Okay, I believe we're live now and I'll just take a moment to introduce myself. I'm Aaron Brody. I'm the director of the Bade Museum at Pacific School of Religion and it is my distinct privilege to welcome our internet audience back to the first of our April presentations in our Unsilencing the Archives series. So before we get to today's speaker, I'd like to introduce Jess Johnson from the Bade Museum who will read our land acknowledgement. Hello everyone. We would like to begin by acknowledging that Berkeley, California is on the territory of the Hachun, the ancestral and unceded land of the Chichen Yoloni. We respect the land and the people who have stewarded it through many generations and we honor their elders both past and present. We are living in a moment that warrants deep reflection on our past, where even our most venerated figures deserve reasonable scrutiny. During this time directing the archaeological excavations at Del Anasba, WF Bade participated in harmful stereotyping of Palestinian Arabs that was common among white Americans and Europeans conducting fieldwork in British Mandate Palestine. Some of these attitudes appear in print in his popular 1934 book entitled A Manual of Excavation in the Near East. Museums are also scrutinizing their collections, including evaluating the legal status and the ethics with which they were acquired. As stewards of the legacy of the Bade Museum and its holdings, it is our responsibility to faithfully evaluate the process by which the collections were acquired within the context of our contemporary moment. One approach is to ask new questions of the archival materials in order to examine critically the manner and impact of archaeological work on indigenous communities and to investigate the colonial conditions in which it played a part. The Bade Museum recognizes that its location and collection are part of ongoing and painful colonial legacies that contributed to historical inequalities. These legacies have directly and indirectly impacted populations locally and abroad in Palestine where the excavations were conducted under the authority of the British Mandate Government of Palestine. In an effort to bring these issues to light and to serve a broader public audience online and to connect to the local community that it serves, the museum is taking action to become a more inclusive, welcoming and equitable institution that practices the philosophy of radical inclusion adopted by its parent institution, the Pacific School of Religion. One of these steps is to create is the creation of open access web exhibitions and public programming like this lecture series which highlight decolonizing themes. We invite you to participate in these programs so that together we can listen, learn and work toward creating a more inclusive community environment in the museum. Thank you for joining us today. Great, thank you so much, Jess. So it is my distinct pleasure to introduce our speaker for today, Doug Bailey. And I'd also just like to in advance thank him on behalf of not only the Bade Museum but the Palestine Exploration Fund or the PEF and also the Archaeological Research facility at UC Berkeley. So it's really through the co-sponsorship of this series that we're able to do what we do and to bring these wonderful talks to our audience. So Doug Bailey has been professor of visual archaeology in the Department of Anthropology at San Francisco State University since 2008. Originally a student of classics, his 1985 BA is from Dartmouth. Doug took his MFIL and PhD which was finished in 1991 in archaeology at Cambridge University. Under the supervision of Colin Renfrew and Ian Hodder. His early research and fieldwork focused on the European Neolithic and included directing large multi-disciplinary excavation projects in Bulgaria and Romania in the 1990s and early 2000s, while he held a personal chair in European prehistory at Cardiff University. Doug has published widely on a range of archaeological topics, most notably on prehistoric material culture. His 2005 book, Prehistoric Figurines, Representation and Corporality, excuse me, published by Rutledge, transformed the study of prehistoric art. Doug's other books include Breaking the Surface and Art Archaeology of Prehistoric Architecture published by Oxford University in 2018. Unearthed by the St. Barry Center of Visual Arts in 2010 and Balkan Prehistory in 2000 published by Rutledge. His current attention concentrates on developing the trans discipline of art and archaeology using the materials from the past to make creative work in the present, particularly through the exploration and reworkings of archaeological and ethnographic archives. Recent relevant work includes his 2020 article, Releasing the Visual Archive on the Ethics of Destruction, as well as his installation, Releasing the Archive, Exhibited in Lisbon in 2021 and Santa Tierso, an international museum of sculpture in 2020. At San Francisco State, Doug teaches the history and philosophy of archaeology, visual anthropology, and research methods. He supervises graduate students working at the intersections of art and archaeology. So it is my distinct pleasure to welcome and to yield the floor to Professor Doug Bailey. So welcome. Thank you very much, Aaron, and I will share my screen here and get my presentation out. So before I begin, let me just say that I work on the land of the Ohlone people, specifically the Ramatush Ohlone, land that was taken from them without their consent. Let us remember and support their continued connection to this place and let us work towards reversing the damages of the past and fighting for reparations and repatriation. All right, I'd like to start with this image. In the fourth season of The Excavations at Tel and Nasbe, on Sunday, June 19, 1932, William Frederick Bade drove this Ford, this car, from the project base to church in Jerusalem with his wife Elizabeth Marston Bade and a few others. And on Monday, the following day, he recorded the trip in his daybook in this way. And here's my transcription. Yesterday, Sunday, while at church, a young girl through a rock, through the rear window of our automobile, gave notice to the insurance agents, Mulford and company in Jerusalem. Daughter of Musa Eres from family Dar Awad Ramallah was the culprit. So here's a moment from the archives of the Body Museum of Biblical Archaeology, the daybooks of from William Frederick Bade, from the fourth of five seasons of Excavations at Nasbe. And working in archives is a bit like excavating a site. You never know what you're going to find. We got to take a moment before we really begin and talk a little bit about archives. I mean, what is an archive? We could go to the OED, the Oxford English Dictionary, and we would see a definition of the word as about a place in which public records are kept. And we can see perhaps that the word comes from a Greek source. But of course, it's not that simple. It's never that simple. We would have to, I think, talk a little about Jacques Derrida on the archives. And it's worth looking in detail just for one moment at a key but rather complex publication of Derrida's Maldar Quiv, which was first translated and published in English in 1995 as Archive Fever of Freudian Impression. So what we get from Derrida, Derrida, of course, is a major intellectual player in the late 20th and early 21st century. What we get from Derrida is the recognition that the archive is about authority. As we just saw, Derrida traces the Greek origins of the word to the concept, archaeon, the house, a domicile, an address, the residence of the superior magistrates, the archons, the place of the archons where official documents are deposited and kept. These archons are the guardians of this place. They also have the power to interpret the archives. Now, these documents speak the law. They recall the law. They impose the law. So Derrida's first point is that the archive is the place where the law happens. Secondly, it makes the point that political control requires the control of the archive. And in fact, the effectiveness of democracy can be measured in terms of participation in constitution of, access to, and interpretation of the archives. Furthermore, archives are about obedience. We defer to those who record and make history. Fourth, Derrida makes the point that archiving requires ordering. The creation and use of titles, of names, of laws, thus the need to have criteria of classifying, of typologizing, of putting things in order in hierarchies. Thus, archives function with the mechanics of order. Fifth point Derrida makes is that we can begin to see that archives produce events as much as they record them. Archives are not representations. They certainly are not reflections. Next Derrida argues that archives invoke questions of memory, but also equally importantly of forgetting. And then finally, he makes the point that archives really are about the future. It's a pledge, a token of the future, specifically not a record of the past. So the archive is not only powerful, but it's also a paradox. Because what is apparently stable and solid and stored and accumulated is also unstable, ever changing and open to the future. I promise we're going to get to the body archives in a second. But before we do that, I want to give you one example to illuminate this. I want to talk about the diaries of Bronislav Malinowski. And Malinowski is a founding figure of modern ethnography. In fact, his 1922 publication, Argonauts of the Western Pacific, is one of the key texts, the canonical texts of the discipline. It was based on his fieldwork in Melanesia and New Guinea in 1914 to 15, and then in 1917 to 18. And Malinowski is famous for many things, but methodologically for introducing a method which became central to ethnography, of participant observation, of living among the people you are studying for long periods of time. Now, the relevance here is that Malinowski kept daybooks or diaries while he was in the field. And these diaries were published after his death in 1942. The diaries were found in his office at Yale by his widow, Valeta Malinowski, and she published them after his death against the wishes that he had left. These diaries are controversial for the insights that they give into the daily life of an ethnographer in the field in the early 20th century, but also they're controversial because they give insights into Bronislav Malinowski's thinking, his perception and judgments of others. The diaries reveal him in his own words, one could say in his own voice. Thus, December 5th, 1917, Wednesday, felt rotten all day, read trashy novels. They did not hold my attention, nor was I interested in the natives, didn't even like talking with Bill. Or here's another entry from his published diaries, May 22nd. The natives still irritate me, particularly Jinder, who I could willingly beat to death. Now, I understand all the German and Belgian colonial atrocities. I'm also dismayed by Mrs. Bill's relations with a handsome N-word from Tokoyuka. May 28th, Billy printing pictures, did Swedish gymnastics by the cool side of the veranda. All the time I had a subconscious longing for ERM. But in spite of that, I scandalously pawed Napola. I controlled myself on my way back, my moonlight, but I must never again indulge in such things. I decided today, tomorrow, and day after tomorrow to complete work on games and Kukua and Wango, also to take a few pictures. Diagnosis of yesterday's condition, sexual hysteria caused by lack of exercise. Today again, I had unnecessary dirty thoughts about Mrs. Blank. And finally, got up at seven yesterday under the mosquito night, dirty thoughts. Just, whoops, I've lost my screen here. Hang on a second. Here we go. I thought that even if ERM had been here, this would not have satisfied me.  I even thought of seducing M, shook all this off. But we're not here to talk about Malinowski or his character. What do we know of the body archives? What sites do they provide? What voices do we hear when we listen to them? What do these voices say? Well, the body archives contain a lot of things. They contain artifacts and their metadata about the Iron Age past and its trace materials. This bronze bracelet. We have today's museum record photo. We have the original project photo with scale and tags. We have the original photo record card. The archives also contain photographs. Many as are expected in the trope of excavation of the directors, the team shot, but also of the actions of archaeology, pot mending in process, also of the moments of discovery. There is in fact an entire thesis or two theses to be written on the project's photography. The early use of autocrome of the 947 hand-colored glass slides of the over 2,900 prints and negatives in the archive. Some of the images though are just striking to look at, whether you're an archaeologist or not, of stratigraphy, of work in the pottery shed, of photography, of leveling, of recording a tomb, of the women being paid, of William Badei eating with local leaders, but also of flowers like this poppy or this image of an iris. So the archives contain photographs. They also contain movie images. As you probably know, Badei made a movie, a 37 minute black and white silent film made by George Headley and James Fillmore Collins, and it gives us a little glimpse, a living glimpse. It is silent, but you get a sense of people being there. There he is himself, peering into a tomb. And of course you can find the entire film on Vimeo. So we can look at these parts of the archive. We could also look at indirect or external parts of the archive, parts of the academic knowledge production system. We can look at Jeff Zorn's excellent material on the Cornell website. We can refer to his publications on Badei and on the museum. We could also read Harlan Hogue's 1965 history of the Pacific School of Religion and the comments which he made within it about Badei and about Badei's field work, indeed building a reputation for Badei. I could go on about the Badei archive in his voices, and I will in a moment, but before I do that, I want to insert a concept from the field of visual anthropology, a concept that might help us assess the value of the Badei archive, as this value may be in a currency other than the archaeological. I want to start with an image from another place. This is an image from the 1907 St. Louis World's Fair. It's a striking image. It's of native peoples being put on display for amusement, for entertainment, and supposedly for education. There's much to say about this image, and many others have said it, about racism and abuse of the world's fairs. But here, let us focus not on the Cheyenne men in the foreground, but on the four white people looking out and down on them from the window. The currency of this image is found in U.S. exploitation and attempts to exterminate native peoples, of power and spectatorship, of race and racism. In visual anthropology classes, this is a good example of something called random inclusivity, the random inclusivity of photography. Now, random inclusivity as a concept comes from debates and literature of visual anthropology. It's discussed by a number of key authors in that subfield. These three would be people I would send you to read if you're interested in this concept. But random inclusivity holds that photographs contain things at random, that there are unintentional inclusions in photographs, that because of this, there isn't any photograph in excess of meaning, and that this excess allows alternative meanings to be made. One can apply this concept of random inclusivity, not only to photographs, but to many other contents of an archive. Let's go back to the Badi archives. Where were we? We were talking about external sources. So we could talk about the external sources of the Badi archives in terms of committee papers. We could look at the committee papers, the Palestine Institute Committee of PSR of the Pacific School of Religion, and at important moments in the life of the institute and its death. We could look at the committee papers of PSR's executive committee and its role in that same moment. We could also look at other parts of the archive. The archive contains correspondence. Here's a letter from Rachel Malouf to Badi. Rachel Malouf's family owned Maloufia, which Badi rented as an excavation place. The letter is written in advance of the 1935 field season. In the letter, she gives insight to local disagreements. This year it will be impossible for us to let the workers pass or stand on our land. This is important as all of the land is in trees and the Muslims have become very hostile towards us. Here is a letter, a 1932 letter from Ernest Richmond. Ernest Richmond at the time was director of the Department of Antiquities of the Palestinian government, the letter he wrote to Badi. My quote from the very end of the letter. In regard to your questions at the end of your letter, this department would prefer to avoid participating in the discussion. If you feel that you need further witnesses to archaeological facts associated with your discoveries, may I suggest that it would be well to choose them from among other excavators? Badi had been asking for support. There's insight here into conflict and interpretation. Now for the remainder of my time on your screen, I'm going to turn more exclusively to the day books or the journals or the diaries that Badi kept during the five field seasons at Mesba. Here are the first and second page of the day book from the 1926 season. I'd like to say this is the first day book for the project, but it's not. It actually turns out to be journal number three. Spoiler alert, their gaps and fractures in this archive. We'll get to them a bit later. Regardless, what voices do we start to hear? Well, we hear William Badi telling us about locals working on the project. March 21, 1932. One Ramallah man, bull is stowed, brother of the laundress, was let out this morning because of his odorous mouth and breath. When he was drunk from the water can, no laborer wanted to drink from it again. We hear Badi telling us about payday. April 10, 1926, paid the working gang at four o'clock. Labib and I sat at opposite sides of the table near the door. Abu Wared, our tall and dignified Egyptian foreman stood just outside the door. When Labib mentioned a name, Oreda repeated it outside in stentorian tones, and the person called would come up and receive his pay. There was some expostulation about the scale of wages, especially on the part of the women. A half-piaster Bakshish usually quieted the disturbance. To one young, one scamp of a young fellow who tried to work a trip to get more money, Labib administered a cuff and a kick. What else do we hear? We can hear more about one of Badi's key assistants, Labib Soriel. June 1, 1929, Badi says, when in Jerusalem had long talked with Labib in l'hôpital français, without consulting me, he has had yesterday a second operation for hemorrhoids, regarded as quite unnecessary by the doctor. This, according to Dr. Rue, the surgeon will prolong his complete recovery for another 10 days. The nature of the ailment, being not an accident suffered on the tell, does not obligate the expedition to assume his hospital expenses. He will have to assume responsibility for the remainder of his stay at the hospital. I also will have to stop his pay on staff until he returns to work, and appoint in the meantime Mr. Menzies. We also can hear in the daybooks of Badi talking about other members of the team, specifically hearing about the growth of his interdependent relationship with Clarence Fisher, Fisher here seeing on our right sitting down next to Badi. September 16, 1925, before the project starts, Badi writes to Fisher that Badi seems to himself able to profit by Fisher's advice and supervision. Next December 7, 1925, the winter before the first field season, Badi writes to Fisher, Needless to say, I'm earnestly hoping that it will be possible for you to furnish me with some trained workman and to me the benefit of your experience in any other ways that might be helpful. So we begin to hear the voice of Badi talking about other people. We see in the archives a photograph and a plan of Fisher's house in Ramallah, the house he made available for Badi and his family and part of the staff. October 19, 1928, two years into the project, Badi has been paying back Fisher's help and advice. Badi writes to Fisher, your personal cooperation has been invaluable to us. I have borne public testimony to this fact wherever I've lectured. I have unhesitatingly, which I believe declared you to be the most scientifically and skillful excavator whom I know. Badi is doing PR work for Fisher's reputation in the U.S. and elsewhere, though perhaps not as fully as Fisher might have wanted. Badi writes to Fisher about the coming field season 1928. He says we have not yet succeeded in finding money for the building of the Palestine Institute or its endowment, so that we are not yet in a position to spread ourselves by inviting someone like you to act as its leader. There must have been a request here or feeling out of a possibility of a position by Fisher to lead the new Palestinian institute. What's going on here? Well, clearly Badi needed Fisher's experience, context, and knowledge about archaeology and about working in the Middle East. But what's the deal with Fisher? Why might he need or want a position in Berkeley? Here's another voice. June 1st, 1927, William Albright. Albright was a professor at Johns Hopkins, but more importantly, he was director of the American School of Oriental Research in Jerusalem and he was a leading figure in the regions of archaeology. Albright writes to Badi, many thanks for your account of the situation at Megiddo, which I shall treat as strictly confidential. It's too bad. However, she got along very well with Dr. Fisher before. Mr. Guy is a fine archaeologist and a gentleman. I hope, however, that Dr. Fisher doesn't do anything rash, since I am sure that some arrangement can be made with Professor Breasted. An open break would be bad for everyone concerned. My dream is to see the archaeologists of Palestine all working happily and peacefully together. We need to go off-piste here for a moment or perhaps come up the stairs out of the archives. What do we know about Clarence Fisher? Well, he was born in 1876. He took a degree in architecture at University of Pennsylvania and he established himself as having a lot of field experience in the Middle East, although perhaps few publications. In 1914, he was appointed curator of the Egyptian section of the Pennsylvania University's Museum of Anthropology and Archaeology, or as it was then called, the Free Museum of Science and Art. In his 2004 Oxford book Shifting Sands, The Rise and Fall of Biblical Archaeology, Thomas Davis writes of Clarence Fisher that he dominated American archaeology in Palestine in the 1920s. 1925, depending on who you talk to, Fisher either resigned or was fired from Penn. George Gordon, then the director of the museum writes, the Fisher's mental and physical health had deteriorated to the point where it became impossible for him to represent the museum or conduct work in the field. Fisher gets hired by the University of Chicago in 1925 to be the new director at Megiddo, and he directs excavations there until 1935, at which point he resigns. Okay, let's go back on piece. Let's go back down the stairs into the archive. Here's a 1931 letter from Joe Wampler. Wampler is one of Badae's assistants. And he's describing the accommodation conditions at the Haverford Expeditions at Beth Shemash. Wampler writes, the other wing is for Dr. Fisher, David, and any of the numbers of boys who come to visit. One just cannot seem to get away from that crowd of boys. Back to the daybooks. The Nazba project had good working relations with several local institutions in Ramallah and Jerusalem. One of them was the Friends Day Schools in Ramallah. Here's a diary entry. Here's Badae talking March 13, 1929. This morning, Dr. Fisher brought to the breakfast table the tragic news that Serazi, the brightest upperclassmen of the Friends Boy School, had committed suicide by drinking sulfuric acid during the night. He was one of the special cases of Dr. Fisher, who had been helping him and other members of his family, which live in Gaza. He had a consuming ambition to become an engineer and enlisted the help of Dr. Fisher to get him into Yale or Harvard. Perhaps overstudy, poverty, and no prospect of fulfilling his ambition cost him to fall into a fatal fit of despondency. March, almost a week later, March 22, 1929, Badae writes, Dr. Fisher left yesterday for a weekend in Haifa with a teacher and one of the Terazi boys from the Friends School, whom he has said to have adopted. There is much more that can be said and that should be said about Clarence Fisher, including his later and now I think rather disturbing work for children's charities in the Middle East and Europe and for the YMCA. This is not the place for that discussion, though I will return to Clarence Fisher in a few minutes. Let's take a step in a different direction. Let's remember the specific chronological context of the Nasdaq project. As we all know, I think, the project had five field seasons. Many of you, of course, are also aware that this is during the British mandate. But one could argue is probably the critical formative pivotal period for Middle Eastern conflict. And we might do well to remind ourselves of a few relevant events on a regional and continental scale. 1929, the Barak uprising in August, where a long standing dispute between Muslims and Jews over access to the Western Wall and Jerusalem escalated into violence. Between 1931 and 1936, the massive increase in immigration from Europe into Palestine, leading to 64 new Jewish colonies and their land ownership rising to almost 30%. 1935 Nuremberg laws, a set of anti-Semitic racist laws passed in 1935 in Nazi Germany, which triggered massive Jewish immigration. So that by the end of 1935, Palestine is on the brink of a full blown revolt, protests over rights and access to religious sites, among other things. We should also note 1947, 1949, Palestine war, and Israel known as the War of Independence, a first part of which was a civil war from 1947 and 1948. A second part was the 1948 Arab-Israeli war. We could also note May 14, 1948, the British withdrawal from Mandate Palestine, all of this culminating in the establishment of the State of Israel, where Mandate territory gets divided, 78% becomes the State of Israel, the rest is divided between Trans-Jordan, now the Kingdom of Jordan, and Egypt with the Gaza Strip. This leads to the displacement of over 700,000 Palestinians. We could talk perhaps by 1948 in general of a term the Nakba includes the Palestine war and other events, the destruction of Palestinian society and its homeland, the permanent displacement of a majority of the Palestinian Arabs, Tel Aviv and other field projects during this period provide an extraordinary insight into life on the ground during the British Mandate. Let us return to our opening archival voice, the breaking of the car window of the Ford that Bade and the project drove. What other voices can we hear in these archives? April 9, 1926, Bade writes, there was a great row at Malufia at noon today when a man proposed to bring in and water a flock of sheep and a cow. The caretaker objected and fought when the man tried to enter forcibly. What about Bade's voice about visitors to the excavation? May 29, 1932, enormous mob of Jews appeared at 230 from the Hebrew University under the leadership of Professor Klein. June 1, 1932, Bade writes, this afternoon 40 or 50 teachers and students from the Jewish Lahore Seminar in Jerusalem, many of the young fellows were disagreeable luck. June 28, 1932. In spite of announcements in the papers that the excavations are closed, half a dozen buses with more than 150 Jews arrived during the afternoon. A great nuisance. We are too accessible to the public. June 21, 1932. Parties have been coming from Jerusalem and Tel Aviv all day. An enormous delegation of 125 arrived late in the afternoon. Very troublesome. Had the greatest trouble to keep them out of the house. Granted, many visitors came to the site. May 24, 1926. An excessive number of visitors today, evidently brought in by a Reuters dispatch about the size of our wall, the biggest in Palestine. May 25, 1926. Shoals of visitors, particularly pupils from the Friends Girls School. The semantics of these entries speak their own story. Mob, disagreeable lot, great nuisance, troublesome on the one hand, excessive shoals on the other. There are other voices in the archives of relevance here. Here's a letter from Bade to Dinsmore. John Edward Dinsmore is a key figure of the American colony in Jerusalem. American colony was a Christian utopian society founded in 1881. Bade writes, thank you for giving me such an early and informed account of the rights between the Jews and the Arabs in Palestine. I was, of course, deeply interested in the clippings you sent. I've since then received letters from others. Now I'm inclined to think that unless the Jews give up some of their Zionist ambitions, they have much more trouble in time to come. April 15, 1926. Daybook entries by Bade record the visit of père Louis Hugue Vincent, a respected early French biblical scholar and archaeologist from the École Biblique et Archaeologique Française in Jerusalem. Bade writes, the great wall he at once pronounced the monument of the Bronze Age, as Professor Garstang had done. Nothing Jewish about it at all. June 16, 1935, Bade writes, the kayak brah is run by some cheap Jewish concern, opening similar places in America, a jazz orchestra, dancing, drinking, etc. The night was close and muggy. Other voices in the archive are of significance. The voice of his wife, Elizabeth Marston Bade. Some time after her husband's death in 1936. Now, of course, we know that Elizabeth Marston Bade accompanied William, her husband, on all but one of the seasons to the site. And she continued to be a significant part of the institutional legacy that her husband had left after his death. December 3, 1954, correspondence from Elizabeth Marston Bade to Mary Kimber. Mary Kimber was a curator or outreach officer at the Palestine Institute. She writes, it's a comment on the existence of a zoo in Jerusalem. Bade, Mrs. Bade writes, I've never heard of any zoo in Jerusalem when we were there. It must be one of the modern improvements installed by the Israelis. Note the sarcasm, I think, in the use of scare quotes. In March, 1956, Elizabeth Marston Bade writes to Mary Kimber, praising President Eisenhower's radio broadcasts to the American people about the Israeli occupation in the 1956 war. July 30, 1956, Elizabeth Bade writes to Mary Kimber again, praising Elmer Berger's 1955 book, Who Knows Better Must Say So. This is a book that was published by the American Council for Judaism in New York. Berger was a outspoken Jewish anti-Zionist rabbi. And in the letter, Elizabeth Bade wants to send copies of this book to the Palestine Institute. Sometime in 1968, Elizabeth Marston Bade writes to Mary Kimber. I'll read it out to you. I wish the Israelites would spend more time on the Dead Sea Scrolls and less time bombing the Arabs. Also that the Arabs would devote themselves to the Aswan Dam instead of fighting over the Suez Canal. Mr. Anderson has sent me the trustee minutes and brochure about Dr. Sprule. So those of you Berkeley base will know that name perhaps. Isn't that enormous endowment wonderful? I wish some Arabian oil could endow the Palestine Institute. So we have all kinds of voices coming to us out of the archive. Directing our ears to hear the words of Elizabeth Marston Bade is important, not only for listening for the listening window, it gives us into the Bade's position on Middle Eastern politics. But it's also important to hear about local politics in Berkeley and at the Pacific School of Religion and the politics of institution founding and renaming. In 1928, the Pacific School of Religion founded the Palestine Institute, and William Bade was named as its first director. In fact, here we have Bade writing to James Breasted at the Oriental Institute in 1928 in June. He writes, the trustees of the Pacific School of Religion have taken the first steps to create historical museum, which is to serve the double purpose of investigation and instruction. It is proposed to call it the Palestine Institute because Palestine will be the center of its interest. And he goes on to the very end of that paragraph. He says, in order to be able to devote more attention to this auxiliary feature of our school, I resign the deanship and have been elected director of the Palestine Institute. In 1941, remember Bade dies in 36, the William Frederick Bade Memorial Wing is dedicated and opened. Funded, I think, principally by his wife and her family's money, as well as others. The wing includes exhibit halls, offices, seminar rooms, and work labs. That's 1941. In 1976, though, the whole Palestinian Institute is renamed. It's renamed the Bade Museum of Biblical Archaeology. What happened? What do we know about the Palestine Institute? Well, we know that Bade had visited the Universität Griezwald on the Baltic and Northern Germany. In fact, Elizabeth Marsden Bade tells us about this in the transcript of a later interview. Now, the Universität Griezwald had a center for Palestinian studies, which had been founded, the university had been founded, and the Institute, sorry, the Institute had been founded during the Weimar Republic. And in 1933, the Universität Griezwald was renamed after Ernst Moritz Arnt. Arnt had been a nationalist anti-Semitic historian who had taught at Griezwald. So that's its origins. The Bade archives, though, tell us that the Palestine Institute's history seemed to be a constant search for funding, but a constant set of justifications for why it should exist. The archives contain a series of written justifications for its existence, for its purpose, a series of reports drafted for the president of the Pacific School of Religion, a series of drafts of those reports, reports to be sent up the administrative line, repeated references to the role that archaeology plays in the study of the Bible and across religions. Here we have a document on the left, 1946, laying out details with handwritten notes on the side about the Palestine Institute's suggested program, immediate needs, and needs in the long term. Now, in the 1970s, more numerous and lengthy reports on the Palestine Institute's history, purpose, and future appeared, including a detailed seven-page report sent on April 11, 1975, by the then curator to the president. There are also repeated appeals to Elizabeth Marston Bade for money and equally repeated polite replies in the negative. Here's one from May 1, 1949, Elizabeth Marston Bade writing to Dr. Bridges. The whole question of the Palestine Institute troubles me. I simply haven't the vehement vigor to promote it at present. I never was successful in raising money for its maintenance. She's repeatedly being asked either to provide money herself or to contact her wealthy friends in San Diego to raise money on behalf of the Institute. There are other questions about a gift of stock, for example. Elizabeth Marston Bade had given a block of stock to the Palestine Institute and it may have been misplaced or misallocated. Anyway, in the 1970s, the Pacific School of Religion employed a new vice president and director for fundraising, Richard Schelheiser. One of his key objectives was to find financial support for the Palestine Institute. In fact, under his direction, he submitted a series of formal grant proposals all in 1976, the James Irvine Foundation, the East Bay Community Foundation, the David and Lucille Packard Bell Foundation, to the Lucius Le Tower Foundation, and to the Helms Foundation. These dates are important in 1976 in terms of what's happening in the United States, the Bicentennial, but also what's happening in the Middle East with the PLO. If we listen to the January 1976 application of the James Irvine Foundation, we see at the very beginning, this is January 30th, 1976, in terms of need. It says the Institute was funded before the word Palestine had taken unfortunate political connotations. The trustees are now considering renaming the museum. As predicted, the name was changed. Here are the minutes from the Executive Committee of the Pacific School of Religion from February 17th, 1976. I don't need to read it out here, but I'll read some of it. Again, the same language. The word Palestine in the name has led to some misunderstanding in recent years as the political connotation of the word has gained high visibility and they therefore authorize the change of the name from the Palestine Institute to the Bade Museum of Biblical Archaeology. 30 days later, the Pacific School of Religion releases its press release. Note the date, March 17th, 1976. The same day, PSR submits an application with the name change to the David and Lucille Packard Foundation for support. So that's what happened in the Palestine Institute. So we sort of know everything, don't we? Random inclusions expand our acknowledge about Tel and Nasbe. This project is personnel, Florence Fisher, William Bade, the Disappeared Palestinian Institute.  Let me add an archaeological concept, post-deputational processes. All of you who are archaeologists know what this is, that people and natural forces change and destroy parts of an archaeological site, or in our case, an archive. Let's go back to the daybooks. Do we know everything? Five years of excavation. If you look at the 1926 daybooks, there's a page which is covered over, redacted. 1929 daybooks. Pages 1 to 71 are missing. Pages 180 to 181 are covered over, redacted. 1932. Last line of page 40. Top of page 41 is covered over. Page 89, the bottom third is covered. Page 125 is covered. 1935 daybooks. Four pages 45 to 49 are missing. In fact, the entire field season from 1927 is missing. What's going on here? Let's look at one example. Let's look at 1932, this example of page 40 and 41. You can see the top right that's the top of page 41. The page has been covered over by a slip of paper. There's the edge of the paper on the left. Why would this be covered over? What needs to be hidden? What was Bade writing about? Well, if we look at the bottom of page 40, we see a bit that wasn't covered over. It says, news comes from Antioch, the Dr. Fisher, and then we don't have the rest of that story. Where is everything? Why are these bits missing? Why are they covered over? Where's 1977, 1927? Well, here's another bit from the archive, September 20th, 1978. It's a letter from Kay Schalheza, who was then the curator, to Elizabeth Marston Bade. She writes about a young researcher, Professor Thomas MacLennan, work from Bowie State College in Maryland, working on the site materials and would like to work with the diaries. And the letter asks whether Mrs. Bade has these diaries, whether she'd make them available. Of course, we have the response from Elizabeth Marston Bade. And she writes about the journals. I'm sorry to say, I think I shall keep them here. There are so many personal items, remarks about people, early conclusions that were later corrected. It was Mr. Bade's first dig. He was learning all the time. So, does it matter that we don't have these bits of information? Does it matter that this archive is fragmented, that part of it's redacted, that we don't know where part of it is? Does it matter that we don't know what Clarence Fisher was up to on May 3rd, 1932 in Antioch? I would suggest no, it doesn't matter. In fact, their absences and their silences may be the loudest voice in the archive at all. Let me conclude with this image from the archive. It's inventory number A402. It's titled, in the archive, Object Institute 2107. What we see is a pit dug into the ground and some ghost-like figure to the left out of focus in motion, not static. So, what is the object in situ in this archive? Is it Palestine? Is that the object of this archive? Is it Palestinians? Is it the Iron Age? Is it the site itself? Is it Clarence Fisher or Lobby Bessoriel? Is it the bad breath bullies dowed from Amala who got fired that day? Is it William Bade himself and his pro-Palestinian at best or anti-Zionist at worst position? I would suggest that the object of this archive is none of these things. The object in situ is the archive itself and the archons who constructed it and who maintain it and who conceal parts of it still. To me, this is what the voices of the Badi archive tell me. Thank you very much. Thank you very much for that very interesting discussion and conversation. I do have a few questions from our audience that I can go ahead and start with. Our first one, is there a struggle to connect information given in archives as random inclusivity to what is more widely known? More generally, how do you create and connect and confirm meaning? Wow, that's a big question. Sure. The question assumes that someone is making connections or someone has the agency to make connections with what is randomly included. My whole thinking in this, as I've worked with this archive for the past couple of years, is it becomes less about me and what I'm saying and more about what the archive says. And in some ways, it's very much like a site, an excavation, that although you can set some parameters and how you might carry out that excavation, you have to let the material speak. And I think in putting all of this together, although my thinking continues to evolve, I'm more and more given to letting the voices speak, to the diaries speak, to the images speak, to the this figure in this image on the screen of that worker in the pit. You can't really see who it is. They're almost unimportant, but they're the core. These little bits from the letters from Elizabeth Marston Bade in her handwriting, and her handwriting gets worse and worse as she gets older and older. Yet she speaks so many important things, which are never included in any of the official reports or histories of projects like this, let alone of the archives. But I appreciate the question. Certainly. And you've done a really wonderful job of giving this rich and in-depth overview of some parts of the Bade Museum Archives. Our next question is, could you discuss your main research questions and overall goals of examining the archives when you first started to investigate this source material? And what kind of questions initially motivated your project? Great question. Yeah, so I met Aaron in Chicago. This is typical. You work in almost the same city with someone, and then you meet them, whatever, how many thousands of miles away. So Aaron and I met at an ASOR meeting in Chicago at a conference. I was giving a paper about something else altogether, and we met and we realized we were working almost in the same city, and we started talking about this archive and this project, which I knew nothing about. And one of my primaries is in visual anthropology and photography, and what images do and how they work and how we handle them. And he said, oh, by the way, we have this incredible set of images of photographs from an excavation from the 20s and 30s. And I met him and said, whoa, that sounds very cool. I'd love to come and see them. And so I arrived in the basement of the Bade with Aaron, and I think it was even maybe even before 2018. And I was sort of blown away by the depth of material, but all to the detail. But I was then looking only at visual material, photographs. I was thinking, yes, there are great projects here for students. There's projects for lots of people to work on, the types of photography being used, what cameras are being used, what film, amazingness, movie that they made. And I started to go through some of the correspondence files to find out about the photographers. And I just realized I looked up and I spent two hours going through a folder about letters about the project. And I said, wow, there's so much material here, which is sort of randomly included in this archaeological archive, which speaks not to the Iron Age, not to necessarily this specific site and whether it was the site it's supposed to be in the Bible, but which speaks to the politics of archaeology, which speaks to the practice of archaeology.  It's born of colonialism. And if anything, I'm trained as an archaeologist that my thinking over the past 30 years is that's what we should be working on, the political role the past plays in the present, and the ways in which this archive has so much energy in it. Some of that energy might be dangerous and damaging and a little scary. But my thinking changed and my goals changed. So those are the original intentions and you're sort of seeing where I am at the moment, but a very astute question. Sure. Aaron, did you have anything to add? No, I just would ask Doug if he wouldn't mind, stop sharing your screen. Oh, I'm sorry. No, it's okay. I'll duck out. Sure. We do have time for one more question. So our next audience member asks, could you elaborate a bit on the nature of Fisher's disturbing work with children's charities in the Middle East and what sources led you to view his work in this way? So I'm working and trying only to use the voices and the words in the archives. Mm-hmm. So the sources are those. There is also an offline conversation, a gossipy conversation about Fisher and his reputation. But like, I guess, an archaeological site, you never have direct evidence of anything. You're always working circumstantially. And the more evidence or the more records I read about and the more things I hear about. So, I mean, I did look into Fisher. I looked into his archive at the University of Pennsylvania, the archives there of the director at the time, the correspondence and the files here at the Bade talked off the record to a few people who have more knowledge about Middle Eastern archaeology and its history than I do. And I think it was a process of seeing a lot of information going away and coming back to it and then making connections I hadn't seen before. So Fisher, my understanding, received awards for his work with refugee children in Europe. And on the surface, that's fabulous. I'm concerned, as I think many people in society are, about people in positions of power and the authorities they have over people who are powerless. And when I read these entries in Bade's journals about Fisher and about his relationship and his attempts to help as a special case, a student who then committed suicide at that school, and the fact that he then left the project, those are the sources. But I'm trying to speak only with the source's words. Sure. Yeah, that definitely makes sense. Thank you. Well, I think that's all the time that we have for today. So thank you again for the interesting and engaging discussion of our audience members. Our next lecture series will be April 28th at the same time. So please make sure to come back and join us for that as well. Great. And in conclusion, I just also like to express my thanks and gratitude to Doug Bailey for a really amazing talk and for, you know, bringing new life to various aspects, actually, of several archives here at Pacific School of Religion. And, you know, I felt the sort of direct link since I'm sitting in an office that's probably about 10 feet away from, you know, that that wing that was built in 1941 and 1942 to house not only the museum, but, you know, what was considered at that time the institute. So there was a research library. There were spaces that were devoted to the reconstruction of ceramics, to the preservation of archaeological objects, etc., etc. So in a lot of ways, you know, these archives continue to live. Modern times, as do I should just add, that the descendants of, you know, some of the folks who were mentioned in Doug's talk. So while, you know, many of us as archaeologists have a view towards the past, it's so important as our land statements have acknowledged, you know, that there are living descendants and, you know, to pay attention to the living as well as the dead. So thank you all very much. And we look forward to Rachel Sparks' talk on April 28th as well coming up.


Now as howling winds echo across the snow-covered reaches of the Wild Northwest the Quaker Oaks Company makers of Quaker Pop Wheat And Quaker Pop Rice the delicious cereal shot from guns In cooperation with the Mutual Broadcasting System Present by special recording Sergeant Preston of the Yukon It's Yukon King, swift as the strongest lead dog of the Northwest Breaking trail for Sergeant Preston of the Northwest out at Belize in his relentless pursuit of lawbreakers Gold discovered in the Yukon, a stampede to the Klondike in the wild race for riches Back to the days of the Gold Rush and the adventures of Sergeant Preston and his wonder dog Yukon King as they meet the challenge of the Yukon Our adventure will begin in just a moment Some girls are content to follow the leader. Some girls want to be the leader That's why more and more bright young women today are turning to nursing for a career For professional nursing offers unlimited opportunity for women and the need in top-level Supervisory and teaching positions is great if you're a high school graduate or college student between 18 and 35 and if you can qualify a Full fascinating career in nursing awaits you choose your own specialty from hospital staff research Nursing education and many others the field is fertile with opportunity for women with imagination and initiative Perhaps you can qualify for a life of leadership service and of course security Learn more about the exciting opportunities now open in nursing Write to nursing careers in care of your postmaster Or inquire at your nearest school of nursing This message is brought to you as a public service John Markham was a prosperous and successful banker in the city of Seattle The elderly man knew that after the death of her father Margie Wynton would need help Though there were many demands on his time He left the bank to call on the bereaved girls who offer sympathy and assistance Mr. Markham, I'm so glad to see you. I wanted to thank you for taking over and handling The female Arrangement now now Margie. There's no need to thank me Your dad was my friend. Yes. I know he was a fine man His only fault was that he was just too stubborn to take advice about money. Yes I remember pleading with him several times to let me invest the money for I know how dad was about money. Mr. Markham Just didn't seem to mean anything to her I came here my dear to tell you that there's anything I can do to help you settle your dad's affairs and make plans for a few I've been thinking about that Mr. Markham Before he died dad told me to go to my uncle Ben Dad said that uncle Ben will take care of me. Oh, yes, uh, Ben went to the Yukon dad rub station Uncle Ben struck it rich a short time ago and he wrote dad to tell him that he was giving him half inches in his train Hey, your dad does have a small balance at the bank There's enough there to buy the clothing you'll need I'll take care of whatever arrangements are necessary and telegraph the mounted police to meet you and Dawson Now don't worry about a thing Margie everything is going to work out just to hear dad would have wanted it Two weeks later Margie Wynton sailed from Seattle in the care of captain winker The trip was a long and uneventful one Margie spent most of her time in the pilot house talking to the kindly captain in whose care she was traveling Captain winker knew of her father's death and he did his best to help her forget her grief by telling her of his adventures as a failure And that was how I came to stay home from the jenneth these well, that's quite a story captain And it came in have you ever been to Cameron Creek in the Yukon Cameron Creek? They last that's in them. Yes, I know That's where my uncle Ben has his claims. I've never been there Margie I wish you could tell me something about it. You're thinking maybe you won't like it there. Oh, no, it isn't bad But you see, I don't really know my uncle Ben. He won't be happy about me going to Cameron Creek You put that thought right out of your pretty head. You'll be welcome. No doubt When the steam ship arrived in Dawson sergeant Preston that Yukon king were waiting to board The marie found it difficult to shoulder his way through the good-natured crowd that was assembled at the dock Let me through please. Sure thing. I'd like to board that ship Coming through please Yes, I'd like to see your skipper captain Winkers and Coray are calling. Oh, yes. Nice team. Come on gang Captain winker How are you? It's a new read y'all. I'm glad to see you.  Your fur is as handsome as the new mainsail.  I'm glad to see you. How are things going in the Yukon? Oh, we managed to keep living. You're going to be busier when the landlubbers I've just landed get into circulation They're a bad lot. Do you have a pastor named Margie Winton? I do. She's below deck in her cabin How do you know about her? The inspector received the telegrams from the bank in seattle asking us to meet the girl See that she reaches an uncle who lives at Cameron creek Yeah, it was the banker who brought her to the boat The girl's father died and left just about enough to pay her pass Come along. I'll take you to the chapel. All right. Come on Oh Do you know Ben Winton? The girl's uncle? No. Do you know the Cameron creek area where he lives? No, I don't but council Blake's been there. He made a map for me Careful stepping through the hatch. Captain's below The uncle has a gold claim. Supposed to be fairly well off. I'm glad to hear that Will you travel by sled? Yes, captain. Here we are Miss Winton, it's captain Winker Yes What a beautiful dog Miss Margie, this is sergeant Preston sergeant. Miss Margie Winton. Oh, uh, well, how do you do? How do you do sergeant? What's the matter? Well, uh, I understood that the girl was young sergeant. Do you think 20 is care of the old? Oh No, not at all. I I mean I had the impression you were a child sergeant Preston is to see that you meet your uncle Safe and sound how nice I couldn't help wondering who would be meeting you Is it your dog? Yes, I'm king Oh, how friendly he is Do you know my uncle Ben sergeant? No, I don't. Neither do I I mean I've never seen a picture of him You see he was always traveling but he never came to Seattle where we lived a few years ago He wanted to come here to search for gold He had no money So the drug station when uncle Ben found gold he wrote and said half of it belonged to dad And now since your father died, it's yours, huh? Yes Oh, I'm so anxious to meet uncle Ben. How soon can we start sergeant? Well, you'll need clothing for the trail Oh, I have everything. Carter, mitten, muckluck Oh, well in that case I'll go to shore and line up the team. I'll call for you in 30 minutes We'll continue our adventure in just a moment Say kids, how about you and your whole family going to the baseball game? You'll have the time of your lives seeing those smashing home runs watching exciting double plays and strikeouts eating peanuts and cracker jack Why not go this very week? Come out to the ballgame as guests of a major or minor league team Yep admission is absolutely free if you are 12 years or younger and bring mom or dad or another paying adult And you can get your free ticket immediately No mailing no waiting free baseball tickets are right inside packages of quakerpuff wheat quakerpuff rice and muffet shredded wheat In quaker pac-o-ten you get two free tickets names of the teams and dates of the games are on every ticket Remember the more packages of these delicious quaker cereals mom gets the more free baseball tickets you get So tell mom you want to eat lots of quaker puff weed or puff rice Muffet shredded wheat or quaker pac-o-ten And just think of the fun you'll have the ball game Seeing real star players in person and cheering for home run To continue Cameron creek was a fast flowing stream of turbulent water that never froze It raced along the center of a wide canyon in the desolate part of the yucca On the rim of the canyon then wintering was at work on a strange-looking contrivance It was a metal cylinder about a foot in diameter supported on a frame of heavy timbers A rope wound around the drum and then extended over the edge of the canyon and down to the bank of the creek 50 feet below Then absorbed in his work didn't notice a powerfully built man to approach That's hallucinating Oh, howdy sanger. I didn't hear you coming. It took me somewhat by surprise. I'm sorry if I stuttered you That's all right. I'm glad to see you human. It's mighty lonesome round here I hear traveling light. Well, I had bad luck my My dog team was cutting a snooze slide to swift into a ravine I lost my dogs my sled and all my gear. That sure was bad luck You're hungry. I could do with some grub. I haven't eaten since yesterday. You've come to the right place I'm just the man to fill you up. My name's winten benwin. I'm glad to know you went Colby Merkel right Just stick around a couple minutes while I finish working this winter and we'll go inside I'll scrub a few layers of grease off my hands and lay out a meal That looks like a sort of a hoist. That's just what it is. I rigged it up myself I got this metal drum and darts and it came from an old ship or it was used to wind up the anchor chain I see. I've been trying to fix it so it would work easier. I'll show you how it operates I'd take a hold of this crank and turn the saw You see how the ropes wind enough? Yeah That needs more grease See a root goes to the floor of the canyon, huh? Yeah, what's on the end? A big bucket Yeah, now I'll try again Now it seems to work without squeaking. It works fine now You uh haul water from below. Is that it? Water? Nothing in your life. I haul gold oar. Gold oar? Just so You'll see in a minute. I filled the bucket a little while ago Well, where does your come from? My claim. The richest oar I ever saw Where is your claim? Down below There's a tunnel into the canyon wall I found the tunnel a few years ago and used it for shelter during the storm I started poking at the walls and found gold oar Good day. Did you find your claim? Yep. I did care of that when I saw what the oar is saying Now when we get to the cabin I'll show you how I recline the oar and get the gold out One of these days I'll have enough to go to Dawson and buy some real machinery How do you uh, how do you get below? There's a path over yonder a hundred yards or so beyond the house Over there the canyon wall is slanted instead of straight down Now that path's all right unless you're carrying a hundred pounds of oar then it's mighty tough climbing There There's the bucket right at the rim I fastened the winch prime dropping this lever into the cod wheel Let's uh clever hoist you break it It works first trade You see I go below fill the bucket then come here and hoist her up I'll lift the bucket over the rim and unhook the rope and tow it to the house, huh? Yeah, fine. If you want a job, I could use some helper on it Thank you As Mirko once then went and kneeled at the edge of the canyon to reach for the heavy oar fill the bucket His brain was suddenly inflamed by greed Gold was his for the taking It might be months perhaps a year before anyone learned of Ben Whitten's death By that time Mirko could be in the state a wealthy man Acting on sudden impulse. He stepped forward placed a hand on Ben's back and shot Mirko hurried to the house and made himself at home in the shed He found a partially refined gold in a leather pouch a simple homemade refinery and a supply of oar He found an ample supply of food and made a meal Then he went through Ben Whitten's letters and papers and learned much about the dead man's background Finally he took a coat from the peg in the wall and tried it out its first rate. I can even use his clothes I'll find that pad and go below There's probably somewhere in the tunnel ahead of buddy Mirko stood at the open door frowning darkly as he watched an approaching sled drawn by a strong dog team He saw a girl on a sled at a mouth. He traveling behind Confronted and looking Girl on a sled wave one hand Mirko responded half-heartedly. Hello Hello, Uncle Ben.  You, uh, you see you at Margie Oh, surprise.  Oh, yeah. Yes, you're in uncle Ben. This is sergeant Preston He was kind enough to bring me from Dawson. Glad to know you're Ben and this is his lead dog mucon king Hey, would you shake hands with uncle Ben? Don't be afraid of King Uncle Ben. He's very gentle. He doesn't look gentle to me If you'll go inside miss Whitten, I'll join you as soon as I've taken care of the dog. All right You are going to ask for dinner, Uncle Ben. Well, yes. Yes, you think we'd step inside. I don't wonder you're surprised uncle Ben It's funny isn't it? We're close relations yet we're totally strangers Am I anything like you expected? Well, so it is. I thought you'd resemble Ben, but you don't out of this Uncle Ben, I have bad news. Father passed away three months ago. Your father died at my, uh My brother Ben? Yes, it was unexpected. Well, I might have started to hear that I never looked for Ben to die. The fact is I was reading his last letter over again Just a little while ago. He didn't say it was Amon. Poor dad. He did so want to come here and work the crane with you To work the crane with me? Well, yes. In your last letter a long time ago He told us finding gold. He reminded dad to pass the crane with him for grub staking For grub staking you and asked us to come up here. Oh, yes. That's so, uh, Don't you remember? That's your, no, I remember After the funeral, I talked to Mr. Markham. He's a banker in Seattle He suggested that I come here and find out just what the crane amounts to. Well, uh, tell you Margie It's somewhat disappointing. It's not what I thought it would be Oh, that's too bad Did you become acquainted? We're making progress, Sergeant President. Wynton, isn't this your hammer? Yes, also this can of grease. I found them both beside your hoist Well, I, I forgot them. I was working on the hoist. Your work seems to have been interrupted Why do you say that? What prints in the snow? They lead from the trail to the vicinity of the hoist where the snow is packed down I looked over the edge of the canyon, Wynton. Is there any pressure to something wrong? I'm sure your uncle has something to tell me. What's the matter? Why are you so tense? Margie, when Sergeant President looked over the edge of the canyon He saw a dead man. It was an accident, Sergeant President. I'd like to tell you what happened as soon as I had the chance Tell me now Well, uh, I was working on the hoist. I didn't see the man until he was right up close He introduced himself and started talking. He seemed real friendly His name? He called himself Myrtle Huh? Go on He'd heard about my claim and was asking for work. Meanwhile, I hauled up a bucket of water I saw that. The edge of the cliff Yeah, it's still there. Well, I went to reach for it to lift it to solid ground when this Myrtle came rushing at me There was a wild look in his eye. The look of a killer I only had a split second glance, but I'll never forget that look as long as I live I saw him just in time to drop flat on my face and hug the ground Well, he missed me Went over the edge Your murderer.  I was shaking like a leaf I came hitting the house to sort of get a hold of myself You didn't go below to make sure the man was beyond help? I didn't need to, Sergeant President. It's rocked down there I could see by looking down that the man was dead I intended to get down later, but you and Margie came along How do you get below? Well, there's a path a couple hundred yards north of the house They must bring up the body Clearly. Well, that view is a hoise I'll lower the bucket and go down the trail and first move off around the dead man When I have a chance, we'll hoist him up Sergeant President, I never made a hand on that man.  So far. There's no reason to doubt the story Don't worry, Uncle Dennis Come on, then I have work to do Sergeant Preston went first to the homemade winch and lowered the bucket Then he followed the path of hard-packed snow along the canyon rim Until he reached the place where it was possible to descend With King at his heels, he moved along the bank of the stream to Winton's Tunnel There was no doubt that the man who lay on the rock near the Tunnel's mouth was dead Now we move the bucket king and we'll tie the end of the rope around the body The mouth, he was about to untie the rope when he noticed the dead man's outflung hand Which lay palm up. The fingers were black with fresh grease During? He looked at the other hand. It too gave evidence of having worked on machinery Both hands were hard and couched The hands of a man who uses a pick and shovel, a laboring man Preston thought for a moment Then he stood back and studied the man's face from several angles The nose and forehand are very similar to Margie's And then he realized the truth King, this was no accident. This was murder. This man is Winton We'll continue our adventure in just a moment It's a homer! Oh boy kids, what fun it is at the ballpark Come on out to the game Come now as guests of a major or minor league team It's your chance to get free baseball tickets If you are 12 years or younger You can see a major or minor league baseball game Free with a paying adult like mom or dad Bring the whole family and make a big day of it This very day or first thing tomorrow morning You can get a free baseball ticket No mailing, no waiting It's right inside a package of Quakerpuff wheat Or Quakerpuff rice or Muffet shredded wheat Or by Quakerpackle 10 and get two free baseball tickets Names of teams and dates are on every ticket Hurry to get your free baseball ticket In the special package of Quakerpuff wheat or rice Muffet shredded wheat or Quakerpackle 10 Now to continue After Sergeant Preston left the cabin The man who called himself Ben Winton was increasingly uneasy He watched through a small window When the Mountie moved along the canyon rim and started the descent And then for some time he paced the floor His replies to Margie's questions were vague Finally the girl said Uncle Ben, is there any reason for you to be so worried? That money He won't blame you for the death of that man Merkel Even if you shot him He'd have been justified, he would have been self-descended He learned the truth, he's bound to And that footprints on the snow He'll know their mind For the boy who'll see a family resemblance He'll probably see if it's a dead man who was working the winch I don't even see that You may as well know the truth I'm not your uncle, my name is Merkel I know It's your uncle down there on the canyon floor Oh, you killed her Panic filled the girl's heart For a moment she could only stare incredulously At the man who had moved close to the chair And would see fact Hey, kill him, yeah Been trying to figure a way out The way to save my neck without killing you and Preston But there is no way Oh, you'll see what he's doing They can only hang me one Oh, no Sparky staring at the distorted, hate-filled face of the killer Saw Merkel's hands reach toward her throat And then everything went black He slumped with the chair unconscious But that makes it easier But I hate to do it, but it's my life where hers and Preston Just then Merkel saw Sergeant Preston pass the window I found him He's quite too soon He'll have to take care of him and then the girl The killer leaped back from the chair and grabbed a stick of firewood Holding it as a club, he took a position close to the door Preston's hand was on the latch outside Merkel raised the club Sergeant Preston had returned to the cabin with the knowledge That the man inside was not Ben Wynton He knew that Wynton lay dead on the floor of the canyon And had reason to suppose he had been murdered King was at the Mounties side when Preston gripped the doorknob The great dog sensed that danger was close at hand But Preston had no way of knowing that Merkel was waiting just inside the door with an upraised club Let's see what that man has to say for himself Preston pushed the door and took one step And then the club descended King leaped at Sergeant Preston's power Merkel tried to swing the club again, but King was much too fast The huge dog closed his jaws and Merkel's eyes The club fell to the floor Merkel leaped with his free hand for King's throat King shook free and tightened his grip on the man's arm Merkel stumbled against the tape The table spilled and then both man and dog went down Merkel was fighting for his life He tried to gain his feet to reach a knife on a nearby chair But King was aroused as he'd never been before He had never known such hate as that He felt for the man who had clubbed his master There was no familiar voice to order down King King wanted to bring all the pleasure of his mighty jaws to bear on Merkel's arm He wanted to bring his fangs together And then move his attack to a more vital place But training conquered instinct King had been taught to attack, to hold, but not to kill Meanwhile, Sergeant Preston's eye was fluttered His hat had taken some of the force from Merkel's blow He was at first only vaguely conscious of the wild struggles closed his hand Then his brain cleared He saw King struggling with Merkel's Inch by inch Merkel squirmed nearer to the knife He reached up with his free hand He gripped the weapon He was turning it toward King When Margie opened her eyes and screamed Then Sergeant Preston fired from the hip All right, King, down, boy, I'll take over King's heart thrilled to the sound of that voice His partner was alive Very army, you smashed him Stay where you are Sergeant, Sergeant, he killed my uncle He's going to kill both you and me I mustn't trade him Ready, Margie, you're all right Oh, that's the face that mutters Well, dress his wounds and take him into Dawson After I return to your uncle's body, I'll take you to the inspector He'll help you make plans to sell or work this gold mine Chin up now, Margie There's much to be done I'll be all right Good girl All right, King, I'll take care of the prisoner Just a few details and then we'll say this case is closed Sergeant Preston will return in just a moment With a word about our next exciting adventure The hills and canyons of the old west Echo the exploits of one of the truly great trail blazers Of the mid-19th century The daring and fearless Wild Bill Hickok Back in the days when the west was young And ruthlessness was at the end of a six-shooter Wild Bill began his career as an Indian scout Later, he became a stage driver along the Santa Fe and Oregon Trail And was known as the greatest marksman of all During the life of this famous westerner As a sharpshooting U.S. Marshal We find spine-tingling adventure In the best tradition of the old west For when Wild Bill rides Excitement and suspense ride with him So get ready for action To live again to the historic era of two-gun justice You can thrill to the colorful adventures of Wild Bill Hickok Every Sunday with screen-star Guy Madison as Wild Bill And Andy Devine as his deputy jingles Unmutual over most of these stations The sergeant drove into the optimal village Achieve parade to medium White men come here Steal all meat Deskimo have White men? You're 500 miles from the nearest settlement Then come from Wailer caught in ice Maybe men on ships starve But now Eskimo starve Now Eskimo must fight Not yet Angotuck Let me have a chance to talk to the men on the way back To preserve law and order in the frozen waste Beyond the Arctic Circle Where food is more precious than gold And men are ready to kill to get it That is the task the sergeant faces Don't miss this next exciting adventure These sergeant Preston of the Yukon Adventures Are brought to you every Monday through Friday at this time By the Quaker Oats Coverage Makers of Quaker Pop Weeks And Quaker Pop Rikes The delicious cereals shot from gun By special recording in cooperation With the Mutual Broadcasting System They are a copyrighted feature Of sergeant Preston of the Yukon Incorporated Created by George W. Trendall Produced by Trendall Campbell Muir Incorporated And directed by Fred Flower Day The part of sergeant Preston is played by Paul Sutton This is J. Michael wishing you goodbye Good luck and good health From Quaker Pop Weeks And Quaker Pop Rikes So long This is Mutual Radio Network for All America


Hi, Remington from Southern Shoddy 3D here. Just when you thought Blender couldn't get any better, the devs found a genie made a wish, gained divine dev powers, and here we are with Blender 2.9. Let's go through all those new features in less than five minutes, and if you want a full rundown of the list, take a look at the link in the description below. Let's get started. Modifiers now support drag-and-drop reordering, making it much easier to organize large modifier groups. Menu options are now located on the right side of the panel Scene statistics are now available in the 3D viewport, and you can enable options in the status bar at the bottom. A new tool, Extrude Manifold, lets you automatically split and remove adjacent faces when extruding inwards. The bevel custom profile now supports Bezier handles. The UV editor now supports more selection functions, including edge ring select and pick shortest path. You can now press the V key to rip UV edges, giving you more control over your UV maps. Curve handles can now be hidden, selected, or all. And the ocean modifier now can generate maps for spray direction. A new save shape key option allows you to apply a modifier as a shape key without removing it. If you're impatient, then you'll be happy to hear Blender's getting even faster, until Embry is now used for ray tracing on CPU rendering significantly improving render times on scenes with motion blur. Optics is now available in all GPUs with support, Maxwell or higher. NVLink support for CUDA and Optics, which helps when rendering larger scenes. Two new hair shapes to choose when rendering, rounded ribbon for fast rendering, and 3D curve for accurate close-up renderings. If you don't have Optics, you can now use Intel Open Image denoising in the viewport. The new Sky Texture accounts for altitude change and ozone absorption, meaning there's even less reason for Blender users to go outside to see the real sky. Per object, Shadow Terminator offset settings have been added to avoid artifacts on low poly meshes, which is ultra exciting for those low poly artists and people on lower specced machines. Eevee now supports motion blur for mesh deformation, hair, and has better position. Sky Texture has also been added to Eevee. Multi-res scalding is now fully supported and you can switch between subdivision levels with displacement information smoothly propagated between them. Multi-res can now rebuild lower subdivision levels and extract its displacement. It can also now create smooth linear and simple subdivisions, meaning any subdivision type can be created at any time. And I guess creating the amazing cloth brush wasn't enough, so in an effort to show off even more, the devs flexed and made it so that now you can run an entire cloth simulation in sculpt mode. The pose brush has two new deformation modes, and a face set FK mode utilizing the face sets to simulate an FK rig. A bunch of other improvements have been made to the tools. Reference the link in the description for you detail-oriented viewers. A ton of little things add up to make grease pencil feel even more polished. Including onion support for annotations in the video sequencer, layer mask and used light properties are now animatable, new material selector in the context menu using the U-key, new option to put canvas grid in front of objects, keyframes are now accessible using python, re-project stroke that allows you to keep original strokes now, annotate line tool supports new arrow types and has a mouse stabilizer, new randomized effects in the brush options, improved selection of strokes and fill paints, there's a new texture mapping modifier for UV data, a new restrict visible points build parameter, and new anti-aliasing options in the pixel effect. Okay, let's keep going. Tons of fixes to import and export options have been implemented, but in short, and limbic usd and glTF 2.0 have all seen improvements to their import-export supported functions. New operators and types have been added to landmarks when using blender's VR function, full scene copying has been improved, there's a new railing setting which limits how far rays can travel when baking, a new lens distortion mode has been added to motion tracking allowing you to solve motion and blender and composite and nuke, frame interpolation has been added to the speed effect in the sequencer. There's some new additions and changes to the python API that I'm too dumb to explain, but a full list can be seen in the link in the description for all you dev wizards. OpenVDB fluid caching will now cache in a single cache frame file per frame and several bug fixes and UI tweaks for a better experience, and now cloth has a new option to apply a pressure gradient to emulate the weight of contained or surrounding fluid. Rigging has seen some advanced improvements with many more properties being overwriteable with library overrides such as constraints, modifiers, and camera object data. A new depth graph variable has been added to the drivers allowing drivers to get to the current dependency graph. For those that actually organize their files, one of the blender's best add-ons has seen a number of new features making it even more useful than before. The collection manager has various new options to make organizing your collections in the viewport easy as ever. As usual, there are hundreds of bug fixes, minor features, and improvements which of course can be seen at the link in the description below, and why don't you show Blender some love and support Blender by joining the development fund.