The Equitable Life Assurance Society presents, this is your FBI. This is your FBI, the official broadcast from the files of the Federal Bureau of Investigation. Presented transcribed as a public service by the Equitable Life Assurance Society of the United States, and the Equitable Society's representative in your community. If you don't know insurance, it will pay you to know the man who does. He's your local representative of the Equitable Life Assurance Society of the United States. Is your problem providing for the future security of your wife and children? Assuring your children a good education? Of owning your own home free and clear years before you expected? Security after 60? Then make a date with your local representative of the Equitable Society. He's a friendly, helpful neighbor and he knows the answers. In about 11 minutes, I'd like to tell you more about this good neighbor of yours and how he may be able to help you enjoy the many advantages and freedom from worry that come with membership in the Equitable Society. The subject of our FBI file, Internal Security, it's title, His Brother's Keeper. The Federal Bureau of Investigation cooperates with all law enforcement agencies in the United States. But crime is not confined by national boundaries. Today there are vast international conspiracies operating throughout the world. It is only by the joint efforts of your FBI, other United States agencies and law enforcement agencies of friendly foreign countries that these conspiracies can be checked and destroyed. An arrest in New York or Chicago or Denver may impart result from something that occurred in London or Tokyo or Cape Town. But wherever the crime is discovered and punished, the FBI has acted to protect you and your home and your freedom. The night's FBI file opens in a medical laboratory located in a large Midwestern city. A middle-aged man stands in front of a row of caged monkeys, watching the animals carefully as he makes notes on a thinly-ruled tablet. Not feeling so well, huh, Rudy? You want to take a nap, is that it? Well, look at Tommy over there. He's already asleep. Sorry to interrupt, Professor Kemper. Yes, Mary, what is it? There's a telephone call for you. I haven't time for that now. I think the new formula is working. She's already reacting to that last inoculation. Then I'll tell Mrs. Smith you'll call her back later when you're free. Mrs. Smith? Yes, sir. Oh, well, perhaps I'd better talk to her. Make a note of any change in the monkey's behavior, especially those free in the top cages. Certainly, Professor. Hello, Anna. I received a letter from Carl. Carl? Yes, yes, our brother Carl. He's free. But that isn't possible. He was a prisoner behind the Iron Curtain. Yeah, he escaped, made his way to free Europe, and now he wants to come here to America. Isn't it marvelous? I've got this letter right here. I read it to you. No, not now, and I'm very busy. But, Peter... I'll drop by your apartment tonight. Have a recording, sir. You'll just step into this booth. I'll be glad to play it for you. Thank you. Right this way, please.  My sister got a letter this morning from our brother Carl. So? He had been in a labor camp behind the Iron Curtain, but he escaped, and now he wants to come here. What does that have to do with you? Carl knows I was a member of the party before the war. Would he expose you, his own brother? I'm not sure. We had many arguments, mostly about communism. He was violently opposed to it. I see. Too bad it had to happen now. What do you mean, George? The courier is arriving in a few days to get the results of your experiments. I'll have them ready for him. You know your brother's address? No. My sister must have it, though. Okay. Send it to me. George, I won't take part in violence. Who said anything about violence? Perhaps a warning you'd be sufficient. Carl would not be frightened by words. If he comes to America, I'll try to convince him I've left the party. All right. Perhaps that's best. When the courier calls, I'll get in touch with him. Let me take your coat and hat. What have you got there? Oh, a phonograph record. I thought you might enjoy it. I was very thoughtful of you, Peter. Where's little Carl? I just put him to bed. He wanted to stay up until you came, but he couldn't keep his eyes open. Sit down over there. I saved dessert to have it with you. I'll bring it in. Just coffee for me. You'll have some cake, too, Peter. It's dark chocolate. Would you believe it? Little Carl was so excited he couldn't finish dinner. Excited? About having a new uncle. You know, Peter, I'm going to ask Carl to live with me when he gets here. It's important that a boy grows up around a man, and since Carl died, then go go on, go on, try the cake. Very good. Peter, I hope you and Carl won't quarrel like in the old days. You must realize he was right about what the communists would do in Europe. Of course, Anna. And I am so glad you decided to write to him. At first I thought you were not happy that he was coming to America, but then your secretary called and asked for an address so you could send a letter. You gave Carl's address. Why, certainly, Peter. Did you find time to write him yet? No, Anna. Not yet. Weeks later at the local FBI field office, supervisor Fred Mercer shows Special Agent Jim Taylor a report. It may not directly concern us, Taylor, but we have to be sure. Yes, sir. Carl will bargain. Fred had never heard of him before. Well, we know as he came to European authorities ten days ago. Said he'd escaped from behind the iron curtain, wanted to give the authorities any information he could about conditions there. And they went to interview and he disappeared. Any idea what happened to him? No. He'd been living alone. They searched his room, turned up a letter from his sister who lives in America. This is a copy of that letter? Yes. I didn't give this very much. Happy is free, so does his brother. Well, he's working in a medical lab in the United States doing secret experiments and medicine. I was mentioning by name. Oh, that's the trouble. You're Carl. He was born on your birthday, July 4th, three years ago. Signature is Anna. There's no trace of the envelope, so we don't know where it was mailed from. Why did the European authorities get in touch with the FBI, sir? There were scraps of paper in the wastebasket in Wilbarga's room. He'd had trouble answering his sister's letter. Trouble? Apparently he was trying to say that his brother had been a communist in Europe and shouldn't be trusted with any U.S. government secrets. You mentioned the brother by name? No. Well, then he could be working at any medical lab in the country. Yes. That's why this office was notified. The government has some important projects underway at the pharmaceutical company here. You'd better check their security files. Main street music shop. This is Peter. Can you talk? Yes, but I may have to cut off. Why did you get that address from my sister? What address? Don't try to lie, George. Oh, I don't know what you're talking about. My brother. You had someone call and find out where he's living. Why, that's nonsense. Listen to me, George. If anything should happen to Carl... You'd better do the listening, Peter. I've received orders for you. But you haven't answered my... I can't explain them over the telephone. I'll meet you tomorrow afternoon. But, George, I want you to know... Listen to me. Leave the lab at 5.30. Drive along the highway toward Eastlake. I'll be parked near the Greenfield Cutoff. Bye. I've got something on the Willbarger case. It's a good chance the brother is employed at the pharmaceutical house. Oh. Washington, check the watermark and assist his letter. It's a new brand of personal stationery. It's the only city where it's been marketed so far. And the buyer had it initialed AS. Oh, it narrows down the field. Is there anything else? Yes. Willbarger's dead. Murdered? Uh-huh. The police found the body. They've tracked down the killer, too. Oh, that's good. The man who did it was a known communist agent. Well, it means the communists here could have ordered the murder to protect Willbarger's brothers so he could keep on working for the party. Yeah. What have you turned up? Well, not too much, sir. There are a dozen men at the company working on confidential medical experiments. Seven of them have sisters, but no sister named Willbarger or even Anna. Better run a security check on all 12. Having trouble, sir? Yes, I think it's a carburetor. Guess I'm not much of a mechanic. Maybe I can give you a hand. All right. Oh, thank you very much. Take a look. These are your instructions. Get a secure all-in-the-data you can on CRMX. I've not been working on CRMX. You can get the papers describing it, can't you? I suppose so. I'll photograph them with this pencil camera. Courier will arrive tomorrow night. He'll only stop off for a few hours between planes, so the information must be ready. I'll let you know where to make delivery. Everything clear? Yes. Well then, I suggest you leave. Wait. About my brother. I didn't call for his address. But my sister said someone called. We settled that. Thanks for being good smart. Bye. We will return in just a moment to tonight's exciting case from the official files of your FBI. Right now I'd like to ask you this. Is your family protected by the right kind of life insurance? What is the right kind of life insurance? Perhaps Mr. James Furness can help you find out. What was your problem, Mr. Furness, before you became a member of the Equitable Life Assurance Society? I was worried about what would happen to my wife and children, Mr. Keating, if something happened to me. You see, I don't make big money. I know my social security would help, but that just isn't enough. So when I heard you talk about a plan that would keep them well-fed, well-housed, and well-clothed until my youngest boy got through high school, well, I was certainly interested. That's our Equitable Family Security Plan. It really lives up to its name. I found that out after I called up our local Equitable man and talked it over with him. Now, there's a man your company can be proud of. Well, we're proud of all our Equitable representatives, Mr. Furness. They try to be friendly and helpful. And they do know what they're talking about, too. They want everybody that it's good business to do business with an Equitable representative. That's good advice. You see, Equitable men are, first of all, interested in your problem and how they can help you solve it. Everybody really should have a sound life insurance plan. But if you don't know much about life insurance, ask the man who does know your local Equitable representative. You'll be glad you called him. Simply consult your local telephone directory for the name of this friendly, helpful neighbor, your local representative of the Equitable Society. That's E-Q-U-I-T-A-B-L-E. The Equitable Life Insurance Society of the United States. And now back to the FBI file, his brother's keeper. A vast proportion of time and effort spent on each case which your FBI investigates is devoted to questioning and routine details. But that is the only way cases can be solved. So if at any time a special agent of your FBI or a representative of any law enforcement office should seek your cooperation, it is important that you comply to the best of your ability. When you are satisfied that the person questioning you has the necessary authority, answer all questions honestly and completely. To you, a question may seem unimportant or trivial, but you don't have all the facts. No honest person need fear the whole truth. Remember, if your FBI is to do a job for you, you must help them do it. Tonight's FBI file continues the next morning at the local FBI field office. Special Agent Taylor has just entered the office of Supervisor Messer. Here are some brief facts on those 12-minute pharmaceutical house, Mr. Messer. Oh, thanks. Any leads show up? Well, I thought I had something on a chemist to cause himself bark or his real name is Basta. The record's clear. What about the others? Only one of them is European. Yes. Professor Peter Kemper, born in Munich. I talked to her secretary. She says he frequently gets calls from Mrs. Smith. She doesn't know the woman's first name, but the initials on that stationery were A.S. Anna Smith. Let us see what else you can find out about Professor Kemper. Peter. Anna? What are you doing here? I had to see you. I called your secretary. She told me you were out to launch that you usually ate here. May I sit down? I'm almost finished. I don't want to be late getting back to the plant. This will only take a moment. Peter, I received another letter from Carl this morning. I thought you'd want to know. What does he want? He needs money to come to America. At least $500. I have $300 to send him, but I can't raise the rest. I'm sorry, Anna. I wish I could help you, but I can't. You make a very good salary, Peter. You know me. I never save anything. If you could borrow, Carl would pay you back. What would I borrow on? Peter, you really don't want Carl to come here, do you? May I take your order? Just coffee, please. Coming up. Anna, I want Carl to come to America. But if I don't have the money, I don't have it. What can I do? You have the money. I'm not going to sit here and argue with you.  What do you think about that? He wrote me that you were a communist in Europe. Well, what he means is I sympathize with their aims when I was young. That's all. Carl says you were actually a member of the party. He can prove it. Anna, you must not say that to anyone. Here's my napkin. I was a member of the party once, but only for a few months. It was many, many years ago. Did you tell them about it when you went to work at the laboratory? No, of course not. I couldn't. I bought my passport on the black market in Europe. That's why I have to use the name of Kemper. If the authorities found out I entered the country illegally, I would be deported. Here's your coffee, lady. Thank you. You must listen to me, Anna. You must try to understand. I have done what I think is right. If anything should happen now, if the people at the plant find out about me, my work would be over. My whole life would be for nothing. Carl would understand. He wouldn't want you to hurt me. Why should I protect you and you will do nothing to help him? I was telling you the truth before. I don't have the money now. I even owe some bills. But give me a few days. I'll try to raise it. Please. All right, Peter. I trust you. Thank you, Anna. Mercer speaking. Mr. Taylor, Mr. Mercer, I got a message to call you. Yes, where are you? At Connie Cornhouse. Oh? I'm checking a lead on the Willbugger case. I've got something in there, too. A teletype came from Washington. They have a reliable tip that a communist courier has arrived in the United States. He's looking for medical research information. Oh, I see. They've sent along a fairly complete description. You can pick it up when you get back into the office. Good. I think I've had some luck here. You remember the sister's letter? Sure. She said her three-year-old son was born on July 4th named Carl. Yes. Well, the birth records show 87 babies born on that particular day. One of the mothers was named Smith and her maiden name was Willbugger. Where did she live? Carpenter's on 82 Brockton Avenue. You'd better get over there. Yes. I'm Special Agent Taylor, the FBI. Here are my credentials. Oh, come in, please. Thank you. Won't you sit down? Yes, thanks. There are a few questions I'd like to ask you. What a man named Peter Kemper. Peter Kemper? We believe his real name is Willbugger. Why are you asking me about him? Well, he is your brother, isn't he? I'm sorry, Mr. Taylor. I can't answer your questions. You have another brother, Carl. How did you know that? We were able to trace a letter that you wrote him. But Carl is in Europe. Mrs. Smith, I don't like to tell you this, but your brother Carl is dead. You must be mistaken. He was murdered last Tuesday. Can I get you a glass of water? No, thank you. You said murdered? That's right, ma'am. But why? He was killed by the Communist to keep him from revealing the identity of a party member here in this country. A man who was providing secret medical information to an iron curtain government. You don't think that Peter... He is your brother. I'm the Communist. I don't know. I talked to him today at noon. He told me he had been a Communist once, but he swore he left the party years ago. He asked you to keep this a secret? That is why I did not want to answer your questions. Peter said he would be deported. He wanted to finish his experiments. Yes, I'm sure he did. But he couldn't have been responsible for Carl's death. Carl was his brother. He knew where Carl was in Europe. I called him as soon as I heard it. Can I use your telephone, please? Of course. I'll show you. Thank you. You're going to have him arrested? No, not yet. I just want to make sure that he doesn't leave the laboratory. May I help you, sir? Yes, if you will. My name is Taylor. I'm a special agent of the FBI. Oh, yes. Your associate is in that room there. You may go right in. Mr. Marce? Oh, come in, Jim. Have you talked to the... That's Professor Kemper. What happened? He was leaving the plant as you called. A watchman made him return and told him it was for security reasons. He came back here to his office. He went his later. He put a bullet through his head. Do you think the courier had already contacted you? I doubt it. This morning he asked his secretary to send for all the reports on ceramics. Well, that isn't what Kemper was working on. No, but it's the most important assignment the company has right now. She's sending the reports? No, he called her after lunch and told her he didn't want them. What's that gadget there? Oh, a pencil camera. Within his desk, the film inside hasn't been exposed. Sounds like he was planning to photograph the ceramics for me, doesn't it? Something changed his mind. Yeah, that's what I thought too. I wonder what happened. Well, he talked to his sister at noon. Maybe that had something to do with it. Or maybe he found out his brother had been murdered. Excuse me. This package was just delivered at the gate. It was for Professor Kemper. Oh, thanks. A red carnation. And a ticket to the concert at the municipal auditorium tonight. That's odd. Professor Kemper never went to concerts. Well, Mr. Marsha, this could be a run that was set up for the courier. Let's cover it. R7, as you see, next to the last one. A woman on either side. You see anyone resembling the courier's description? No, I haven't, not yet. Well, you'd better sit down anyway. I'll wait out here in the foyer. All right, sir. The first half of the concert passes without incident. No one attempts to contact Agent Taylor. During the music, Taylor? All I wasn't doing much was listening to Mr. Marsha. Anything happened? All of the women on either side of me are with their husbands. Both the husbands fell asleep. Well, I haven't spotted anyone that fits our description. I guess I might as well go back. Sit out the rest of it. Taylor waits. Again, no contact. Fifty minutes later, the concert is over. Taylor moves toward the aisle. Hello there. Hi, hello. Very interesting concert. Yes, very. Of course, I have heard better performances, but for a local orchestra, it was not too bad. Well, I'd do the best they can. Would you care to join me for a drink? Oh, it's very kind of you. Shall we go out this side exit? All right. Go ahead. You have something for me, huh? That's right. Here it is. Where is the film? What is this? It's a warrant for your arrest. I'm a special agent of the FBI. The arrest of the courier whose job it was to obtain confidential data from Professor Kemper and the accomplice in the record shop. Your FBI again effectively discharged its duty in protecting the internal security of our country. And now we bring you a special message from Mr. J. Edgar Hoover, director of the Federal Bureau of Investigation. Mr. Hoover's message is, and I quote, the security of America will continue to be endangered by the relentless efforts of misguided zealots within our borders who blindly following the dictates of their communist masters pose a constant threat to every loyal American. Those in the web of espionage work ceaselessly to further their diabolical cause by seeking to obtain at any cost the vital secrets of our nation. This threat is a challenge to every patriotic American. I urge all of you to help preserve our liberty by immediately reporting to the nearest field office of the Federal Bureau of Investigation any information affecting the internal security of our nation. The success of the FBI and its efforts to protect our democracy depends on the wholehearted cooperation of every citizen. If you'd like to stop worrying about tomorrow and start living today, there's a neighbor of yours you really ought to meet. He's the man who knows how to help you take the uncertainty out of tomorrow simply through proper planning today. If you have the right plans, much of your worry is over. The neighbor we're talking about is your local equitable life assurance society representative. He's no farther away than your telephone. He's a friendly, helpful man who believes in helping you buy the kind of life insurance that serves your best interests. Why not get in touch with him today? Consult your local telephone directory for the name of your local representative of the Equitable Life Assurance Society of the United States. Next week we will dramatize another case from the files of the Federal Bureau of Investigation. Its subject, theft of government property, its title, the comic strip bandits. The incidents used in tonight's Equitable Life Assurance Society's broadcast are adapted from the files of the Federal Bureau of Investigation. However, all names used are fictitious and any similarity thereof to the names of places or persons living or dead is accidental. Tonight the music was composed and conducted by Frederick Steiner. The author was Frank Burt. Your narrator was William Woodson and special agent Taylor was played by Stacey Harris. Others in the cast were Herb Butterfield, Harold Dharrenforth, Isabel Jewel, Alice Reinhart, John Stevenson and Chester Stratton. This is your FBI is a Jerry Divine production. This is Larry Keating speaking for the Equitable Life Assurance Society of the United States and the Equitable Society's representative in your community. And inviting you to tune in again next week at the same time when the Equitable Life Assurance Society will bring you another thrilling transcribe story from the files of the Federal Bureau of Investigation. The comic strip bandit on This Is Your FBI. This program came to you from Hollywood. This is ABC.


Ladies and gentlemen, please join in welcoming our host for this evening, the Sergeant Major of the Marine Corps, Sergeant Major Ronald L. Green, accompanied by his wife Andrea. This evening, just prior to pass in review, we will proudly conduct a special relief and appointment ceremony for the Sergeant Major of the Marine Corps. Please join in welcoming our guest of honor for this evening, the incoming and 19th Sergeant Major of the Marine Corps, Sergeant Major Troy E. Black, accompanied by his wife Stacy. And now, please join in welcoming the presiding official for our relief and appointment ceremony this evening, the Commandant of the Marine Corps, General David H. Berger, accompanied by his wife Donna. Good evening, ladies and gentlemen, and welcome to the oldest post of the Corps, Marine Barracks, Washington, D.C., celebrating over 60 years of performing evening parades here in our nation's capital. The ceremony you were about to witness was first conducted at the Barracks on July 5, 1957. While the parade is standard for Marine units throughout the world, some elements have been modified to showcase the unique abilities of our marching and musical units. The massed formation of troops on one long line at close interval made possible the massing of firepower from muzzle-loaded muskets of the past. The adjutant forms the line of battle, and in those early days, that line consisted of two or three ranks, much like the parade you will see this evening. Tonight, we celebrate the pride, professionalism, and espri decor that are hallmarks of this barracks and the Marines who have distinguished these hallowed grounds for over two centuries. They represent all Marines around the globe who embody our Corps' values of honor, courage, and commitment. This evening, we take special pride in featuring staff, non-commissioned officers, and non-commissioned officers of the oldest post who will perform all senior marching positions during our ceremony. We begin our ceremony with a performance by the President's own United States Marine Band. The band traces its roots back to July 11th, 1798, when an act of Congress authorized the Marine Corps to employ a drum major, a Fife major, and 32 Fifers and drummers. Today, the Marine Band has over 150 members who proudly carry out its mission of providing music for the President of the United States and the Command out of the Marine Corps. The most famous director of the Marine Band was legendary band leader and the March King, John Philip Sousa, who led the band from 1880 to 1892. Of all his marches, one so embodied our American spirit that in 1987 an act of Congress proclaimed it the National March of the United States. Ladies and gentlemen, celebrating over 221 years of serving as the guardian of American musical tradition, the Marine Band will now perform Sousa's most famous march, The Stars and Stripes Forever. Washington, DC was established on March 31st, 1801. This site was chosen for the new Marine Garrison by President Thomas Jefferson as he rode on horseback through the new capital city along with our second Commandant, Lieutenant Colonel William Ward Burroughs. It is the oldest active post of the United States Marine Corps. Just beyond the north end of the parade deck stands the historic home of the Commandants. It has been the residence of every Marine Commandant since its completion in 1806. The present occupants are the 38th Commandant and his lady, General and Mrs. David H. Berger. During our nation's bicentennial in 1976, the barracks and the Commandant's house together were designated a National Historic Landmark. The flag flying over the barracks this evening is a replica of the National Ensign displaying 15 stars and 15 stripes that would have flown here in 1801. Ladies and gentlemen, we are proud to introduce the official mascot of the Marine Barracks, Washington, D.C. Private first-class Chesty of the 15th, a pedigree-rich bulldog, P.S. Chesty the 15th, enlisted in the Marine Corps on March 19, 2018 and completed recruit training on 5 July, 2018. The first barracks mascot was named in honor of the most decorated Marine in history, Lieutenant General Louis B. Chesty Puller, a name that has been inherited by every mascot of the oldest post. Ladies and gentlemen, please rise for the presentation of the colors. The Marine Corps color guard for you is unique. Flanked by two Marine riflemen, our national flag is carried by the color sergeant of the Marine Corps, while the non-commissioned officer to his left carries the official battle color of the Marine Corps. The 54 streamers and silver bands displayed with the battle color commemorate the military campaigns in which Marines have participated. They span the entire history of our nation, from the Revolutionary War to the combat operations in Afghanistan and Iraq. Decorated with palms, oak leaf clusters and stars, they represent more than 400 awards in campaigns of the United States Marines. It is the privilege of Marine Barracks Washington D.C. to be entrusted with the custody of this battle color. Ladies and gentlemen, please be seated. The Marines in the spotlight represent over seven decades of marching and rifle drill precision, a legacy of honor, commitment and discipline that began during the sunset parades of 1948. The M1 rifles they carry with fixed bayonets are standard for all our marching platoons and weigh in excess of 10 and one-half pounds. The platoon executes its drill sequence without verbal cadence or commands. Ladies and gentlemen, Marine Barracks Washington D.C. proudly presents the United States Marine Corps silent drill platoon. N.V.C. is proud to present the Commandant's Own, the United States Marine Drum and Bugle Corps. And now, ladies and gentlemen, please stand by as we proudly conduct a special relief and appointment ceremony for the Sergeant Major of the Marine Corps. We are privileged to have as the presiding official for our ceremony this evening the Commandant of the Marine Corps, General David H. Berger. Ladies and gentlemen, please rise for honors. Since 1875, non-commissioned and staff non-commissioned officers have carried the NCO sword as a symbol of their ability and prestige as enlisted leaders of the Marine Corps. As the senior enlisted leader of Marines and advisor to the Commandant, the Sergeant Major is the keeper of traditions for the Corps. Tonight's emblematic passing of the sword of office signifies the transfer of this sacred trust from one Sergeant Major to another. Attention to orders from Commandant of the Marine Corps to Sergeant Major Ronald L. Green, United States Marine Corps, Subject Relief of Duties. Effective 26 July 2019, you will stand detached from your present station and duties as the Sergeant Major of the Marine Corps. On 1 January 2020, you will transfer to the Marine Corps Retired List. At 2359 on 31 December 2019, you will be released from active duty. As of 31 December 2019, you will complete 36 years, 6 months, and 25 days cumulative service, of which 36 years, 1 month, and 3 days is active service. Signed David H. Berger, General, United States Marine Corps. From Commandant of the Marine Corps to Sergeant Major Troy E. Black, United States Marine Corps, Subject Appointment of Duties. Effective 26 July 2019, you will stand detached from your present station and duties. You will proceed and report to Headquarters Marine Corps, the Pentagon, for duty as the 19th Sergeant Major of the United States Marine Corps. Signed David H. Berger, General, United States Marine Corps. Ladies and gentlemen, earlier this evening, a private retirement ceremony was conducted in the home of the Commandants for Sergeant Major Green, during which he was awarded the Distinguished Service Medal, and received several auditory letters from such distinguished persons as the President of the United States, the Commandant of the Marine Corps, and several others. Please join us in congratulating our 18th Sergeant Major of the Marine Corps on his most distinguished career. Joining our new Sergeant Major of the Marine Corps in the reviewing area are the following former Sergeant's Major of the Marine Corps, the 18th Sergeant Major, Sergeant Major Ronald L. Green, the 17th Sergeant Major, Sergeant Major Michael P. Barrett, the 16th Sergeant Major, Sergeant Major Carlton W. Kent, the 15th Sergeant Major and former U.S. Ambassador to the Republic of Trinidad and Tobago, the Honorable John L. Estrada, the 14th Sergeant Major, Sergeant Major Alfred L. McMichael, the 13th Sergeant Major, Sergeant Major Louis G. Lee. Ladies and gentlemen, please be seated. As we prepare for pass-in review, please direct your attention to the two marching companies assembled before you. These companies are comprised of infantry Marines who were hand-selected to serve in Marine Barracks, Washington. In addition to parade support, these companies conduct joint service honors ceremonies at the Pentagon, the Tomb of the Unknown Soldier, and the White House. These Marines also have the solemn duty and distinct honor of performing dignified transfer ceremonies for fellow Marines who have made the ultimate sacrifice while serving our country, as well as laying our Marines and their families to rest in Arlington National Cemetery. When not performing ceremonial functions, the Marines of companies A and B hone their infantry skills in preparation for future service in combat units of the Marine Corps' operating forces.


OTAN Outreach and Technical Assistance Network. Good afternoon, everyone. Thank you for being here today. My name is Diana Vera Alba, and I'm going to be presenting on open educational resources. This is a basics, so you're going to get a lot of information about a lot of different OER topics. Just to let you know, there is a series, seven series. This is the first of seven series. So if there's something that you see here that you are really interested in, please be sure to check out the other presentations that are coming up in the next six weeks. A little bit about myself. I'm an online instructor and trainer, and I've been doing this since 2012. I've taught in the modalities of distance education, hybrid, high flex, and online ESL courses. I'm currently an online faculty mentor, an OER and CAPE coordinator and trainer at my district, and a Canvas course design trainer, as well as an accessibility trainer and an OTAN subject matter expert. My hobbies include gardening, photography, and I love animals. So you see three of my pets off to the right. So, before we get started, I want to do a quick poll in chat. If you could please type number one, if you are not familiar with OERs. Number two, if you are somewhat familiar with OERs, and number three, if you are very familiar with OERs. So just a quick check in, and this will help me help you throughout the presentation. Okay, thank you. So we have quite a bit of twos. That's great. Well, you're in the right session. So this will just help me paste this presentation and be able to answer your questions. So thank you for voting in chat. So let's go ahead and get started. So here's our agenda for today. We're going to start off with what are open educational resources. So we're going to look at some of those key points there. Including the five Rs of OERs. Then we're going to move into introduction to Creative Commons licenses. We're going to look at the types of Creative Commons licenses and how to use the licenses to identify OER. We're going to then go into searching for OERs. So what are OER repositories? Where can you find free and open images and where you can find free and open access books and resources. Then we'll end our day with OER tools. I'm going to show you this really cool tool, the Creative Commons license chooser. And I have lots of information on the open attribution builders. So I've written both articles and created videos on the last one. So we may not have time to go over it, but I have lots of resources for you for that. So let's start off with a definition of what open educational resources are. And this is from the William and Flora Hewlett Foundation. So I'm just going to read this to you. It says OERs are open educational resources, which are free and openly licensed educational materials that can be used for teaching, learning, research, and other purposes. So I wanted to point out this openly licensed phrase here. So whenever you're looking at OERs, open means it's free to use. So it may have a license attached to it, which we're going to see. It will have a license attached to it, which we will see how to define what the author wants you to use. But I want you to keep that in mind that openly licensed. So that means that you are free to use based on the license. And it's really nice because the licenses have these great emojis attached to him, and they are easy to identify. So the definition goes on as open education is the simple and powerful idea that the world's knowledge is a public good and that technology in general, and the web in particular, provide an extraordinary opportunity for everyone to share, use and reuse. So those last three share, use and reuse are my favorite things about open educational resources. Once you start using these types of resources and you connect with communities of others using these resources, you'll see what a wonderful way this is to share knowledge, share what you have learned. And other people are so open to share with you. So just keep that in mind as well. It's a sharing community. So OERs are open educational resources that hold a specific license, and this license explains how the author gives permission on use, and how the author wants to be given credit for their work. So what can be considered an OER? So basically any type of learning resource learning material. So these could include podcast and audio files, simulations, music files, lesson plans, online games, and apps. They can be books. They can be worksheets. They can be any type of learning resource, as long as it holds a specific license. When we're talking about open educational resources, you have to think about these five permissions. Okay, they're the five Rs of OER, and they include revise, remix, reuse, redistribute and retain. So in order for a resource to be a true OER, it has to contain all five of these. And we're going to look at these a little bit closer. So the first permission is revise. And this means you have the right to adapt, adjust, modify or alter the content itself. For example, if you find a wonderful worksheet that you want to use with your class, if it has the five permissions, you will be able to translate and rewrite the content into another language. If you have this great worksheet in English, and you happen to teach Spanish, you can modify that worksheet and you can translate that worksheet into Spanish without violating any copyright. The next R is remix. And this is the right to combine the original or revise content with other materials to create something new. This is actually one of my favorite things about OER is the ability to change or combine two different resources. So for example, you can take a unit from an openly licensed book and use sections of it, mix it with your own materials and create a new unit. Or you can incorporate the audio content from one piece of music and combine it with another piece of music to create a mashup. So lots of DJs like to do that. So I mentioned that it's one of my favorite things and I'm actually in a grant project right now, where a group of, there's a group of four of us that are revising a openly licensed book that is great. And I've used in my reading class, but it is very Portland, Oregon specifics. So what we are doing is we're going to revise that book, we revised a couple chapters and just completely changed them. But the rest of the six chapters, we're just going to revise them to include San Diego and California specific resources. So it's really, really one of the best things that you can personalize these materials to fit the needs of your students. So the next permission is reuse. And this is the right to use the content in a variety in a wide range of ways. So for example, you can use the resource with in your class in a study group, you can add the resource to a website, or you can include the resource in a video. So similar to what I'm doing right now, I did not create this picture. Right, but I was able to reuse it because it's from the noun project, and they have specific a specific license that allows me to share this image with you. And then the last one, I believe this is the last one is redistribute. And this is the right to share copies of the original content, your revisions of that original content, or remixes with others. So for example, you can give a copy of the new content to a student. Similarly to what I'm doing with my grant writing group, we're going to revise that book and we're going to share it with our students. I can also share it with other faculty, I could share it with anyone, I can add it to an OER repository and OER library. You can also post a copy of the new content on your website. Okay, so you have the right to redistribute that original work that you created or a revised content of that work. And this is the last one actually, and this is retain, and retain means you can make a, you have the right to make own and control copies of that content. So for example, you can download a copy of that resource, you can duplicate the resource, or you can store the copy or manage the copy as you see fit, as long as you're following the license. Any questions on the five hours before I continue? Alright, we're going to watch a short video. This is only a minute 39 seconds on what is OER. So let's go ahead and watch that. OER Open Educational Resources. These are materials that have had an open license applied to them. So it could be a full textbook, a single unit, a worksheet, an interactive activity, anything that helps with teaching and learning. They can be printed out into physical copies for a very low cost and given to the students. It can also be an online resource as well. So open educational resources include not only openly licensed materials, but also resources that are in the public domain. This includes everything from photos from NASA to reports published by the government and even things like bills and laws. OER are different than traditional published resources because they come with the license to make adaptations to the material kind of baked into the resource from the beginning. Open educational resources can be considered as free plus permissions and those permissions are five Rs. You can reuse, remix, revise, retain and redistribute the content. Reuse means to take a resource and use it in any context you want. Remix means taking multiple resources and mixing them together and creating a new resource out of it. Revise means to make a copy of the resource and actually change it and adapt it to the local context. Retain means to keep and control a copy of the resource forever. And finally, redistribute means the right to freely share whatever you've created. Okay, and we're going to watch one more video. And this is about Creative Commons licenses because we're going to take a deep dive into what these are. So we'll start with this two minute video.  When you are the copyright holder, people have to ask you for permission before putting your cat picture into a PowerPoint or adapting your cat essay into a movie. Getting permission can be time consuming and complicated for both the creator and the user. This is where Creative Commons can help. Creative Commons exists to make permissions explicit and straightforward. Creative Commons licenses use icons and simple language so that creators can make their intentions clear and users can be certain that their use of a work is legal. These different licenses help people understand if and how they can use, share or build on a work. This icon means that only non-commercial uses are permitted so no one can profit from using your picture. This icon means that no one can make changes to the original work, such as photoshopping a dog into your cat picture. This icon means that someone can change your work, but their version must be shared under the same license as yours. All Creative Commons licenses give credit to the original creator, preserving your reputation as a creative genius while the world engages with your work. Licenses can be attached to most things, including blog posts, images, artworks, journal articles and more. To learn more about Creative Commons licenses, visit the Creative Commons website or check out some of the other videos in our series. This video will introduce... All right, so we're going to take a look at those six Creative Commons licenses. And like was mentioned in the video, each of the licenses have several icons in them. All of the licenses include the CC by, and we're going to define that in just a moment. And the way that they appear here is from the least restrictive, which is CC by. And then it goes on down the first column, and then up on the next column, the most restrictive is CC by and C and D. Okay, so we're going to take a look at those licenses and what they mean and their restrictions. So the first license is CC by, and this means Creative Commons by attribution. So others can copy, distribute, display, perform and remix your work and give credit, give you credit as requested by you. And someone can use your resource commercially. So if you have a picture and someone is... You have licensed it as CC by, someone can take your picture and of course give you credit in their book if they use it in their book. And then they could sell their book. So it's not necessarily someone's going to take your picture and sell it and make duplicate copies, although that can happen. But typically what happens is authors are looking for images and to include in their book. So they'll go to sites like Pixabay or Unsplash to use in their resource. The next license is CC by SA. This stands for Creative Commons by attribution, share alike. So this means others can copy, distribute, display, perform and remix your work and give you credit as requested by you. Someone can use your license commercially, but if they do use your materials with this license, they also have to use the same license on their revised materials and they have to share it with others under the same license. And that's just to save the integrity of the original author's work. If they wanted it shared with the world and you're going to use part of their materials and remix it with your materials, they want that same license on their original work and your revised work. Okay. The next license is CC by NC. And this means others can, I'm sorry, the stands for Creative Commons by attribution and noncommercial. Others can copy, distribute, display, perform and remix your work and give you credit as requested by you. Others cannot use your work for commercial purposes. So if I'm going to be writing a book and I want to use your image in my book, I cannot sell my book. I have to use one of the Creative Commons licenses in my book if I want to be able to use your openly licensed image. Now we're going to go to the next column and this next license is CC by NC SA. And this stands for Creative Commons by attribution and noncommercial and share like so others can copy, distribute, display, perform and remix your work and give you credit as requested by you. Others can distribute your work only under a license identical to the one you have chosen. Okay, so that's the SA share like, and others cannot use your work for commercial purposes. Okay, so that's the icon with the license. I mean with the dollar sign and a slash through it so others cannot use your work for commercial purposes. The next license is CC by ND, and this stands for Creative Commons by attribution and no derivative works. So this means others must give you credit as requested by you, and others can only copy, distribute, display or perform verbatim copies of your work. Okay, so I'm going to go back really quick. Notice that the rest of these I kind of had a green light, a green arrow. They contain the five Rs. The next two do not contain the five Rs. They only, they are limiting that you cannot change the work. So you can use somebody else's book or somebody else's material, but you cannot make any changes. That's the ND, no derivatives. Okay. And then the last license is the most restrictive Creative Commons by attribution and noncommercial and no derivative works. So others must give you credit as requested by you. Others can only copy, distribute, display or perform verbatim copies of your work. Okay, so they cannot make any changes to your work. They have to use it as is, and others cannot use your work for commercial purposes. Okay, so doesn't mean it's bad thing, right? It just means that the author added these additional restrictions. Okay. Any questions on the licenses? And you can unmute yourself if you have a question or you can add your question to the chat. All right, so let's go ahead and continue. I don't see any questions. So we're going to look at where you can find OERs for adult education courses, right? Because all of us here are either an adult education or continuing education. There are many repositories. Okay. And some of the top repositories are Merlot, Oasis and OER Commons. So these repositories are these huge websites that house OERs, that house books and resources and lesson plans and videos, all kinds of resources. And I added these three because they are the three largest.  So it's easy to find materials that are, that were created specifically for adult education or continuing education students. Many of the materials that you will see in Merlot will also be in OER Commons, but Merlot at the moment does not have that filter. Okay. There are also image repositories such as Pixabay, Unsplash, OpenClipArt and NounProject. So my go-to is Pixabay. Usually I can find what I need in this site as far as images. If not, I'll go to Unsplash or some of the other repositories that are out there. And then for icons, I really, really like NounProject. Okay, so that's why I put a star next to some of my favorites. And then for open access books, there's BC, OpenEd, and whenever you see something that says BC, it's British Columbia, so it's from Canada and they are huge, huge OER writers, OER advocates. And whenever you see something from BC, OpenEd, it's probably a great resource that you can use in adult ed or continuing ed. Okay. OpenStacks has a lot of K-12 and general ed books, but if you also have GED programs at your site, this might be a great resource for that program. And then Press Books Directory of OER collections has beautiful books, lots of books in the humanities, lots of books in art and history and things like that. They have other topics as well, but they do have a lot of history and humanities types of books. Okay. So let's take a look at OER Commons and I'll show you how to use these giant, giant resources or repositories. So when you arrive at the website, you'll see some tabs at the top and this is very common with lots of these repositories. They'll have these drop-down tabs where you can take a look at other ways of finding things. Okay. One of the things that I tell my faculty is if you have the opportunity to create an account with some of these repositories, then I highly recommend it. It's free. And the reason why I recommend it is as you're looking for resources, if you create an account, you can add that resource to your account without having to download it to your computer. Or if you're doing, I do this often, I'll do a quick search and then I'll take a deeper dive and look at my resources later on. So instead of downloading them, I can save it in the OER Commons cloud under my account. And then later on, if I want to use it, if I want to add it to my Canvas account, which at my district, we use Canvas as our MLS, I can download it later on. But if you have that option, I recommend that you register. It's free to register and the information that they request is very minimal. Okay. So you'll see some quick search bars here where you can begin to search. I'm going to scroll down a little bit. Some of these giant repositories also have a way to create for you to create your own OER and lots of helpful videos on how to get started with that. You can also join groups and if you really want to start using open educational resources, I highly recommend this because you will receive, instead of you having to search for everything, you can join groups in your discipline. So I've joined ESL groups where other ESL folks, because I teach ESL, where other ESL folks will share their resources with me. So instead of me having to do a lot of the legwork, people start sharing with you. So it's a great way, a great community, a great way to share within that community. Okay. And then at the bottom, it has a little bit more information about their library, some of their collections and the way that they categorize things here in OER Commons. And then lots of more information. If you want information on PD, you can sign up with other listservs where you can get information on PD. And then if you want to become an OER Commons pro, there's ways to do that. So there are some videos here on how to videos on how you can do that. Okay. So let's scroll back to the top. And again, this is the repository that I mentioned is one of my favorites. And that's because they have an adult ed filter. So I'm going to do a quick search. I teach ESL readings. So I'm going to search for ESL reading. I can add a subject if I want to or not. I'm going to leave that blank. This is the filter that I like to use. So they have preschool, K-12, community college, upper division college, graduate, career tax. If you teach CTE programs, there's also a filter for that. But here's the adult education program filter. Now, if you add the filter here, and let's say you don't find enough materials or very limited materials, you can always remove that filter once you add your search. And I'll show you how to do that. And then if you want to add one of the standards, you know, K-12 uses common core standards, but there are other standards listed here as well. I'm just going to leave that blank. And I'm going to choose search. Okay. So in my search of ESL reading for with the filter of adult education, I received 68 results. Okay. So I think that's a pretty good number. And then if I want to further filter, there are all these other filters here to the left. So let's say I did not receive, I only received two or something like that. I could remove the adult ed filter by hovering my mouse over and just choosing that X. And now I have 267 resources to look at. So I'm going to add my filter back on to go to those original 68. You can filter by material type. So if I'm only looking for games or I'm only looking for modules, I can do that or if I'm only looking for textbooks, I can add that filter there. You can also filter for license types. So we just went over the creative commons licenses, but if I want a specific type of license with unrestricted use. So if I want the least restrictive creative commons CC by, I can add that filter because I know with this license, it's the least restrictive. I can change these resources. I can revise them, remix them, reuse them. So I don't have to worry about searching for that license within each of those materials. I can filter that here. And now I have 27, which I like it's doable. I can quickly at a glance go through these materials. And there are other, other filters you can add content source, there's primary use, whether it's for students, teachers or parents, the type of media format, if I want to filter that in as well. Educational use language, and I can search by providers. Once you get familiar with searching for OERs, you might find that there are certain authors that you like. For example, Reagan McNeil, she adds or he adds a lot of resources here. I've used lots of materials from that person. So if I want to see what other resources Reagan has added, then I could just add Reagan's name here. Okay. So I'm down to 27 because I added that additional Creative Commons CC by filter for the license. So at a glance I could see the material here just a picture of it, the license, a quick description. The other thing I look for is when this resource was added. It's not something that's fairly new if I'm doing a quick search. I've already done this for a while so that's the type of thing that I look for is newer materials. Does it mean that older materials are not still useful? It's just something else that I like to look at. At a glance, I could just scroll through this and if there's something that catches my eye that I really want to take a look at, I can click on the title. I can also start checking these resources to add them to my account once I'm logged into my account. I can do that there. So let's take a look at this BC reads. I like things from British Columbia. They do a lot of great things. So once I choose the resource, it has a longer description. So I'm still not in the resource. If I want to view the resource, I can go directly here. The other thing that OER comments adds are these icons here to the left where I can share it. If I use Google Classroom, I can download it to my Google Classroom. And if there's something wrong with the resource, I can also flag it here. Okay. So there's a description. Now I think I want to look at this resource. I'm going to go view resource. I think that it's a reader. It's reader level two. So I'm thinking there's probably other readers at other levels. There's a description here. I have the option to download the book or read the book online. So I'm going to choose read the book online. So many of the resources here were created on a platform called press books. So if you see this, you'll see a lot of resources with this format, especially if they're books. So if you see this red bar with the black and gray here in the middle and then some description here, don't be alarmed like this is not the whole entire book. You're going to choose the contents here to the left. So here's the table of contents for this book. You see a plus sign here. You can open that. And now I can see the different chapters. Okay. Now this is when I'm reading it online. When I download it, I mean, it's either going to download as a PDF. Sometimes you will get a Google download, but typically it will download as a PDF. Okay. And then you can take a look at it like you would a PDF document. It would just be really long because it's a book. So I have access to you see these are live links. I have access to the chapters. So if I want to go to chapter five and just take a look. I see a video or some kind of audio actually audio at the top. Okay. And then here is that unit or that chapter in the book. Okay. All right. So let's go back. So that is we are comments. Any questions about we are comments. Thank you, Karen. Okay, and Merleau is very, very similar has great resources. There's a search bar here. I can search for ESL reading. And these come out as cards similar to what we saw in my first search in OER Commons. Off to the left, I have these additional filters that I can add to bring this down a little bit. There's 194 resources just in the Merleau collection. One of the things that Merleau does is they go outside. So notice that this is 194 resources in the Merleau collection Merleau will also resource your topic ESL reading with other libraries. That's the next tab here. And if I choose the next tab, it'll show me 10 results. Okay. For again, my topic of ESL reading, and then there's a web tab where they will search the web. Okay. And that has 100 resources. So a little bit more extensive and Merleau than in OER Commons, because they do search outside of their own repository. Okay, so you can have lots of fun looking for resources in Merleau. And so that you don't get lost, you want to make sure that you add some filters here because likely you will get hundreds and hundreds of resources. So the more filters you add, you can get closer to what it is that you're looking for. Now, since Merleau doesn't have an adult ed filter, what I, for reading what I do, depending on the level of my students, I'll either search for high school or college general ed and kind of do my own filtering depending on what comes up. But there's still a way for you to get around that. It's just not specific to adult education or continuing education. But I have made that request several times now. So hopefully they will get requests from others as well and they'll add that filter here for us soon. All right. So we went over Merleau and OER Commons where I'll look really quick at Pixabay. So hopefully you're familiar with some of these image repositories. So, again, I'm going to use just the same ESL reading topic. Now these are images. So I did that on purpose because I knew this was going to pop up. So Pixabay is a free site where it's stated free. So here it says we couldn't find any matches for ESL reading. However, there are these other matches that you can pay for. Okay, so if you see 20% off with Pixabay, blah, blah, blah coupon. That means that you can use these images, but you're going to have to pay for them. Okay, so I'm not, I'm going to remove ESL. And I'm just going to say reading. And now I'm going to find some of those free resources. So these are the paid resources up here because here's my coupon code. But they did find lots of free, open images for me to use. Okay, so if I'm scrolling through here and I see an image that I like. Let's say I want this image with the book and the glasses. I choose the image. And I have some options here off to this right. Okay, so it gives me the author's name and this author has posted 587 images in Pixabay. And that's great. I could follow this person. I can send this person coffee or a coupon for coffee for letting us use the resource. You don't have to do that. But you can. All of the Pixabay resources are under this license, which says free to use under the content license, no attribution required. Okay. However, it's nice to attribute the work back for two reasons, right? You want to give the author credit, even though he's saying you don't have to give me credit. I always like to do that. Right. I don't want to claim something. Me personally, I don't want to claim something that's not mine. But also, it's so that if I use this image and I really liked it. If I add the attribution, I'll know exactly where to get that image again. I won't have to search again. So let me show you what I mean by that. So if I download the image, I have some options here on the size. I'm going to go with the smallest size. Once I choose download, it's going to automatically give me the attribution. So all I have to do is copy this attribution. I've noted the picture. I can add the picture to my slide or wherever I'm going to add that picture and then paste their attribution here. So if you notice, that's what I did here. I did not have to create this link. It's already been created for me. Okay. So that's a really nice thing about these repositories on Splash has the same thing. They have these pre-made attributions. And then later on, if I want to reuse this particular image, all I have to do if I'm like, oh, gosh, where did I get that? You know, which site did I get that? It's already here for me. Okay. If I want to share this with somebody else, somebody likes this picture, I'll share the picture with the attribution. Okay. All right. Any questions on repositories? So I'm going to continue there. All of these repositories here are linked out, but I want to make sure that we have time for other parts of this presentation. But all of these are linked out and I'll give you a copy of the slides at the end of the presentation. All right. So where can I find resources? So besides the repositories that I had in the previous slides, most U.S. colleges and universities have an OER section on their website. It's really, really big with colleges to provide open educational resources for their students because of the high cost of education. Most colleges and universities really, really promote open educational resources for their faculty to use and for their students. So you'll see that's a great resource if you want to go to any of your local colleges and see what they have on their website and do a search for OERs. You can also do a Google advance search. You just have to be very specific for best results. So meaning if you want a particular license to be on that resource, you want to be specific about that. YouTube has lots of free videos to use, but many YouTubers are now adding the Creative Commons license to their videos as well in their description. Khan Academy is also a great resource and TedEd. TedEd, you can use their resources. They do have the most restrictive license on their resource, so you can't revise their videos, but I think the TedEd videos for the most part are excellent as is. So I do use TedEd videos with my students in my courses. So now we're going to go into attribution. So I showed you on the Pixabase site how they have these pre-made attributions for us. But there are these two great sites that are my go-tos where you can create your own attribution for your own work. Okay. So attributions are an important part of OER and defining how you can legally borrow someone else's work or identify the permission level or licensing you give others to use for your own work. Equally important is the ability to understand the various levels of permissions identified by the author. Okay, so that's where we went over those Creative Commons licenses. Whether it be course materials, modules, open textbooks, openly licensed videos, software tools, full courses, or any other materials that are deemed to support access to learning. Okay. So why and how to attribute. So we talked about those six Creative Commons licenses. So now that you can identify those licenses and their permitted use, we can look at how to correctly add attribution to your work and the work of others. So we've looked at several OER sites, right? We looked at Merleau, we looked at Creative Commons, I mean OER Commons, that house these ready-made materials, textbooks, and images. So once you find OER materials that you would like to use, there's a final important step to correctly attribute the work you will use from others. Okay. License your own original work or a combination of both based on the Creative Commons licenses. So remember you can use other people's works in your courses, in your canvas course, in your Google site. You can use them, but you want to make sure that you attribute the work, right? That's why they are licensed, right? And also so that when you're sharing out, if it's on a website that is open and other instructors can look at your site, you want to be able to also let them know what they can do with the work by adding the attribution, by adding the license to the work, to the work that you borrowed or your own work. So there's an easy open resource that contains a fillable attribution template from the Washington State Board of Community and Technical Colleges called the Open Attribution Builder. And this allows educators to build an attribution to accurately give credit to others or your own work. Okay, so we're going to take a look at that one. So some open resources provide a ready-made attribution like we saw at Pixabay and Splash has this as well. These attributions typically appear near the image or when you're downloading the resource. Okay, so for resources that do not provide that ready-made resource or attribution, you can use the attribution builder or you can use the Creative Commons License Chooser. Excuse me. So the open attribution builder would be for works that are not your own. Excuse me just a moment. Sorry about that. Okay. So the open attribution builder you can use for your own resources and for somebody else's resources. So if you're a Creative Commons License Chooser, you can use that resource for your own work. So if you are considering licensing your own work but you're not sure which license you want to use, this is a great resource. So we're going to take a look at it in just a moment. If you are attributing a resource, remember to use the acronym TASL. Okay, so for the open attribution builder, in order for you to use that, you're going to need the title of the resource that you're going to attribute. You're going to need the author, who the author's name is, the source where you found the resource, and the license that appears on that resource. So again, this is for somebody else's work. Also for your own work, if you already know which license you want to use. If you don't know yet which license you want to use, we're going to use a Creative Commons License Chooser. Okay, so let's take a look at that one. And this was created by Creative Commons. Okay, they're a great resource. They're the ones that also created the Creative Commons licenses that I went over. So it's very simple. Some of these are yes and no questions like what we're going to practice here. So you're going to follow the steps to select the appropriate license for your work. This site does not store any information. Okay, so let's go through these. The first one says, do you know which license you need? If you know which license you need, you don't need the chooser. If you choose yes, it's just going to tell you, okay, go to the Creative Commons licenses, choose one and then add that icon to your resource. Okay, but we're going to assume it's no. You're not sure which license you want to add to your original work. So you're going to say no and click next. The next question, do you want attribution for your work? So do you want others to give you credit? If you say yes, it's going to start building off to the right. It's going to start building your license. Okay, if you say no, you don't mind if or you don't need to get credit for your original work. If you say no, it's going to give you that license, which is CCO. So this is public domain. This license has no restrictions, meaning if you add this to your work, no one has to give you credit. You are also giving up your copyright to the work. Okay, if you choose to add this license to your work. Okay. Now, I didn't mention it before. There's going to be another session where we're going to take a deeper dive into copyright. But if you choose one of the Creative Commons licenses, you are not giving up your copyright. Your original work, your original materials are still, you still hold the copyright to that. Okay, automatically. So you also have that protection with the Creative Commons licenses. Okay, so let's just say yes, I want to receive credit for my original materials. So I'm going to choose next. And then do you want to allow others to use your work commercially? If you answer yes, nothing changes on the license over to the right. It's still CC by. If you say no, I don't want others to use my work commercially. I don't want them to make a profit. Then it adds the icon for non-commercial. Okay, so your license is building off to the right as you're answering these questions. Okay. So I'm going to leave it at that and I'm going to choose next. Next question. Do you want to allow others to remix, adapt or build upon your work? Okay. Yes, I would like to give others permission to change my revised their work based on their students' needs. So I'm going to choose yes. It stays the same. If I choose no, it adds the ND, the non-derivatives. Okay, so now I'm at the most restrictive license here where I'm saying you cannot make a profit and you cannot change my work. Okay, and you can stop there if you want. Or if you say yes, like I said, I don't mind when people remix my work. I'm going to say yes. So I'm going to choose next. Question number five. Do you want to allow others to share adaptations of your work under any terms? Okay. If you say yes, others can share adaptations of my work under any terms. Okay, so license stays the same. Okay, you could share it with your friends, relatives, students, whoever, and it's still a no we are. If you say no, it adds the share alike. Okay, so again, others must use the same Creative Commons license if they adapt my work. Okay, so you are adding that restriction where if this is the license you choose, you're giving the permission to change it. But with that permission, you're also saying, I want my original license on your revised work. Okay, I want to save the credibility of my original work by saying adaptations must be shared under the same term. So I'm sharing with you. You have to share with others. Okay. I'm just going to leave it at that and go next. Okay, and the last question. This is really important here. You want to confirm that your creative license is appropriate by saying yes, I own or have authority to license this work. Either it's my own or the previous license gave me the authority to license the work this way the revised work. You can read and understand the terms of the license. You can look at the deed here of that license. And most importantly, I understand the Creative Commons licensing is not revocable. So once I add the license to my work, I haven't, you know, I have this blank, not a blank, but let's say I created a document worksheet. I have not added a license. Once I add the license and share it out, it's not revocable. It's irrevocable. That means I cannot change my mind on the license. Okay, that's really important. It's really important because I may change my mind, right? I may say, oops, maybe I don't want to add this thing here, right? I don't want the share sharing requirement on there. Okay, I can switch it now. But once I add the license and share it out, it's irrevocable. I cannot change it. Okay, questions about that. Okay, so here's my license. I can now add that to my work. And this is where I add where this builder not only gave me the yes and no and, you know, helped me choose the license, but it's also going to build the attribution so I can add it to a website. Okay, so I'm going to title my work. I'm just going to say Reading Image. Or actually, let's say it's an image of person reading a book. Oops. Okay, that's my title, the creator of the work. So as you notice, it's adding my attribution here. So as I type, it's adding to my attribution. Okay. If I don't have a website so I don't have to add my website there or I don't have it linked to any other website, this image, I'm just going to add it to Pixabay, let's say. I created it this year. And then once I choose done, it kind of shakes here to remind you that your attribution is here. So I can copy this attribution. I can paste it under my picture. Okay. If I don't want the abbreviated version, if I want it spelled out, the license spelled out, I can change it by toggling to the right. So here I had CC by NC. It's linked out. So if somebody wants to see what this license means, they click it and it'll link it out, but you can also spell it out for them. And it's still linked. Attribution on commercial 4.0 international. Okay, so it's still linked out if they don't understand what that means. They can click on it and it'll take them to the creative common site where it gives them a definition of what this license is. Okay. Either way, I can copy it as rich text. I can get the HTML code if I'm adding it to a website or canvas or something like that. And XMP is for metadata. Okay. Questions. I have any questions about that. Okay. All right. The other oops. Sorry, let me go back. The other attribution builder. I wrote an article and I have the step by steps on how to use the Washington open attribution builder. I also created and I'm going to go through these slides really quick where I just show you the tassel right remember that you're going to need tassel for that. Here's what the open Washington open attribution builder looks like there's a direct link here. So similar to the creative comments builder you're going to need tassel right the title the author. The URL if you know where that's at, or if you if it's on a site, you choose your license and then just like the attribution builder it starts building your attribution down here at the bottom gives you the opportunity to copy it. I'm not going to go over these steps, but they are here in the slides and I would I also created a video on how to use it step by step. Okay. So that is there for you. Hi there. I'm just I'll continue. Oh, I do have time. Sorry. I thought I didn't have time. Maybe I will go over that. A little bit here. Here we are. Okay. So the attribution builder again. You want, there are some steps. So step one is for this purpose. I'm going to attribute. The image I found. Okay, so you want to find a copyright free image so you can go to pixabay you can go to unsplash. Now they already have those attribution builders but let's say you found it on another free site. That does not provide the attribution. You can use these steps. Okay, so you want to take note of the site because remember on the attribution builder it does ask you the website information so you just want to copy that you want to look for the title of the image. Okay, if you don't know the exact title if it's not anywhere on here you can give a description like here I was looking for monarch butterflies. So I didn't see a name or of this image so I would I could use that if you're uncomfortable using a name or titling it yourself. So you just use the word image. So image of, you know, butterfly or, or just the word image. Okay. You want to grab the author's name as well. So here's the author's name here to the right. And then the type of attribution license. Well this says free to use for commercial per free for commercial use. Okay. And then you go to the attribution builder so let's let's do that. Let's do an example and let me go to the butterfly. So we have the same picture. Okay, there's a lovely picture of a monarch. Okay, so let me close that one. Let me go to the attribution builder and I'll show you step by step how to do that. So I typically will have the image on one tab and then I'll have the attribution builder. So I can just go back and forth. Okay, so here are some potential image names that you can use. So I'm just going to choose butterfly. So I'm going to add the title as butterfly. Okay. And then I'm going to grab the URL where the picture is housed. So now from not the pixabay home page but where the picture where you found the picture because that will lead you directly to this picture instead of to the pixabay site. So I'm going to add the URL here and I'm going to add the title as butterfly. Okay. And then I'm going to grab the URL where the picture is housed. So now from not the pixabay home page instead of to the pixabay site. So I'm going to add the URL here and I'm also going to add the URL here. And then I'm going to the author's name is Yolanda. So author she only gave first name so that's fine. And then I'm going to choose the license that's free to use under no attribution required so that would be CCO here. Okay, so you can use public domain where no attribution is required, or you can use CC by I still like to use CC by I feel really uncomfortable adding the copyright from somebody else's work. So I'm going to use the least restrictive creative Commons license which is CC by. Okay, because remember if I add public domain, I'm eliminating the copyright from the original I don't want to make that decision for the author. So if it's not my work if it's somebody else's work I'm going to use CC by if it's telling me. It's the least restriction here. Okay, does that make sense. Hopefully. So now it built the attribution. I can highlight it or just click on it and then copy it. So I'm going to add it down. Oops. Let me exit out of here out of my, there we go. I'm going to just paste it on here so you could see what it looks like. It looks like this it paste typically to the top of the slide. And then I can add that picture by downloading it. So I'm just going to give you an example. Once I choose download it gets downloaded to the bottom left hand corner of my screen. I'm going to go back and I'm just going to add it here. So there you go. There's my image. And there's the attribution that I added to the image. Okay, so we'll just leave it on there as an example. Okay, so we added the title. I added the URL on those two sections. I added an author's name. I chose the license. And then the attribution was created for me. Okay. I copied the image and then I pasted the attribution under the image. All right. Here's the video that shows you those step by steps again. So I have that there for you. And before I go over the summary, I wanted to show you this resource, these resources here. Okay, so the creative commons license links are on slide 49. So the resources are on slide 49. They're kind of peppered throughout the presentation as well, but I wanted to have all the resources on one page for you. Here's the link to Merlot, the link to Noun Project, which has lots of free icons. It's really cool site. They have actually over 3 million now icons in there. It's amazing. OER commons we looked at. Here's the link for that. I'm also linking an OER toolkit. This was a great resource that was shared with me. So now I'm sharing it with you. It has, I believe it's seven or eight pages full of resource links. Okay, so if you want to get started with OERs, there's lots and lots of resources on this toolkit. And I see there's a question. Does, so the question is, does the attribution builder create a file that you are pasting into a document and that you can download for further use? Yes. Now it doesn't house the, it doesn't save the attribution for you. It's only there at that moment. So you want to make sure that you copy it. So I just right clicked copied and pasted it to my slides like I showed you. Let me see. I'm not sure if there was a link to download. I'll check in just a moment to see if there's a download. I think it's just, just gives you the ability to copy. And then, so we'll go, we'll look back in just a moment. Here's the link to the open Washington attribution builder, that second attribution builder that we looked at. The link to Pixabay and here are the video links on how to use an attribution builder and what is an OER. Anytime on my slides where you see the video, I also have the link here also. So there are, there were two other videos that I showed you and they all, they both have the links. I did not include the third video on this slide because it didn't fit. But they are directly on the slides. Okay. So let's take a look at Pixabay. So you want to just see if we can download. And I, yeah, Pixabay.  So I copied it and then I pasted it. Okay. The open chooser. Let's see. Let me just build one really quick. Oops. It shows the wrong thing here. Next. Yes. Let's say yes. Okay. So this one also does not have a download. It has a copy. So yeah, neither one of them have a download. You would just copy. Actually, you don't have to highlight it with this one. You just choose copy and it's copied and then you paste it somewhere to your site or to your, to your slides or whatever it is. Now, if you click on the deed, so here's my license CC by the least restrictive. If you click on the deed, you might be able to download the deed. Yeah, but don't see a download for this one either. But you can copy the site link. So the deed is just the explanation of what CC by means. So if you want to add that also, you can add it to your resource. So you don't necessarily have to because it's already embedded here. So here's my license. If I click on it, it takes me to the deed. Okay, so you don't necessarily have to copy it twice. It's already embedded in your attribution. Okay. All right. So any other questions go back to the slides. All right, so there was the resource page. Let me show you really quick because we do have a few minutes. I'll show you the OER toolkit. When you click on it, you're going to be able to make your own copy so that you don't change the original copy. So click on make a copy. And it's going to open up in your Google Drive. And this original OER toolkit was created by Cheryl Casey and she shared it with myself and others and allowed us to share it with you. So her license for this toolkit is CC by. There are lots of great links here and they are categorized by headings here. So if you want to learn more about OER, that's here. If you want to look at other OER training resources, there's links here for training. So we are training for library employees. So if there's a librarian, if you have a librarian at your site that wants to get other licenses, like I'm creative commons licenses licensed as a faculty member, but there's also creative commons license for librarians. There's resources there. Here are some learning communities, information about textbook affordability, best practices for course materials, finding OERs, different search tools, repositories and like OER commons, Libre, Libre text is great. And other course resources here. So lots of lots of resources, lots of things on creative commons. If you're interested in getting creative commons licensed for librarians or faculty members, there are links to do that here. There's information on copyright and fair use advocacy for OERs, promoting research marketing. So it's pretty extensive list toolkit that Cheryl created. Okay, one last thing I want to share with you. Are there folks here that use, I know Tuha uses canvas, are there any other folks in the room that use canvas?  I'm going to show you a really cool resource that I created for our faculty. And that I have now shared to the canvas commons. Give it a second. There it is. Okay, so I created this open OER free resource ZTC canvas site for our faculty. And I've shared this out now to the commons. Okay, so let me show you what this looks like. So basically it's like Cheryl's toolkit in a website form. So our homepage has some videos here. There's a video on how to use this site. There's links to the different modules in this site. There's an OER video there. This is for my faculty. So yours, yours won't have my office hours linked out here. Okay. But if you go to the modules section, I've categorized OERs resources. There are some great free resources there. There's information on creative commons licenses. There's information on attributions and article that I've written for OTAN on how to attribute your work and that video that I showed you earlier. That's in my slide deck as well. There's information about finding and using OERs. This is not in yours because this is just for my faculty. There's newsletters that I've sent out are housed there. OER repositories and the repositories I had them have them categorized by images and artwork. The ones that are starter the ones that I frequently use. There are lots of great repositories for images that include women and women of color and tech. There's diversity stock photos images of people of color. So there's lots of these great new resources in here. Large repositories that I use and of course I've starred the ones that I frequently use. And I created a section for OER by discipline for our faculty. So we have child development resources, emeritus resources, lots of ESL resources by ESL topics that we teach health care careers. So some CTE resources here, resources for high school diploma and high school equivalency, and then some free resources because these are not necessarily OERs but they're free resources that you can use. So how do you get this if you are using Canvas? Let me leave student be really quick. Come on really quick. Okay, so you're going to go to the comments. And in the comments. So as it comes up, you're going to type my name, which is Diana. Vera Alba and all the resources that I've uploaded to the campus comments are here. So I've uploaded some lessons that I share with our faculty. But here is that OER for, it says OER for SDCCD, but it's open to all. Okay, so if you are interested in that, you can choose it. You can download it. You can use it at your site.


Sailors are reminded every day about practicing operation security. With social media being an avenue of communication, sailors and family members are advised not to post critical information. Don't post critical information. So again it goes all the way back to this opposite process of knowing what your critical information is for you personally. Obviously people don't post their social security numbers or their passwords or anything like that. But again it's taken a look back at what you don't necessarily want the rest of the world to see. One of the things that we brief a lot and to family members for example is they love to post pictures of their children. What a lot of family members and parents don't realize is when was the last time they took a look at all the pedophiles living in their area. When you post those type of pictures, what are you potentially posting to a neighbor or somebody in your neighborhood that could potentially cause harm to your family?


What's exciting about the technology is really this idea that we're looking for fragments, right? Can we see cell parts, so to speak, and detect them that say early cancer? I think these are going to continue to get better, but today there's still no test as, you know, before we have this, people would be like, isn't there a scan?  We don't have that. That's not what CT scans does or PET scans or MRI. And we still don't have that lab test, despite what some companies might say. We're not there yet for general screening of the population with no symptoms.


In only 150 days, the Canada Science and Technology Museum will reopen its doors. The installation of 11 new exhibitions is now underway, and we can't wait to share them with you. From old favorites, like the cherished locomotives and crazy kitchen, to new favorites, like the Children's Gallery and the Explorer Tech Maker Studio, there's something for everyone. Join us on November 17th, 2017 as we celebrate our 50th birthday and Canada's 150th anniversary.