to any disabled person or armed forces veteran whose application meets the minimum criteria for the post. All employees are encouraged to join our diversity staff networks. We also have a range of peer to peer support groups, which provide a different sort of support to colleagues that is normally available. The diversity of Welsh Government is currently a long way ...au I give you a position at the organisation in order to help drive the change we want to see in wider society. So we warmly welcome your interest and apply for these roles and hope you will help us create the organisation that we want to be. Rydyn i'n credu mai ffordd orau o gefflwyni, yng nodaeth i'w droi sicrraedd bod rhalywyr ac ndeb aelafyr yn cydweithio. E'n drai ndeb aelafyr cyntaf y byddai sprwp cyhoedd pysgol rhyngan a ffordd. Mae Cytindeb partneriau aeth yn siel ei brythynas hon. Mae'r Cytindeb yn nodi sut y mae yn hydebau yn gweithio'r gwrthodraeth Cymru a Ffiterionvel, Cuflog, Telerau ac Amodau, Polisiau a Gweithdrefnau a newid sefydliadol. As a trade union official, I work in close partnership with HR to give my members a real say in the workplace. As trade unions, we make sure that the interests of our members are promoted and protected. And we also help reduce inequalities and improve terms and conditions. Your help and well-being is really important to us. All our staff have access to our Occupational Health Service and Employee Assistance Programme, who are there to provide practical advice, guidance and support if you need it. Aiw chi'n bwysedd rhwng bywyd a gwaith yn bwysig i chi? Mae o un i hefyd, a mae'r heswm hwnnw rydym yn gweithredi polisi gweithio'n glyfar sy'n anod cyfyniad o weithio gartref ac yn yswydfa. Mae hyn yn yn galluogi ni i gefnogi'n gilydd a chydweithio i gyflawni'n blenoriaethau, o'r threoli chi'n bwysedd rhwng gwaith a bwyd gartref. Mae swydd yn Llywodraeth Cymru yn swydd unigrhyw ac arbennig. Ydych chi aesiau gwnaud gwaith haniaeth, dew chi waithio gyda ni. Mae'r ydych chi'n bwysig i gyflawni'n gweithrediol yn Llywodraeth Cymru, ac ydych chi'n bwysig i gweithrediol? Diolch yn fawr iawn.


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