There's history here and here. There's history there. History is everywhere. You know that I don't consider myself a historian. I'm a journalist, retired journalist, and I have an open mind, I hope, and I'm searching for historical anecdotes and writing brief episodes for Jefferson Public Radio. That's the extent of my history work. My maternal grandmother, I want to tell you a little bit about who I am, my maternal grandmother, Martha of Tavia, Farrar de Lap, crossed the plains to Oregon in 1861 in her parents' covered wagon that reached Ashland via the Applegate Trail. She was less than a year old at the time, so she must have been inside that wagon all the way, I imagine, or her mother was carrying her. My brother-in-law has traced her ancestors to William Farrar, who arrived in Jamestown, Virginia in 1618 on the Neptune, the name of the ship. Farrar founded a plantation upstream called Farrar's Island. Today, the site of the Henrique's Historical Park, a living history museum at Chester, Virginia. My wife and I visited there a couple years ago, and we thought they'd really impressed since Farrar's were coming, and they told us they get them every day. So my presentation today will include some basics about writing as it was, because we hope that from this nice gathering that we will be able to recruit some of you to write some stories for us. We have, if you're interested, you can contact me, and in my PowerPoint I'll give you my email address, and we have an extensive writer's guide that I can share with you that was written before my time. Excellent guide, if you're interested. I've been writing and editing for the series since 2007. The series that we're now working on started in 2005, right at the beginning, or the end of 2004. I became the editor-coordinator of the Southern Oregon HIST for the Historical Society. The series is a joint effort between Historical Society and Jefferson Public Radio, and Historical Society writes stories, I edit them, and I write some when we're short, or ask Alice for some more. And then we put it together into a package and deliver it to the narrator and to the producer at the radio station, and they put it together for broadcast. By the way, Shirley Patton is an narrator, and she intended to be here originally, but she had a medical appointment, an important one in Portland, I believe, today, and she thought it was a little bit too important to just get. So we're very sorry she's not here, because she's the voice you hear on the radio every day, if you listen. I just want to quote one of the original founders of the idea of as it was, and then I'll get on to my program over here. His name was John Baxter, and he was director in 1998 of New Media at Jefferson Public Radio. He said, we never intended the radio series as it was to be a comprehensive history of the state of Jefferson. Rather, we hope to tell stories that would give a sense of the colorful, varied, if sometimes disquieting, history of the region, and thereby give us all a richer sense of what it means to live here. While the series tells stories about the flavor of early pioneer life, or amusing anecdotes of unusual characters, as it was, has never shied from the less pleasant suspects, aspects of our history, could be suspects, history, and has included stories about the racism against Native Americans and the Chinese, and I might add he didn't, the Japanese Americans that were in Tule Lake, their frontier violence, and sometimes life-threatening hardships encountered by the region's early residents. I thought it was a pretty good description of what we try to do every month. We don't hit all those points every month, but we gradually do. Finally, I want to make clear that none of us are paid. We're all volunteers. The whole program is volunteers, and that's why I always try to recruit when we're at a meeting. Because we need some more volunteers. We do 20 to 23 stories a month, depending on the number of days, business days in a month, and sometimes we're going to be 17 on hand at deadline time, and then that means I have to do a lot of extra work and to help get it out. So it all started with Carol, excuse me, Barrett, I wanted to say Barrett. She wrote over 1200 stories herself, and I think she was doing all 20 to 23 of them every month by herself. And then she got the idea that why don't we publish this, and Jefferson Public Radio published his first book ever, according to what the book says here, and this is it. And maybe you've all seen this at some time or another. It's for sale. I'm not selling it, but it's easy to get. The radio has a large stack of them, I imagine, and there's been selling it for quite a while. Well, on with the program. If I can get this stuff out of the way. You can tell I'm used to doing this. Now I've got some many wires sucked up to me. I can't remember which one does what, but this is what I want. This is how it began. The society was founded in 1946 by a group of civic and history-minded people from Jacksonville and around the Rd. Rd. Valley. In 1948, a county of voters approved the history levy, and SOHS took over the old county courthouse in Jacksonville. Eventually it became a museum, and today is owned by the city of Jacksonville, and I believe is the city hall now. There's a long story in between that I just skipped about financial problems, and they lost that levy and tried to pass a levy how many times Alice, three or four times, two or three times, since I've lived here, and the voters turn it down. In the 1980s, the society has grown and taken over management of several historic county-owned buildings, including the Catholic rectory, which is that one, and the Cornelius Beekman House, the Beekman Bank, and the US Hotel. I imagine a lot of you have been there, though, if not all of you. Yeah. In 2012, the county transferred the Beekman properties in the courthouse to the city of Jacksonville. The Jacksonville Heritage Society has managed rectory since 2010. The society still owns its research library and Medford and archived storage facility in White City, and the society owns and operates the Heritage Hanley Farm, established in 1857 and still working. That's, Ashland was established, I believe, in 1860-61, so it wasn't, it's very early. Over the decades, the Historical Society received tens of thousands of donations into its permanent archive, and Peter Britt's cameras are among them, a lot of his pictures, early transportation conveyances, and this studs Fire Engine 1924, and these wonderful artwork by Regina Dorland Robinson, as well as hundreds of thousands of artifacts and documents reserved for posterity. Finally, in 1992, Jefferson Public Radio inaugurated the daily two-and-a-half-minute program as it was, as committed to telling the history of Southern Oregon and Northern California. It refers to the state of Jefferson, which I amended to call the mythical state of Jefferson. Over the next 14 years, more than 1,000 episodes have been produced and broadcast, all done by the work of Barrett, and this is a page from the Jefferson Monthly magazine. In 1998, the radio published a book titled As It Was, and it's a compilation of program scripts along with illustrated photographs from the library, from the research library. A new series began in March of 2005. The other one was stopped just for a short time and they ran repeats. And then they started up again with original work in March of 2005. And since then, we've scoured the region from material and produced 3,200 episodes this month, and a little bit more than 3,200, all narrated by Shirley Patton. The station publishes them in its Jefferson Monthly magazine and at that address online. Each segment runs, it says, 1.59 minutes. Is that accurate? Yeah. Including introductory music, opening and closing statements and 90 seconds of historical content. And those 90 seconds consist of about 200 words, actually a little less, about 195 words. It keeps getting shorter. And maybe, well, here are the objectives. I also read you the statement that one of the originators gave us, but conveyed a message and appreciation and awareness of history is necessary for healthy culture and community. Help listeners feel more at home by understanding the roots of their community. They can more easily become part of it. Stimulate listeners' interest and desire to learn more about regional history and connect various generations to an understanding of our common history. And I might point out that each story is also printed as uploaded to the internet and is available. And with the sound, you can either click on the sound or the text. And the text always includes source material. And in recent years, we've done it in a very standard way of doing footnotes. And so I like to think that if people get here, one of these things online, and it might encourage them to go look for the source material and do some reading. Okay, now I'm getting into the writing part of it. If you were interested in writing, you probably might be wondering, asking yourself, well, where do you get the information? And that was my problem when I first heard about it. And the answer is partially this list of oral histories that are recorded, society research library diaries, manuscripts, old newspaper articles, books, autobiographies, regional historical societies, exhibit texts, and the internet. And I would tell you that when I have to write five stories because we're short, the internet is where I go to get them. The internet is a great source for this program. I mean, I think it's just a life saver, frankly, because some people worried that we're going to run out of topics because people have been writing about Jesse Applegate a long time ago, and we can't just keep writing about Jesse, and we try not to repeat any story. So the internet gives you the opportunity to just look for anything that has to do with Southern Oregon or Northern California, and you can think of any topics and search with Google, and pretty soon you're into a wealth of material. I mean, you'd like to think that most of the time you have something in mind, but there are these moments when you have nothing in mind and Raymond's waiting for the copy to get over there. The scripts are approximately 90 seconds in length. I've reduced the worries up there. It used to be, say, 195 to 205, the original writing guides, but I've reduced it to 180 to 190 because that's basically what it is. With the recordings we're doing now. The timeline is from the beginning. It says indigenous period in the modern times. Actually, we've come back to the geological age times. I wrote one story about Grizzly Peak and Ashland being a volcano, which doesn't look like a volcano today. Many millions of years ago. The focus, the history of Northern California and Southern Oregon, often referred to as the state of Jefferson. Subject matter, anything, I mean that's of interest. It's interesting, compelling to the reader or to the listener. Significant history as well as mysteries, anecdotes, tall tales, legends about the people, places and events that have shaped our region. I threw that last thing because it was mentioned earlier in that book, but also we do not avoid controversial historical material. Although the only two complaints that I've received since 2007, I mean that got to me. One of them was that I had not treated Native Americans properly in a story. Oddly, the story was about a massacre of Indians by miners. It wasn't in reverse, so it really bothered me when I got this and I didn't want to have that other idea conveyed in any way. So I wrote the person and told them exactly what the story said and I sent them a copy of the story thinking maybe they heard it wrong, which can happen and I never heard back. I assume they heard something in there about Indians attacking whites after the massacre and they got in their head that that's what the story was about. So anyway, you have to write the facts. The Indians did attack after the massacre, so both parts are there. The archives, if you want to write a story and you wonder, has it been used before? Has it been written about before? There are several ways that you can determine whether it's been written before. One of them is to look at the current archive, which is asitwas.org. Another way is to go to the archive that was kept up until three years ago, I believe, two or three years ago, when we started the new one. But that old one is still there and it goes all the way back to 2005. And then, let's see, what's that one as it was? I guess, oh, that's the historical society. In recent years, they've started an archive and it's excellent. And they're doing a kind of duplicating what radio station is doing, but in part of their mega-research section. Then we do source material and that's the template we use online to fill out the source material. That'll mean something to you later if you start writing. You send the scripts to me. There's my email address. All of the rest of that will come in the writer's guide. I'm not going to go through it now because it's just, basically, there's a system of sending it in and you find it in the writer's guide. And finally, the Southern Oregon Historical Society presented this prestigious heritage award to the program in 2012. And we were all there for that. And I think the plaque is sitting over there somewhere in Jefferson Public Radio. The award is given annually to a personal organization and has contributed greatly toward meeting the society's mission to make history come alive by collecting, preserving, sharing the stories and artifacts of our common heritage. That's my presentation. I think that when people write for as it was, or think about being a writer for as it was, it sounds very frightening. I mean, these things are broadcast on the radio for heaven's sakes. Thousands of people might hear them and other people might go online and read them and oh my gosh. But if you have any storyteller in you, that's what we do. We are always telling stories. Most of them true. When they're not true, we always say that in the story that this was, you know, allegedly what happened. We have ghost stories. We have all kinds of stories. Initially, the length was difficult. It's tough to tell a story in less than 200 words. But there are some little tricks that can be very helpful. You think twice before using any adjective or adverb. It really has to contribute to the story or there's not room for it. You don't include cutesy little phrases. You find out the one word phrase as opposed to the three word phrase and you start using those. So those are just little things that you begin to learn as you start writing. And the other thing that intimidates people is sources. But you and the genealogical society are sitting on a mountain of sources. Every one of your books in the library that does Southern Oregon, Northern California will have filled with stories. Your whole quilt project is stories. Your pioneer files are stories. You have a wealth of information here that could be used to write as it was stories. The one thing you do want to do as soon as you think you have an idea is go to those sources of old stories and make sure somebody didn't already write it. I've written several that kind of then sent back to me and said we already did that one and sometimes it's last month. That's really embarrassing. But do look at those first and make sure that they haven't been done. But I think we should hear some of the stories. So let's turn it over to... You know, we talk about how long we've been writing. But Raymond and Shirley have done this from the very beginning of this second series. 12 years now. 11 years. 2005. It's 12 years. That's 12 years. Thank you very much, Kernan and Ellis. Again, I'm Raymond Scully. I am not related to Vin Scully, the announcer. I wish I was. My brother has a picture with him. We call him Uncle Vin and that's the story we're sticking with. Thank you. I am not related to a famous roadie for the band A Grateful Dead. His name was Rock Scully, if you're into that sort of thing. But I'm not related to him. I did work for the U.S. Census Bureau in the Decennial Census in 2000. And I was a federal agent. So I guess I'm somewhat related to Agent Dana Scully of the X-Files. That's probably my closest connection to fame or my own genealogical roots. I wanted to say a brief word about working with Shirley Patten. And she does very much apologize for not being here. But she has a very important medical appointment that she really needed to make. Debating where to tell this story. So I'll tell an abbreviated version. From a gentleman by the name of Armando Duran from the Oregon Shakespeare Festival. My other job is I work at Blackstone Audio Books. I'm an engineer and I record narrators, reading books. I also record books myself for another company in the area called B Audio, like the insect. But as a consequence of that job I get to work with many Shakespearean actors from the festival who come down the street and record books with us during the day and then do the plays at night. And one of the actors was Armando Duran. And this was about three years in the making, maybe. And understand that at the time I was working all day at Blackstone editing audio and then I'd stop and I'd go record with Shirley and I'd spend all night editing the monthly episodes. What happens is Kernan and Alice and the writers, well through Kernan, deliver the scripts to us and one night a month, towards the end of the month, before the next month. In other words, in two weeks we will be recording the July episodes. Shirley comes in and we knock out 20 to 23 stories for the next month. The shortest we did is 18. We're during a non-leap year February, but the most has always been 23. So the stories are great, working with Shirley was great, but the grind was kind of getting to me. And Armando was asking me, how's it going with as it was? I hear you all the time and I said, thank you very much, but I got to tell you. Part of me is a little burned out because I'm working because I keep going through that night until they're done. So it could be 17, 18 hour days for me. Finishing at midnight at 1 a.m. is not unusual. So I was coveching, I think it's a nice way to put it. And Armando looked at me and he says, Raymond, let me tell you a story. So at the Shakespeare Festival at the beginning of every year we have outside actors come in. And we all gather at somebody's house for a potluck, kind of as a welcome. Kind of welcome to Ashland, welcome to the whole theater. It's going to be a very long year until November when they do the plays. And there is this one year where they're having a party and everybody's getting along great. The vibe in the room is really good. And there's a newcomer, a man from the East Coast who came to Ashland for the year to do the plays. And they're asking him, what do you think of the area? Oh, I love the plaza, I love the food, I love the people, the climate. It's so pretty here. That's very good. What do you think of, like, do you listen to the radio? Oh, I love Jefferson Public Radio. You have a classic station, you have a news station, you have a rhythm and news. They just think it's all great. But what's with this old timey show and this old lady who reads all these stories? I mean, how hokey is that? Armando said the temperature in the room dropped about 20 degrees. And everybody moved away from him on the bench. And Armando looked me in the eye and he said, Raymond, you get to work with Shirley every month. I didn't realize what an icon, what a historical marker herself, what a jewel we have in the grand dam of the Shakespeare Festival from the 50s to the 70s. Shirley Patton is. And if you've met her at all, a bigger heart has never been found. She is the consummate professional. The closest word she's had to me in 12 years is when I ask her to reread something because she'll make a mistake or trip over something and we'll get something wrong. She says, well, no, I think that's right. What she said and I went, fine, I'll see that later. So she leaves after two hours and I edit. And sure enough, she was right. And I've worked with so many narrators who know how to pout and go to their trailer and just like. Shirley's not even close to that. She's the consummate professional. She's got a wonderful sounding voice, as you'll hear in a second. And she's just a joy to work with. And it's one of the reasons I keep doing this because we've been doing it 12 years, 3,200. And I was going to quiz you on this, Colonel. What are we up to, 78, something like that? Keep going strong. We'll have to bring some back for encore episodes soon. But Shirley is a great joy to work with. It's wonderful. We'll do any take again, two or three times. We're going to split up recording dates for one reason or another, but she's just the best. So it's just an honor for her. I love Shirley. So I just have three little episodes here to play. Shirley records them. I do have an outtake track, but I kind of scan through it. And I think most of them are inside jokes. They aren't really that funny. I think the final product is really the best, aside from that one story. And I guess I could tell it without her being here.  So I have three episodes here, and they range from 10 years ago to five years ago to one year ago. So it's a real good shotgun that I have there. And you'll notice the difference in the first one I have to play here, which is from 10 years ago, because it has a slightly different open and close. And it also has the different writer before, who was Craig Stilwell, who ran it for the first few years of here. So without further ado, let me play it. Welcome to As It Was, Tales from the State of Jefferson. Movie stars often visited the Rogue Valley of Southern Oregon, but on August 4, 1930, one was a reluctant guest. Leo, the MGM lion, was in Medford to attend the opening of the new airport. The crowds didn't bother him, but airplanes did. In 1927, Leo had been the first lion to fly in an airplane. On his way from Los Angeles to the East Coast, his plane crashed in the Arizona desert, and Leo was left alone for three days without food or water. So it was understandable that he growled at the airplanes during the opening ceremonies. Other Medford appearances seemed more to Leo's liking. For example, in front of the Craterion and State theaters, he gave his trademark roar to the background music of a calliope. Probably his favorite stop was the West Side Meat Market for 25 pounds of steak. After that, his entourage appeared at several other places, including the Rio dealership. It was a Rio truck that carried Leo's luxurious cage. After completing his 42-state, three-year nationwide tour, the famous film studio icon was going to Europe for another three-year trip, but he was crossing the country by train this time instead of flying. Today's episode of As It Was was written by Alice Mamali. The program producer is Raymond Scully. I'm Shirley Patton. As It Was is a co-production of JPR in the Southern Oregon Historical Society where stories are learned more about the series, visit asitwas.org. We didn't even give the head writer credit back then. Craig didn't even make it on there, so Kernan got his just due when the time he came along. By the way, the music that we use behind there is a Gaelic tune that Eric Teal, the program director at JPR, picked out. It's called Chivaic Chivore, and it means roughly the Little Fairy Hill and the Big Fairy Hill. And the recording we use is by guitarist Peter Blanchett and the virtual consort. It's out of print, so it's a rare piece of music in itself. And one thing to note, the original, as it was with Hank Henry, would vary from anywhere from a minute 10 to two minutes and 45 seconds, so they didn't have a set time rate. That can't exist in today's radio. With Jefferson Public Radio working with National Public Radio, there are so many slots that they have, particularly at the end of Jeff Riley's, the Jefferson Exchange. We have to drop that in there. That's why our episodes are one minute 59 seconds, not even two minutes, because we need that one second to slip them in there. So there's a set music bed, and we have to squeeze everything in there. And if there's a lot of information, I do my best to squeeze it all in there. Sometimes you may hear an episode, or you'll just hear that boom first note, and then we're off to the episode. But that's okay, because some stories, it's a very big challenge. I'm amazed that the writers do that and be able to squeeze it in so much. So this next episode was done about five years ago. Welcome to, as it was, tales from the mythical state of Jefferson. Perhaps you've seen it, a sharp, bright, black and white image of Crater Lake, the heavily clouded sky reflected in the water below. It is one of three photographs taken by pioneer photographer Peter Britt on August 13, 1874. Crater Lake historians Larry and Lloyd Smith described the scene. The Britt party has been camping at the rim for days. Britt is ready to give up and leave without a photograph. When suddenly the clouds part, the sun shines through and the first photograph ever of Crater Lake is taken. Britt made an unsuccessful earlier attempt to reach the lake in 1868. A year later, he provided James Sutton with photographic equipment when his exploring party floated a canvas boat on the lake. Sutton wrote later, I was prepared to take photographs of the lake, but owing to the smoke in the atmosphere, I did not succeed. Until Sutton named Crater Lake, it had been known variously as Hole in the Ground, Deep Blue Lake, Mysterious Lake, and Majestic Lake. The Indians called it Glowese, or Gawis. Britt continued taking pictures of the lake that helped convince the federal government to make it a national park. Today's episode of As It Was was written by Kernan Turner and produced by Raymond Scully. I'm Shirley Patton. As It Was is a co-production of JPR and the Southern Oregon Historical Society. To share stories or to learn more about the series, visit asitwas.org. Now obviously we've done many stories on Crater Lake, so it's not like you can't ever do a story on Crater Lake, but it's, you don't want to do the same story. We've done about 15 on Camp White, which I didn't know anything about until I moved here, from the fact that the barracks were torn apart and used in buildings in Medford to one of the biggest training bases in the Army in World War II. There's lots of interesting stories about lots of subjects. We just don't want to tell the same story, but the subjects are very broad. So this last one I just picked out, it was about, I think about a year ago. I really enjoy it when I can just kind of turn Shirley loose. I don't know if you've seen her, she's still active in the theater. She was in The Foreigner, which was really lovely. She was outstanding in Arsenic and Old Lace, which we did, she did at the Camelot Theater a couple of years ago. So she's still got her chops in her. And Driving Miss Daisy. And Driving Miss Daisy, I saw that one as well. Yes, thank you very much. So she's still got it in her. So anytime there's a story that has a cold verbatim from somebody's diary, I let Shirley loose. And aside from, when I edit it, and I edit on a software program called Adobe Audition, I need to do an as it was story about how they did radio on the first ones, which was with tape, and how I do it now, which is with computer software. So that's a change in radio production. But aside from clicks and pops, I really don't touch your breaths or anything. I just kind of let the recording go. And her performances are always so enjoyable. So this is one that I found sifting through the thousands of episodes. So I think you'll hear what I'm talking about here. Welcome to, as it was, Kale's from the mythical state of Jefferson. Some women came west seeking a husband during the California Gold Rush. A California newspaper ran an advertisement that read, A husband wanted by a lady who can wash, cook, scour, sew, milk, spin, weave, hoe, can't plow, cut wood, make fires, feed the pigs, raise chickens, rock the cradle, gold rocker. So I'll plank, drive nails, et cetera. These are a few of the solid branches now for the ornamental. Long time ago, she studied red Murray's geography and got through two rules and pipes. Grammar could find six states on the Atlas count, read, and you can see that she can write can, no, could paint roses, butterflies, ships, et cetera. The ad states her terms. Her age is none of your business, it said. She is neither handsome nor a fright, yet no man need not apply nor any who don't have a little more education than she and a great deal more gold. For there must be $20,000 settled on her before she will bind yourself to perform all of the above. The lady obviously was aware men were desperately lonely in the gold fields. Today's episode of As It Was was written by Gale Theorene Jenner, edited by Kernan Turner and produced by Raymond Scully. I'm Shirley Patton. As It Was is a co-production of JPR in the Southern Oregon Historical Society. To share stories or to learn more about the series, visit asitwas.org. You can hear what I'm talking about there. Just throw your hand. By the way, one anecdote, just humorous one to me. I was driving with my wife somewhere and it was right around one o'clock on the classic service when JPR airs. And we pulled up to our destination. It was one of those driveway moments where we keep the radio going.  So we listened to it and right as the end of the story came, right as the credits stopped or started, my wife turned the car off. And I went, what are you doing? I'm just getting ready to get paid. She looked at me and I said, just to reiterate, this is all volunteer work, but my name gets sent out over the airwaves. I'm famous in that regard. And a lot of times, even though you don't hear my voice, when cashiers will see my name or I'll sign it or I'll check in at an office somewhere, they go, Raymond Scully, you're on JPR, aren't you? So that's how much power Shirley has just by saying my name. And I love it when she says my name every day. That's how we all get paid when we do this. So it's a lot of labor of love, but it's a worthwhile labor of love, in my opinion. And I think anybody who does this, history is worth talking about in this medium day and age. We have it on, it used to be just on print. So now we have it on audio. You can have it on the computer and we're having it on video as well. So your chance to be a part of that if you can contribute. Everybody has a story and they're interesting and they're worth while to hear. So that's what we have. Yes, ma'am. She gets the scripts. Kearnan gives us a copy a few days beforehand. You're talking about every month when we do this? Yeah. And so another thing that Shirley does is she's our main proofreader. So Kearnan's busy slapping these things together from various, anywhere from nine to 12 writers a month. And she'll look through it and there may be words that are not sure about, or oftentimes because it's in the written form, we don't know how to say someone's name. So we'll try to do our best and guess for that or maybe he'll try to go back to the writer and go, do you have any idea how it's done? So she'll read them out loud. When she comes in with her scripts, and they're all in Word documents, she's got a stack of scripts. I've noticed them. She's got little marks where she has her pauses planned, just like the great actor that she is. She'll know in a very long sentence when to suck for that error, she can finish the rest of the sentence and then when she can go again. And she has all of that marked. She's really wonderful that way. As I say, I work with quite a few narrators and she's top rate. I can't find anybody better. There are long, complex sentences that we have to communicate in a short amount of time. And Shirley's very good about knowing which words to emphasize, where to keep going and where to pause. And so she'll come in and we'll talk about any issues or any notes that we have. She'll go ahead and read it. I'm following along with her and if I'm not sure about something, thanks to the internet, we can look up something right away. How do we say that? Or is that where the city is? So we had a story a while back about whether it was in California or was it in Oregon. So we dialed up Google Maps and so there can be minor discrepancies like that. But she's kind of part the proofer as well when she does that. And we all kind of contribute with that. All right, we may not have Shirley Patton here with us today, but we do have you and a number of you have been given scripts and ask if you would read them. So I'd like to start with the person who has Orson Abel Stearns. I think that's the oldest picture. Good. So you are the new Shirley Patton for today. The voice is constantly in my head. I have known Shirley and admired Shirley and been a fan of Shirley for a long, long time since she was on the stage at OSF. And I have had the joy, pleasure and absolute thrill of directing her in three of the productions. Two of them were mentioned here, driving Miss Daisy and Arsenic and Lace. And my first one that I directed her in was The Grapes of Wrath, all at Camelot Theater. Paul Jones. This is about this guy right here. I won't give you the introduction or anything like that. You just get this. Some soldiers at Fort Klamath in the winter of 1867 relieved their boredom by producing a humble handwritten newspaper they called The Growler. One of its stories made national news. The story said an earthquake struck in force at daybreak on January 8th, 1867, throwing men to the floor and cracking cabin timbers. Dogs howled, Indians yelled and trees swayed violently. No lives were lost, the newspaper said, even though the settler's store was thrown 20 feet. The Growler said a column of dark smoke rising over the distant Klamath Marsh prompted fears that a new volcano was erupting and soldiers were dispatched to investigate. The Oregon Sentinel in Jacksonville reprinted the article which was picked up by newspapers from coast to coast. An official Army investigation revealed the story was fiction, written by a private. The editor of The Growler was Orson Avery Stearns, who would eventually become one of the leading pioneer settlers and citizens of Klamath County. Even as late as 1914, Stearns said he was still receiving inquiries from unknowing scientists about the great quake of 1867. My name is Sue Waldron and I am a historian and I also have been working on Alice Applegate for probably 20 years. So Alice Applegate, one of 12 children of famed trailblazer Lindsay Applegate, remembered her father purchasing the Siskiu toll road in 1860 and moved with his family to a toll house in the mountain south of Ashland, Oregon. Later in her life, Sergeant Road about the long ago time when Grizzlies still roamed the forest. She described how in winter when new snow covered the road, Applegate would hitch a bobsled to a team of oxen and walk back and forth all day, breaking trail for the approaching wagons. During the summer, the trail was busy with mules, freight wagons pulled by six yoke of oxen and marriot wagons pulled by six horses. Because there were so few places for wagons to pass on the narrow mountain road, the horses in the lead wore bells to warn other wagons of their approach. Sergeant also saw peddlers with their straw padded wagons piled high with apples hitting south to the Sierra Nevada mining towns. At dusk from her home on the toll road, Sergeant listened to gray timber wolves howling in the forest. I should say that I chose these episodes to give you a sense of the variety of stories that are written, the variety of time periods and different authors. The first one was by Todd Keppel who is the director of the Klamath County Museum. And this one was by Amy Couture, is that what you say her name? Couture. Okay, these are longtime writers for the society. Let's move to a more modern time. Someone has the picture of John F. Kennedy and the most crazy people from Grants Pass, the caveman. Hi, my name is Cara Davis Jacobson. I'm a publications editor volunteer here at Revelle Genealogical Society. And I should probably say in advance that I have no known connection to this at all. This story. It's by Nancy Jay. Bringhurst. The Oregon Caveman. There was a time during a parade or rodeo in Oregon in Northern California when an unsuspecting child, a young girl, even a famous politician, might be snatched by a caveman thrown into a makeshift cage and released at the end, all in good humor. This activity was the brainstorm of a group of innovative businessmen in 1922 to incorporate the Grants Pass caveman as a way to boost business and put their town and region on the tourist map. For decades they dressed in furs, wielded clubs, and performed a variety of acts and antics at public gatherings. John F. Kennedy, Babe Ruth, and Shirley Temple were among the many celebrities initiated by the cavemen. Obviously they had a good eye for those who would enjoy their creative pranks, though not everyone was a caveman fan. Eventually a combination of the threat of sexual harassment lawsuits, protest by animal rights activists, and the state's requirement to pay corporation fees put an end to the merriment in 2004. Today a larger than life caveman statue erected in 1971 near the North I-5 freeway entrance to Grants Pass reminds us of that less restricted and more playful era. My name is Joy Durrat and this is by Alice Mawali. Hanley Farm Music Festival joins a long history of outdoor concerts. In the good old summer time, outdoor music concerts are a long tradition. In 1889 more than 2,500 people attended the band festival in Jacksonville. All day bands played on the balcony of the U.S. hotel while crowds listened from the street. The Ashland City Band held concerts since the 1890s, the festival in Jacksonville, and the Ashland City Band concerts continue this tradition today. Some small towns went to great lengths to have concerts, to accommodate summer events in Medford. The Greater Medford Club built a band shell and the city strung lights and constructed benches to accommodate listeners at Liberty Park. This summer people can enjoy a new music festival under the trees at the Extoric Hanley Farm. August 5th from noon to 8 p.m., five great electric bands will entertain festival goers. Food, beer, and wine, a market, and a great raffle will round out the Southern Historical Society fundraiser. My name is Ray Schuck. I'm just a guest here today. In 1864, Robert Vincent Peale planted a sapling black walnut tree in the yard of his newly constructed house in east of Jacksonville. Today the Beale Black Walnut and Oregon Heritage Tree and one of the largest of its kind in America stands sentinel to 150 years of Oregon history, some forged by the Beale family. Scottsman, Ninian, Beale arrived in America in the 1860s and produced a lineage that include four Maryland governors. In 1852, brothers Robert and Thomas broke speed records for mule train travel on Oregon Trail. Completing the trek in 78 days, soon the Beale started packing supplies to Southern Oregon minors. The Beales established trade routes between Jacksonville and Crescent City and Robert built one of the first frame buildings in Southern Oregon. A structure now listed in the National Historical Register. Robert's son, Venti, who graduated from the University of Oregon in 1897 gained acclaim as an artist, photographer and teacher. He bequeathed $100,000 to the University of Oregon Music Recital Center. Today the University of Oregon Music Recital Center bears the name Beale Hall. One of the longtime writers for the As It Was series was Shirley Nelson and she wrote from the coast, she lived on the coast and for many years would come over for socials that we would have. It was always amazing. So this is one of her stories. Yes, this one is about the early telephone operators that provide essential services, by the way, on Catherine Sloan Hyde. So here's what Shirley had to say. To call someone 100 years ago involved dialing the switchboard operator who usually was a woman stating the name or telephone number and waiting to be connected. Hearing a click meant someone else was on the party line and had lifted a receiver and was listening in. To search someone, excuse me, to reach someone in a rural area might require calling a ranch or business owner who would relay the call to the distant party. The telephone operator known as Central not only connected calls efficiently but also provided services in an emergency. If firemen, doctors or policemen were needed Central knew where to find them even when they were away from their offices. On the night of September 26th, 1936 when the city of Bandon burned operator Evelyn Mansett was on duty at the west coast, excuse me, west coast telephone office in the old bank building. As fire raged around her, she handled calls including getting information to people outside the city. When the building's roof caught fire and the windows blew out, Mansett stayed on the job. She escaped at the last possible moment and was later awarded the Telephone Company's Veil Award with commendation for her bravery. And as was said, this was written by Shirley Nelson. This story is about a company that has been exceedingly successful in Southern Oregon that you may never have heard of and it's been here a very long time and is still here, the Tucker Snowcat Company. I was surprised at that too. To most motorists, snow means hazardous driving conditions and tire chains. To Emmett Tucker, who grew up trudging through the white stuff snow meant to challenge. Tucker was born in 1892 at Jump Off Joe Creek just north of Grants Pass, Oregon. He is known as the inventor of the Snowcat. A sturdy vehicle on tracks used to climb rugged mountains in far off parts of the world. It took Tucker 35 years to perfect his over-the-snow machine. Friends stood by to cheer his first successful run from Union Creek to Crater Lake. The National Geographic covered a January 1948 trek when the Snowcats carried snow survey crews along the spine of the Cascade Mountains. World markets opened and in 1957 and 58, Tucker Snowcats drew international attention by making the first motorized crossing of Antarctica. The firm Tucker established near Midford, Oregon in 1946 is still operated by the family. It is recognized as the oldest successful manufacturer of snow vehicles in the world. Vehicles made by the Tucker Snowcat plant today are used in many jobs, including search and rescue, avalanche control, oil and gas exploration, mining, of course, snow removal and snow grooming. And this was all inspired by the challenge of the Southern Oregon snow.


We're here in Singapore as you can tell this place is insane There's some kind of generator in the background, but Also a very nice lily pond Yeah, Singapore is just crazy the infrastructure here is nuts. It's like one of the cleanest places ever to Not allowed to smoke, not allowed to spit gum on the sidewalks and you get arrested for that Anyways today, I want to talk about Difference between a freelancer and a business owner So I was just listening to a Seth Godin podcast with Tim Ferriss and it reminded me of this distinction Which we talk about a lot in the work from anywhere accelerator In when we talk about running a business starting a company how to figure out how you should structure it all these things but there is a big difference between being a business owner and being a freelancer a lot of people they start a agency as they call it and What they do is they go out there and they get clients and they just create jobs for themselves So now instead of one boss, maybe they have five different bosses and the reason this happens is because they're selling their time instead of results So what they do is they go out there and they'll do anything for anyone So if the client wants a new landing page, they'll do that if the client wants emails They'll do that if they want a sales page, they'll do that if the client says change that to this They'll do that the point is the client is in control here. So what is this agency owner done? They've created a boss for themselves who calls the shots. They determine how much they work They determine what they work on they determine which projects are getting done and so When we start our agencies, we want to run things a little different than that because we want to maintain control if you want to Be the entrepreneur not the freelancer. You have to call the shots You have to be able to decide which projects are getting done and you also want to get paid based on your Results that you provide and not your time So it shouldn't matter to your client if it takes you one minute or a hundred hours to produce the result They should pay the same amount no matter what so what's the difference between in a freelancer and a business owner? Well, the business owner has systems and they sell their system to the client We call that funnel cloning with the agency model basically means we have one set Product that we deliver to our client. It's the funnel. It's the follow-up It's the ads but we specialize and niche down so it's the same for every client because if it was vastly different And we're gonna end up in a freelancer situation But if we work in a niche and the product we deliver is the same every time then we can end up as business owners Because we'll get paid for our product not for our time But if you worked with any kind of client Any kind of client at all and you do all the work yourself. You're gonna be a freelancer So the other way to be a business owner as an agency owner is to have employees so you can use white label Service providers. That's when somebody provides the ads for you So you go out there you sell the client you get the client the white label provider actually does the ads runs the ads or you can have Contractors that you use to help you with the process or you can have in-house employees when you get big enough people that actually work for you full-time and There's a guy skateboarding with a boombox and a full helmet and a camera. It's distracting Where was I yeah to be a business owner You are in charge of generating revenue and then you have a team provide the results so and in any of these instances the point is that you want a predictable result that you are delivering it doesn't depend Holy on your time because if no one else can deliver this result by you and it's different every single time You're gonna end up with a bunch of different bosses and a job for yourself that you've created Which is good at first. It's a good way to learn. It's a good way to learn working with lots of different clients But eventually you're gonna burn out and so it can't depend on you forever So the way we do this get out of this is called funnel cloning Talk about this all the time where you can rent one funnel out to You know tons of different amounts of clients as long as they have the same kind of business Now a lot of people when they get started they don't want to niche down because they think they're limiting their options Like I said in the very beginning This is okay. You go out there work with a couple different types of clients figure out the clients that you actually like to work with You believe in what they do in their business You like working with them. They're good people And you can get consistent results for them because you might go there work with five different types of clients when you start You find that one specific type of client. Let's say you work with Dieticians and figure out while you can get really great results for dieticians You might decide to niche down and then from then on out. That's your business But eventually you want to make that decision to niche down A lot of times we talk about franchises with this model. So you look at McDonald's What does McDonald's do they sell their system to people that want to own a McDonald's business? So when you go to your local McDonald's down the street on the street corner that McDonald's is owned by a franchisee And that means they pay the McDonald's corporation to use that system So the same things are going to happen with your system You create the system You know it works and then you just distribute that across the country over and over again so if you work with the dietician of Maryland and And you want to get a new dietician client in Utah. You just use the same system in different locations just like a McDonald's So that's the difference between a freelancer and business owner Business owner Are actually selling a system and a result and as a freelancer you're selling your time and you'll do anything for anyone You take orders from the client So I would recommend As we're sitting here in Singapore if you want the freedom to take trips and travel around the world and do things Like that. Let's make sure that we're building a business. Okay, let's not build a new job for ourself It's gonna be hard work either way, but one has long-term pay-off So if you want help figuring out how to set up your agency with funnel cloning So that you get paid for the results you produce and not the time that you work Come check out the work for my new accelerator. We like to call it WF a digital nomad calm And I will see you on the inside


All right, thank you, Anna Marie. I'm gonna share my screen here. So just a moment while I get set up. Okay, great. So I just wanna confirm that you can see my slide there and it says video accessibility. Does everybody see that? Okay, great. Well, thanks for coming today, everybody. My name is Davy DeYoung and I am a member of the IT accessibility team and today we are going to be presenting video accessibility to you. And along with me is Terrell Thompson who's the manager of the IT accessibility team. So we will be presenting on topics related to video accessibility. So let's go ahead and get started. Okay, who is impacted by an accessible video? So when we think about accessible video we should be thinking about who will be impacted by inaccessible video. So let's see. So in certain situations there may be users who are unable to hear the audio, maybe they're deaf or hard of hearing or maybe they're in a noisy situation and they're just not able to hear the audio and that might be impacted. So the solution for that is to provide captions and I'll be giving you some information on enabling captions in different video platforms that are available to the UW and then also how to edit captions once your video has been concluded. Another thing to ask yourself is users who are unable to see the videos which may include users who are blind or have visual impairments or maybe somebody just is listening to the video instead of actually watching that. So the solution for these barriers would be audio description and Terrell's gonna talk more about audio description and offer some solutions rather later on in the presentation regarding that. And then there may be users who are unable to both hear and see the audio and video and that may be impacted. So the solution for this group would be to provide a transcript. And transcripts are useful because it allows folks to jump within the video to a certain place using keywords and they may also be consumed by individuals for using a screen reader or a braille device. And there are other examples of individuals who may be impacted by inaccessible video and those include folks who may not use a mouse. They use a keyboard only to navigate. Maybe they're not able to hold a mouse in their hand or have some weakness in their hand so they're only able to use a keyboard. Or that may include folks who are using a screen reader to access information. And they're not able to use a screen reader to access the video controls of the video player. Or folks are using speech input such as Dragon Naturally Speaking. So they use speech input to navigate around their computer. They talk to their computer in order to perform certain duties or to dictate text into the computer. Or you may have folks who are dependent upon an high-crown trust or some custom color schemes. And the solution to that would be to provide an accessible media player. And Terrell, again, is going to talk about an accessible media player that offers playback in multiple languages. It also offers audio description, ASL interpretation. And this accessible media player was developed at UW. And Terrell's going to cover more about that later. And just for clarification, I wanted to include information about the different accessibility offices at the university and what kind of responsibility they have when it comes to accessibility of videos. So if you have a student who has requested an accommodation, disability resources for students or DRS will provide the funding and support for captioning and audio description for course materials for that student. And Disability Services Office provides similar services for faculty, staff, and also visitors to the university. Now DSL also coordinates ASL interpretation and cart captioning for in-person and virtual events. So any requests for those kinds of services will need to go directly through DSL. And then Accessible Technology Services, or ATS, we provide internal grant funding for captioning high-impact videos in a more proactive manner. And we also provide training and support for UW departments with regards to accessible IT. And I'll talk a little bit more about the grant-funded captioning service more in-depth later on in this presentation. OK, so first, I'm going to cover captioning. And I'm going to cover captioning in Zoom, Panopto, and YouTube, but those are the three main video services that we use here at the UW. And I'm going to talk about how to enable automatic speech recognition. But it's important to note that automatic speech recognition captions or ASR, they may not be accurate enough to serve as an accommodation for people who depend on captions. And even though the accuracy is pretty good, ASR captions lack the ability to convey context of what's happening in the meeting. And sometimes it mislabels speakers. And then technical, medical, sometimes legal, and other specialized terms are often not transcribed accurately. Now with that said, Zoom's ASR uses Otter AI as their speech-to-text translator. And it's pretty darn good. So in some situations, I've gotten some feedback that individuals actually prefer ASR over human captioners. So our recommendation is, if you have an accommodation or request to caption an event or a meeting, it may be appropriate to reach out to the individuals who have requested captions as an accommodation and ask if automatic captioning within the Zoom platform is acceptable to them. If they say yes, then you can follow the steps for enabling the automatic captions and then you should be fine. But if not, if they do want to have a cart capture, then you should make arrangements through DSO to hire a human captioner. Okay, so let's get started. I'm gonna first talk about enabling captions in Zoom. So by default, UW Zoom accounts have the ability to turn on automatically generated captions for your meeting or webinar. And you can check these settings or make changes when you're logged into your Zoom account through a web browser. So to turn on live captions in a Zoom meeting, you can look at the Zoom toolbar and the live transcript button will be visible to you as the meeting host. Now, if you click on that icon, then this little pop-up window appears as shown on this slide. The slide is a screenshot of my Zoom instance and I've clicked on a little CC live transcript button there. And then once you've clicked that, then you can select the enable button under live transcription and also check the checkbox next to allow participant to request live transcriptions if you want to include that as well. So incidentally, these are the exact same steps that you would take if somebody has requested an accommodation and you need to assign access for a human captioner. If you have a third-party human captioner, it's usually somebody you may have requested through DRS or DSO to help caption the session. You'll select the button there that says copy API token and that copies the token to the host or your clipboard and then you can paste it into the third-party closed captioning tool and then that will allow for the cart captioning to appear within your Zoom instance. And we have captions enabled for this webinar and you're welcome to turn them on by clicking on the CC icon in the Zoom toolbar and you can also view the transcript at the same time and the transcript pops out on the right-hand side and also helps identify who is speaking. Okay, so I'm going to switch to my web browser for the next few items and provide a demonstration of editing captions in your Zoom cloud recording. So once your meeting or webinar has ended, it's gonna take some time to save the recording to the cloud and when that process is complete, you're going to receive an email from Zoom with a link to that recording. Now you can access that recording just by clicking on the link within the email and that will prompt you to log into your Zoom account in a web browser and that will take you directly to the cloud recording of that instance or you can access it by going to the recordings tab within your Zoom instance. And so that's what I have up here on my screen. So a couple of different things I want to point out here. This link here down at the bottom where it says audio transcript, this is a live link. And so I mentioned that it takes a long time for video to save to the cloud. It takes even longer for the transcripts to save to the cloud. So if you get your first email from Zoom saying that your recording is complete, that's probably just gonna be the video recording and not the transcript. So you need to wait a little bit longer until you get a second email from Zoom that states that the audio transcript is complete. If you click too early, then this link here will not be live and you won't actually have any captions to edit. So but once that's complete, then you can go ahead and click on your recording and I'm gonna open it up in a new tab here. And it automatically starts playing which is always distracting to me. But this is the caption editor within the Zoom instance. And you'll notice that the video takes the prominent position here in the center of the window. And then the transcript appears on the right hand side.  It says show subtitles. And then you can see that the captions actually appearing here. Now I already started to work on this particular video. And it's pretty easy to edit the text of the transcript just by hovering your mouse over the word balloons. And you'll notice when I do that this little pencil icon appears and when I hover my mouse over that, it says edit. I'm gonna make this a little bigger so you guys can see that. Okay, great. So when I click on that, then that allows me to make an edit within this word balloon. So I'm gonna go ahead and make changes here. Okay, so I've made changes to my transcript and I have two different options. I can either select the checkbox and that will save my changes or I can click the X and that will reject the changes and it will go back to the original text. But when I click on this checkbox here, I want you guys to pay attention to something that will happen. Up in the upper middle of the screen here there'll be some kind of a notification that says that the transcript has been updated. So I'm gonna go ahead and click on that so you can see that. So I saved that and then you can see here a transcript has been updated. So when you play this back, when you play the edited transcript back in your instance of Zoom, those updates might not appear instantaneously, but if you share the cloud link of the recording, that will have the updated captions with any changes that you have made to the caption. So, and it does take a little while, maybe take a day or two for your instance to update. So the captions on your instance will match the transcript that you have edited. It takes a little while for that to happen, but it won't happen in real time in your instance, but Zoom recording will reflect those changes once you have made them. Okay, so that's pretty much it for Zoom. So I'm gonna switch platforms and I'm gonna talk a little bit about Panoptil. This is another video recording option that we have at the University of Washington. And in order to enable automatic captioning within your Panoptil videos, you could add up pretty easily. You'll notice that if I hover my mouse over the video, I get these little buttons set up here. I can select the settings button and that opens this up in a different kind of a preview. And I have another left-hand navigation menu here. If I select captions, then I have this request captions option. It's a drop-down option. And if I select the drop-down, you'll see the very first option there is automatic machine captions and that's what you will be selecting. Now, I have a bunch of different options down here. I do a lot of sending videos to be captioned by other third-party caption services. And so you won't see this huge list of different services or different, essentially, these are budget numbers that will pay for the captioning. And that's done by human captioner. So they actually go in and the humans will caption the videos for you, but that's a four-fee process. So, but the automatic machine captions will be free and you can select that. And then, again, it takes a little while for those captions to appear in your Panopto instance. But when they do, you can go back to your video and then you can make any necessary changes within the caption editor in Panopto. So I'm gonna go ahead and open up this video instance here, which also automatically starts playing, which is very distracting. So here we have the Panopto caption editor. Actually, it's a video editor where I can also work on captions as well. So I've got the main video, which is the center of my screen here. And then I have my slides down at the bottom. On this left-hand navigation, I'm gonna go ahead and set captions. And when I do that, then you can actually see the transcript with timestamp, but I'm not really able to make any changes yet. So in order to make changes, I need to select this edit tool, this little pencil tool up in the upper right-hand corner. And when I select that, and my view is gonna change here, I'm gonna select captions again. And this time I can go ahead and click into these little word bubbles and make my changes. Okay, great. So once you have made all your changes to your caption file, then you can click apply, and then that will save all the changes to the cloud. And then your caption file will be updated. An interesting thing that I noticed, if you do not hit the apply button, but you have made changes to your transcript and you edit, or you exit out of the Panopto caption editor, it will still save whatever changes you have made in your transcript as a draft, but it doesn't publish it to the cloud yet. So which is kind of nice. So if you have a long video and you need to come back to it, but you don't want to apply the changes to the entire caption file, you can make the changes, exit out of your browser, come back. Your changes will still be there. Once everything is done, you can go ahead and hit apply, then that will make the changes to your cloud recording of your caption file. And then everything will be revealed from there. Okay, so let's go ahead and move on to YouTube. So in YouTube, when you upload your videos to YouTube Studio, captions are automatically generated using ASR. You don't have to do anything, that just automatically happens once you upload your videos to the YouTube platform. Now, just like in Zoom, it takes a while for the video itself to upload, and then it takes another while for the automatic captions to be uploaded as well. So I'm gonna go ahead and take a look here at a video file that I have in my instance here. And when you first upload your video and you're wanting to add captions, you'll notice this live link here that says duplicate and edit. And when you first upload your file, this will actually say add ADD. And if you click on that, then that will give you the option to either upload a transcript that has already been created or you can start typing a caption, the captions for that video. So it hasn't actually uploaded the automatic captions yet. It will just give you the opportunity to include them on your own or start manually typing them. But this was uploaded on September 29th, 2021. So it's been here a while. So my captions, my automatic captions should already be there. So I'm gonna go ahead and select this duplicate and edit. And this is the caption editor within YouTube Studio. You notice that video shows, appears here on the right-hand side. And then we have the captions transcript, rather that appears on the left-hand side. Now I wanna select this link here that says edit timings. And when I select that, then you can see that the transcripts turns into more word bubbles with timestamps of when these words will appear on the video player. Something else that you may notice, I can make this bigger. Oops, yeah, that's not so great. Okay, something else that you may notice is that there are word blocks that appear in the timeline. And right below the word blocks is a waveform of the audio of the text that is being spoken. So if you need to make any adjustments to the timestamps of when the captions appear on screen, you can really easily do that just by sliding these text blocks around. And then it's super easy also to make any changes to the text in the caption editor for YouTube. You also have the option if you're working on longer videos to save drafts. And then once you have completed editing your entire transcript, then you want to select the publish button and then that will send your live captions, sorry, send your updated captions to the cloud version of your YouTube video. Okay, so that's pretty much it for the caption editors. But sometimes automated captions just aren't that great. Maybe a lot of technical terms were used during the presentation and they weren't transcribed accurately. Or maybe there were several speakers in a webinar or a meeting and automatic captions aren't identifying who's speaking at the right time. It could be other factors, maybe a noisy environment, all kinds of factors. So I wanted to include this slide as a friendly reminder about the UW IT captioning service, accessible technology services manages this project and will caption UW video presentations without any charge. But there is an application and applications are reviewed by ATS staff. And the videos that we caption do have a criteria. So they need to be highly visible, forward facing, high impact, usually multiple use, and maybe strategic videos as well. So we have quite a bit of funding, especially for captioning PANOPTO videos for this. So I highly encourage folks to apply for this service. And I've included a link for the service here on the slide as well. For other videos, maybe outside of PANOPTO Zoom or YouTube, although those could be considered as well. You might want to consider using the state contract with three-play media. If you don't want to use automatic captions and you don't have the time to edit those captions yourself, you can pay three-play media and it's $1.95 a minute for our contract with three-play media. So this slide is just a screenshot of from a third-party captioning service. And it lists a bunch of different file types. These are all standard file types used by popular media players.  Facebook, SRT, SMI, SRT seems to be a very popular file name or file type rather. But the purpose of this slide is for you to know that it's important to know what file format your video player supports, as that really determines the file type that you're gonna choose. And then this slide just shows the formats. And in this file format of a caption file, in this case, this is a web VTT file, caption file. And it's just simple text with timestamps and colons and whatnot. These caption files can easily be edited in something such as Notepad++. You don't really need a caption editor to edit these files, but it sure does make things a lot simpler. So it's something that keeps in mind if you're using a text editor to edit your caption files, it's really easy to make a mistake which could throw off your timing and your captions for the rest of the video. So just something to be aware of. And which videos are the highest priority when it comes to deciding which videos should you caption? Well, certainly videos that are required viewing for individuals who need an accommodation would be a high priority for captioning, but also videos that are likely to be required viewing for individuals who need an accommodation should also be considered. So thinking what their needs may be. Other videos to consider include ones that are popular, viewed a lot, videos that are relatively new and captioning could be part of your workflow in videos that provide critical content. So how do you prioritize your videos for captioning? Well, I'm gonna actually hand it over to Terrell at this point and he is going to talk to you more about that. Thanks, KB. And before we do switch speakers here, I just wonder if anybody has any questions about captioning because I'm gonna talk a little bit about a tool that we have to help prioritize captioning efforts, but mostly I'm gonna shift gears and start talking about audio description. So now would be the time if you have any caption related questions. There was one in chat, by the way, that questioning whether automated captioning is enabled within Zoom if it is enabled by a host, whether all participants see captions right away or do they need to click the CC button? And I tend to always be host or co-host in meetings where captions are provided. And so I don't know if I have the answer to that, but there is some discussion in the chat about that. I know that I think that the user has to click the CC button to see and that there is a notice that gets sent out to everybody saying live transcript captions are available. And it sounds like Andrea is confirming that that is the case. Any other questions about captions for you move on to other stuff? And feel free to either raise your hand or type in chat or we're a pretty small group, so feel free to just unmute and talk if you prefer that. If not, then I will go ahead and share my screen. I actually have a slide that shows this tool, YouTube Caption Auditor, YTCA is a tool that we developed. It's free, it's open source, and this is the report or set of reports that it generates. And so we actually have a site hosted on our department's server that you all have access to. If you are a YouTube channel owner and you want to participate in this to use this tool to see how YouTube channels at the UW are performing in terms of their captioning efforts, but primarily to use this tool to prioritize your own captioning efforts, then this is a really great tool for that. It's protected by UW NetID, and so basically you just have to ask me and I can give you access to it. But I encourage anybody who has some ownership responsibilities for your YouTube channel to use this tool and take advantage of this. As it says here, we have 88 YouTube channels. These are known channels. I suspect there are many more out there, and some of these are kind of seem to be dormant if they haven't been updated in a while. But one thing we can do is we can sort this table. It shows us all of those panels, how many videos they have, when their latest video was uploaded, how many of the videos are captioned and what percentage that is, as well as a few other things which are customizable. You can select what fields are shown in this table. But I particularly am interested in how are folks doing on their captioning efforts? And this is color-coded, and so you can see the rows that are red are zero captions. So those are channels that need to kind of get their act together. They haven't started their captioning yet. Whereas green rows indicate a channel that has captioned 50% or more. And so if we focus on the positive and sort this in descending order, then we see that there are quite a few green rows. These are channels again that have captioning 50% or more. Several are over 80%, three are over 90% and one is 100%. UW School of Public Health has done a great job. With 176 videos, they've captioned all of those and we can click on any channel to see what's been happening with that. And we actually see over time kind of how this has progressed. They actually had to attain 100% in 2019 and maintain that in 2020, but then they uploaded a few videos that were not initially captioned, but then recently they caught up and have captioned those videos as well. This is also an accessible chart. So you can check out what accessible data visualizations look like. It has a sonified graph button so you can listen to this graph, which is pretty cool. This is using high charts. So that's off topic, but this is a really cool app for taking a look at accessible data visualization. Further down on the page, you see a list of all 176 videos and this too can be sorted however you like. So it's not gonna be very helpful in this case because everything's captioned. But if we go back and we look for a slightly less perfect example, like I'm gonna pick on the iSchool, for example. They're at 48%, so just shy of 50%. We can kind of see that they've never attained 100%. They got a little bit closer in 2021, but then they got a little bit farther apart. But the way that this is really helpful for prioritization is you can sort, I think probably the most logical way to sort would be to sort by views. And then you get the most popular videos on your channel emerging to the top. And as we see here, what initially looked pretty bad, they had a lot of nos for caption. They actually have done a pretty good job. If we base, we look at the highest priority being those videos that are viewed most frequently, then they have captioned most of their high traffic videos. The number one exception with 24,000 views is the Bachelor of Science in Informatics program overview, which sounds like a pretty important video. And so that, this tool then allows that to surface. And they can say, oh, that really needs to be captioned. It's a high priority video that slipped through the cracks. You can also sort by date. So you get the most recent videos emerging to the top. And in that case, the most recent video, although it hasn't been viewed a whole lot, it is their most recent video. It's only a four minute video, but it has not been captioned. And so this tool just by seeing all the videos in a context where YouTube doesn't really present them anywhere in a way that's this easy to just kind of look through and see what's captioned, what's not sorted a few different ways. And then take it from there. So this also can be a really useful tool for prioritizing your audio description. And so that's what I wanna turn my attention to now. And I'm actually gonna reshare because I forgot to check that little share sound button. And I've got some sound to share. So what is audio description? And I gave you talked a little bit about this, but essentially, if you think about captions being a solution for people that are unable to hear the video's audio, audio description is a solution for people who are unable to see the video's video. So they may be able to listen to the audio. And in some cases, they get most or even all of the content when they do that. But if there's any content that is communicated by a video alone and listening to the video is not sufficient to get that information, then that's a barrier and that needs to be remedied somehow. So audio description provides a solution to that. And this is a solution post-production. So you've already created a video, you didn't add in that narration that would have made that accessible. Or if it's a lecture, the lecturer did not describe things that were happening visually. Maybe he didn't verbalize the content that's being shown on slides or gave a demonstration and didn't describe what they were doing. Those are all best practices, but if in the end you have a video, that didn't happen. And so there's content that's inaccessible, then it needs to be added in after the fact. And so audio description is a way to do that. It is known by other names, sometimes a descriptive video or just description by itself. And in various other terms are used to describe this, but audio description seems to be the most common that has kind of emerged. There's also a term you should know about extended audio description, which is when audio description doesn't fit, if you've got content, audio content constantly, somebody's always talking or there's always dialogue. And if you're gonna narrate something or describe something that's happening visually, there's no place to squeeze in that narration. Then extended audio description means that the video pauses at that moment while a description happens, and then it resumes playback after the description is over. So that's kind of a common technique within audio description, extended audio description sometimes is necessary. So about audio description, we wanna talk about how to prioritize, which is basically kind of similar to prioritizing your captioning efforts, but with some differences and how to describe, we're gonna talk about three different approaches and avoiding the need for audio description altogether. So first of all, prioritization, the same sort of strategies for captioning and for audio description apply. So look at your audience demographics, who are you expecting to use this? Is this a video where you expect there to be people in the audience who are without site, then audio description is gonna be a priority without hearing, then captioning is gonna be a priority. So that sort of thing, but also then look at traffic, look at publication date, where ideally everything we produce now, today should be accessible out of the box. And we can gradually, the prioritization comes in when we're looking at our legacy stuff and wanting to go back and making all of that accessible. And then we'd have to sort of prioritize and gradually do that. And if videos are on YouTube, then use this YTCA. And again, just reach out to me if you'd like access to that. The other thing that is unique about audio description as opposed to captioning generally is that all videos don't need description. It really depends on the nature of the content. And if you watch the video with your eyes closed, the question is, can you access everything? You get all of the important ideas or is there information that you miss? It's a high priority. If nothing makes sense with audio alone, it's a medium priority. If the video is generally understandable, but there are some critical details that are lost and it's a low priority. If some information is lost, but it really isn't critical information. Somebody gets the general idea of this video just by listening to it. So I wanted to share a few videos just to kind of give you a sense of this and think about those priorities, high, medium, and low and ask what priority is this. So we'll start with a UW video together we will. And I think you're probably already getting the idea with this one, but I encourage you to actually close your eyes as you're watching this video and just see what you come away with. So pretty powerful video, right? I mean, the music itself is powerful, but if you can't read that on-screen text, then you're gonna come away with probably a very different impression of what this video is all about. Then if you can read that on-screen text or see the visuals. Here's another example. This is the best of UW 2016 video. There have actually been audio descriptions added on more recent years too, but this is an example I've been using since 2016 and I like it as an example. So I'm gonna continue using it, but it's kind of similar to the last one. Let's watch a little bit. So obviously both of these are high priority, right? You don't get any content at all. You get a nice musical score, but you have this, both of these videos really move me and make me proud to be a Husky, but there's no reason for somebody to be proud to be a Husky watching this video if they can't see the content. So this is actually one, it's a good example of how to deliver audio description. There is, this is on the president's blog back in 2016. This is that end of year video that I think every year gets produced, kind of highlighting all the great things that we accomplished in the past year. And in this case, right next to the YouTube, the embedded YouTube player in the president's blog, it says video is also available with audio description. And so you can then click the audio description link and that pulls up the described version on YouTube. So let's see what this is like with audio description. Words appear, hashtag best of UW 2016, the Nobel medal next to David J. Tholes. 2016 Nobel Prize in Physics with President Obama, Mary Claire King, National Medal of Science, UW and Microsoft break record for DNA data storage, a collage of photos inaugural Husky 100. So obviously that's a much more accessible video now and anyone can be proud to be a Husky whether they can see what's going on visually or not. So let's move on to another example as we're thinking through priorities. This is a video that we produced called IT Accessibility, What Campus Leaders Have to Say. Let's check out a little bit of this. We are committed to the notion that everyone should have an opportunity to participate in higher education, whether it be from the learning perspective or the research perspective or an opportunity to work here at this institution. We benefit from that because we get to enjoy the talents and the skills of those people who come in and also their perspective, which in many cases will be different from the perspective of others on campus. So accessibility becomes a very important value of the university. So what do you think? Is that a high priority, medium priority, low priority? And in the interest of time, I won't ask you to answer that, but think about that in your own mind. I would classify that as a medium priority because it really is just talking heads. Everything that's said is, you get that audibly. But the key missing piece here is what, not what is said, but who's saying it? That was Michael K. Young. Obviously this is an old video, not the president of the University of Washington anymore. But this video features a bunch of university presidents and CIOs and other IT leaders, all talking about the importance of accessibility and none of them are introduced within the audio track. If they don't introduce themselves and there's no narration that says who they are. And so it could just be anybody off the street talking. And obviously you want to know who they are and what their affiliation is so that they have credibility. So this needs to be described then in order to have to be accessible. But it's a lesser priority than the previous examples we looked at which were entirely inaccessible without description. Here's another example, another video that we produced. Let's check out a little bit of this. My name is Cheryl Burgstahler and I direct accessible technology services at the University of Washington. And through our Access Technology Center and other services, we're making sure that the IT that we develop, procure and use at the University of Washington is accessible to all of our faculty, students, staff and visitors. So I'll stop there, we could go on. But every person who speaks in this video, again, it's talking heads, kind of documentary style video, everybody introduces themselves and states their affiliation. So Access is built in, in this case, it's a low priority or actually a zero priority need for audio description because everything is communicated through the audio track. And so this is really kind of the best case scenario for upfront pre-production, kind of designing and scripting the video. You think about integrating that in so you don't have to do audio description afterwards. But if in the end you do have to do audio description, then there are various ways to do that. And so I wanna talk about three of those. One is to hire a traditional audio description service provider. That's what happened in the best of UW video that we looked at, that was sent out to an audio description house. And we'll talk a little bit more about what that means and what services they provide. Second, you could hire a captioning vendor. So it's actually the same as hiring a traditional audio description service provider, but it is companies that have traditionally been in the captioning space, like three-play media and automatic sync. They are now doing audio description in addition to captioning. They do it a little bit differently, but that can be an option as well. Or the third option is to do it yourself using a time text file. So the first approach, hire a traditional description provider. We actually, a few years ago, so this is a little bit dated, but we started with a directory of audio description service providers that is published by the American Council of the Blind. And they have about a hundred service providers listed. And many of those are focused on live production description theater events and that sort of thing. And others, at least at the time that we did this, were very sort of local in the services that they provided. And they didn't work a whole lot on a more national or global scope and didn't work a lot with, or at all with post-production video, making video accessible with audio description. So we kind of narrowed the scope down to about a dozen or maybe a couple dozen providers and then we sent surveys out to all of them to kind of get a sense for how much do they charge, what is their turnaround time and various other things and tried to get a sense of who would be a good fit for us in higher education, knowing the sort of videos we have and what our needs are like. And from all of that, we narrowed the list down to seven providers. And actually as of today, that's six because one of those bought out the other, I just learned. FreePlay Media has now acquired CaptionMax. So CaptionMax is no longer on the table. But anyway, on our making video accessible page, there's a list of providers. So it's a short list. What happens when you send to a traditional audio description provider is they will script the audio description, they then do the narration with professional voiceover talent. They professionally mix it in. So they lower the volumes as they're speaking, they raise the volumes afterward and so forth and do that kind of seamlessly. So it all sounds good. And then the typical deliverable from them is an audio described version of the video. So then you've got one version with description, one version without, and you cross reference the two, which is what happened on the president's blog. There was that link to the audio described version. The typical price range for that service is 10 to $15 a minute. That does depend on complexity and extended description where the video has to be paused does cost a little bit more generally. So here again, it's just a screenshot of that. Best of you to 2016 video with the link to the audio described version. So that's how that would be delivered if you did it that way. The second approach is to hire a captioning vendor. Again, free play media does this, automatic sync does this. We have the state contract with free play media for captioning. And so basically for them, it's an add-on service. So you get a video captioned and then you additionally check the box that says, I also want audio description with this. It's 750 per minute as their standard rates and $11 a minute for extended. So a little bit cheaper for the description itself, although you have to get a caption. That's a requirement. Even if you've already gotten a caption, you still have to get a caption. So the lower cost is a little bit nebulous because you do have that upfront cost for captioning as well. The reason that they have that requirement, by the way, is that they're using a semi-automated process for figuring out where the description will fit. And they use the data that they produce in the captioning process in order to inform that. And so, I've lobbied to get the two services separated, but they explained to me that that's why they currently are connected and necessarily connected. The output, this is a unique thing too, is that the output uses synthesized speech. So it's not human voiceover talent. It is a speech synthesizer. And while that, for a dramatic production, consumers prefer research shows. They prefer a human narrator, but that preference kind of goes away when we're talking about academic content. They just want description of any sort in order to access their academic content. A typical deliverable, again, is an audio described version of the video. So you get two versions, one with description, one without, but there are lots of other choices too, about a dozen different choices of ways that you can get this description. Here's an example of the three-play media dashboard where we've uploaded a file to be captioned, and then these are optional services that we can add. So we check the box, it says audio description, and then we choose it as a standard description, as an extended description. Maybe we don't know, and so we pick the choose for me box and let them decide, in which case we have to have, it's a flexible spending plan then. It may cost us 750 per minute or it may cost us 11 depending on what they choose. And then we've also got higher prices for expedited or rushed jobs. And lots of options actually from three-play on audio description, so you can choose different speakers voices, since this is all synthesized. You can choose the English speaking rate, slow, medium, or fast, and in making those choices, there are samples that you can listen to to figure out what the best fit is. And lots of choices for output. The third option is to use a WebVTT file. This is what Gaby described for captioning. It's actually the exact same kind of file. And instead of captioning text, that file would include description text. So basically you've got a start time and an end time with some specific syntax. You have to write it out in a precise way. And then the content in between that start time and end time is the text that you want to be verbalized at that moment. And so if we take our IT accessibility campus leaders video, I've actually updated this. So it's got Annamarie Kasse listed as the president instead of Michael Young. But it's the name of the person, their affiliation for each time the description needs to happen. So this is the kind of thing that's really easy to do. You can do it in any text editor. Open up Notepad, type in your description text. Make sure that you've got the WebVTT syntax rights. And grab the start time and end time just from your media player. Really easy to do this on your own. Doesn't cost a thing other than a little bit of time. One minute, two minutes and you've got your audio description. And it then, it is super easy. It then, this is actually built in to the HTML5 specification. And so with this tag, the track tag with kind equals descriptions pointing to the VTT file, it, this is how HTML5 is sort of, this is how descriptions are expected to be delivered or HTML has built in a way to deliver descriptions. You only need one video then and extended audio description can be automatic. It can be built in to the playback so that it just automatically pauses rather than having to create an entirely separate video that does that pausing. So the problem is it's not supported at all. None of the browsers built in media players support it. So the only place you have support for this is enable player which is a media player that we developed. It is free and it's open source and it's out there. There's a WordPress plugin, there's a Drupal module although both of those are in early stages of development. So it's kind of a work in progress but it does make it possible to deliver description using this method and to write your own description. The one caveat though is that if it's more than a kind of a low or maybe a medium priority description job where you really need to describe things more eloquently like in those first two examples we saw, that's something that probably should be sent out to the experts because audio description is an art. People spend a lot of years learning to do this, learning what words to say to describe something and that's not something that people who have not been sufficiently trained should be really dabbling with. So it's more for, I've just got this one piece of content that is visual, it's not, there's no audio alternative. I need to describe just that. You can do it really quickly with this approach. I should also point out, actually this is not in my slides but I gave you during the Panopto demo reminded me that this is now possible in Panopto that in the same place where you could click on captions you can also click on audio descriptions and at any point in the video where there's something that needs to be described you can type in a description and then the user can turn it on on the player with the audio description is an enable audio descriptions and an enable captions button. Let me just, at the risk of embarrassing myself with this homemade video or I was just experimenting I'm gonna play just a little bit to show you what this is like. Terrell presenting from his home office with a backdrop of Chinese art. And then we've got a lot of just kind of messing around until about 30 seconds. Terrell moved his head around in circles while the camera tries to maintain focus. It's four o'clock. So that's what that is all about. And we are right at four o'clock and my last slide here is just a bunch of links to various things about both captioning and audio description. And these slides are gonna be available afterwards on the webinars archive page. So I'll leave it at that and I know we want to end on time but just wanna see if there are any questions before we adjourn. There was one question in the chat and it's from Morgan and it says is there a requirement like ADA compliance to caption all videos or provide other accommodations? Are there different standards for internal videos? And then they actually found the link and posted it. It's from three-plane media. And then they also posted a quote saying public entities including state and local governments in both internal and external video communication. But I'm wondering if you have anything else you might want to add to that. Yeah, just that, I mean, we are required by state policy 188 and by our own internal policy it kind of echoes that to comply with the W3C's web content accessibility guidelines 2.1, level 2A. And that does include a requirement that videos be captioned and audio described. Audio description is actually built into that as well. And so anything that's public should be a priority for being made accessible. And that's something we really need to be focusing on. We're not doing very much audio description at all and captioning, although we're seeing a lot more of that, that's fallen pretty short too. For accommodations, if you got things that are behind passwords, course materials and so forth that students need to access, then disability resources for students will step in and they will make those materials accessible. But it's more of the public things that we really need to be paying attention to and prioritizing that things that get a lot of traffic or things that are new and might get a lot of traffic those all need to be made accessible. And Harvard is a really high profile case. Harvard and MIT were both sued by the National Association of the Deaf because they had so much really good content that was publicly available and was not accessible. And so that they've really had to do a lot of work to catch up on that. All the details. Hi, Ter, could you also put the link for the accessible visualization in the chat? Yeah, that was, it's behind the UW-Net ID. So, but that was part of the YTCA application. But I actually am working on making a public version of that, so everybody can access it. But I'll share that with you, Sushil. Yeah, and also if you'll let, I'll send you a message if you'll let me know when it's permanent. I want to use it in a paper. I'm working on a paper on Miro. So it'll be a good example from our own school. Okay, excellent. Yeah, well, let's stay in touch. If I can comment that the YTCA tool is extremely helpful in figuring out what you need what the high priority videos are. And for us in the School of Public Health, we had something like 45 COVID webinars one hour. It says there's a lot of volume and we're down to staff members. So it was really a challenge to get back. But we essentially built it into our workflow. So now we should have 100% of our videos captioned. It just, there's a little bit of lag and when those things are posted. But thank you so much for that tool. It's super helpful. And thank you and congratulations on attaining 100%. That's quite a milestone with so many videos in particular. All right, well, thanks everybody for coming today. I'm really, really great to have you all. And stay tuned for more accessible tech webinars this time every month.