Keoratato, maenai James yna, Ellen ʻalon ganunni athau ba gadebiu saple-jack te rei te silegau pa mērana, maenai mērana te te dōgais kaipteru awa i anulatrizaňa kitionau pa gadebiu piairu beth na maipa caipteru ʻalon kai maiannou athau pa mērana teалu. Athau pa kai mērana niei gado ynni kaipteru. So, for those of you that don't know Ngātonga, which I hope most of you in here do, we're a new-ish archive, we were formed from the merger of the New Zealand Film Archive and the Radio New Zealand Sound Archive in 2012 and the merger of the Television New Zealand Archive in 2014. Public access, of course, was an important reason for bringing these three organisations together, and of course part of this comes from making collections findable and accessible online. We began a new refreshed combined website development project last year, and as I said, an important part of this project was working out how to present the new combined archive with one coherent access point. And I should just note that today we are going to be talking about bringing the film archive and the sound archive collections together. We'll be bringing the TVNZ collection on board over the next year or so. So, this whole process has made difficult because we had two quite different institutions coming together. Both had very different collection management systems and different metadata standards that the two organisations had developed. As well as this, both had quite different online catalogs, neither of which could easily incorporate the other one. This is a solution that we realised fairly early on wouldn't work. We couldn't just merge the sound archive into the film archive's online catalog nor could we do the same vice versa. So, when the organisations first merged, what you can see here is we brought both under the Natonga domain, but kept each online catalog operational until we could find a suitable solution. So, there's the former film archive and the former sound archive websites. The Natonga website for a long time was basically just a rebanded version of the film archive one. So, for about a year or so, we maintained two separate and quite different online catalogs. So, this is a look at the old film archive online catalog. There's a number of flaws with this. There was no Boolean searching. It was very difficult to refine searches. We had limited ability to embed video. We could only include very short clips on the website, and also it was difficult for us to update and to enhance. And this is the former sound archive's online catalog. As you can see, it wasn't a particularly friendly user interface. Again, it was difficult to refine searches and embedding audio with items was difficult as well. So, in terms of the back-ends that were driving this, there was also two quite separate collection management systems. So, the sound archives collection database is based on Vernon. They still work with Vernon. We've got various metadata standards here, PB Core, Library of Congress, things like that. All the sound collection, all the radio New Zealand sound collection items are accessioned into Vernon across the varying formats. That's that part of the collection. They have a documentation collection, but that's not yet part of that. And then the film archive was based on a bespoke and highly customized FileMaker Pro database. It was very loosely based around PB Core. But as I said, there was a lot of development of bespoke fields and bespoke metadata over the years that this was being used. So, what we had was a situation where there were multiple collection types being brought together from both CMSs. The film archive had a much broader range of material within that FileMaker Pro. So, of course, we had the Core collections of film, audio, television and video collections, books and periodicals, posters and stills. So, as you can see, there were, at least from the start, there are more other types of collection materials. So, there's also manuscripts and archives which you haven't brought into this yet. So, initially, there were seven different types of collection objects, types that we wanted to bring together. There were different metadata standards, different fields being displayed across both archives, which also complicated things. So, really the big problem facing us was how do we bring these together and how do we combine them and present the metadata from these two quite separate, quite unique collections and two different CMSs into one combined, coherent public face. And a really important consideration for us right from the beginning was that users coming to the new Natonga online catalog shouldn't know that the information being provided to them was coming from different sources. As far as possible, we wanted them to be presented with basically just a seamless experience for the end user. And, of course, there's also the changing digital context that the Glam sector operates in. Both of those online catalogs were five or six years old and, of course, a lot of things have changed in that time. And certainly, people's expectations about usability and user-friendly interfaces have changed a lot over that time as well. So, on the one hand, what we have is what you could call the Google effect or one search bar to rule them all. That's generally for the casual visitors or for those looking for particular items. But we also needed enough granularity for in-depth research and researchers who are looking to explore both collections depth. So, this, of course, reflects the broad users of our collections. So, we have, as I've mentioned, what we call casual users. So, they're people who are doing things like family history, they're looking for relatives, they're looking for things, programs that they've been in or appeared in, or just basically old TV or radio broadcasts that they've enjoyed over the years. There's also people doing, as mentioned, in-depth research for a whole range of different reasons. So, we've got people using our collections for production purposes. So, television and radio broadcasters and film and documentary makers who want footage or want audio to use in the programs that they're making. And, of course, you also have academic and other forms of research drawing on visual evidence and visual sources and the sound collection material as well. So, there's a lot of different users that we had to try to balance when we were coming up with this new catalogue. So, over the course of this work, we worked closely with the team at Boost who we had worked with to create the Anzac Sound website. And it was actually staff at Boost who also worked with Digital New Zealand that suggested that Supplejack, that suggested Supplejack could be a solution to the problem that we faced. And after a bit of discussion, we realised that that was a very elegant solution. So, what is Supplejack? So, Supplejack has been designed and developed by Digital New Zealand and it's a tool for aggregating, for searching and for chewing metadata records. So, it's used to collect metadata across millions of items from hundreds of data sources across many different data formats. It's an API which transforms messy data, creates a unified search index and makes consistent metadata widely available via an open API data service and built using open source technology by Digital New Zealand. So, this is what we came up with. So, the really important thing here for us was the ability to be able to export two sets of metadata from both CMSs as XML and then to be able to unify them within this new search engine and it was basically Supplejack doing the magic of unifying these disparate sources. An added bonus was that Supplejack was built to handle and to display digital items, which is an increasing part of what we provide online in the form of images, video and sound. And so, Alan will talk a bit more about embedding media and how that works shortly. And another factor that sold us on using Supplejack was that we could see its potential application of bringing together a diverse collection material for other projects, for other digital projects that we run, such as education and a refreshed media net, for instance. So, we could reuse the work that we were doing with the online catalog and these other digital projects. So, that was a big bonus as well. And of course, Supplejack was free to use for its open source licences and we could avoid getting tied into often expensive proprietary solutions. And I should just mention that recently Supplejack and Digital New Zealand won an award for best use of open source in Government this year's open source award. So, that contribution is being recognised. So, we knew that we wanted to use Supplejack. We knew that we had the different CMSs. We knew that we had the different metadata. So, to start the process of aggregating the collection records, we had to begin with a series of meetings, consulting with staff, of course, from across the archive and also started the process of metadata field mapping. So, this is an example of what we did as part of this field mapping process, basically just in a basic Excel spreadsheet. So, we identified the base fields that we wanted to display, then the common fields between both collections. We also combined things, titles and other titles and secondary titles and things like that. And we also had to figure out which fields we're going to be showing from collections. For instance, the sound arc I've had a much fuller range of subjects that we show whereas we don't tend to show topics and subjects for the film collection material. So, overall involved 19 metadata fields and seven different types of items across both collections. From here, we exported XML sets from both CMSs in preparation for harvesting by Supplejack and now I will hand over to Alan to discuss this further. Hi, everybody. So, I'm just going to give a very rapid fire tour of the back end of our online catalogue and the various different sources that we're asking Supplejack to harvest from and bring together online as a single-point search. So, this is a Supplejack dashboard. It's the back end of our online catalogue. It's all, as James mentioned, built in open-source software so we were able to take a product that was an existing thing that Digital New Zealand had developed and then work with both developers to do some customisation of the codes, the harvest codes to go out and connect with our various sorts of collection metadata. So, I'm just going to show a quick video of the Supplejack back end. So, within the Supplejack back end, there's a bunch of different types of harvest scripts. So, these scripts go out and look for videos in Vimeo, audio files, Vernon information, FileMaker database information. They're on schedule, so they look for this information at regular intervals without us having to do very much, which is very handy. And just to look in a bit more detail at some of those harvest scripts. So, there's a bunch of different ones for video and audio. This is the Vimeo script. It's in the Ruby programming language, all based on open source coding. Here is an example of the script that goes out and looks for the information, metadata from our FileMaker database about films. And here is a list of scheduled jobs, so things that have run when Supplejack was scheduled to go out and look to updates to the collection information and new video files and audio files added. So, these Supplejack scripts pull information from five different places. There's one script that goes out and looks for FileMaker updates, metadata about the film and video collections. There's another one that goes out and looks for Vernon updates about the sound collection. One goes and looks for new Vimeo videos, which is how you're able to play videos on our website. Another one goes out and looks for MP3 files and audio, and then the final one goes out and looks for JPEGs of posters and stills. So, this is information being exported from our internal FileMaker database. Then the script in FileMaker runs a harvest to go and look for that new XML file and it's updated instantaneously on the online catalogue. So, that runs like that. We're using Vimeo to host video on our website and we did quite a bit of research into video players before we made this choice. I'm going to move on to the next slide, I think. So, we did look at creating a bespoke video player to play video on our site, but eventually realised that there are a lot of advantages to using a third-party platform rather than building and maintaining our own bespoke player. So, some of the key advantages of Vimeo were that Vimeo was designed with the Filmmaking community in mind, so it has very high playback quality. They have very good support systems, so if anything is not working the way that it should be, they're very responsive about fixing it, which takes a lot of onus of maintaining a video player off us. Vimeo videos are responsive across devices, it serves up different videos for mobile users versus desktop users. It also can tell what level, what somebody's level of internet connection is and serve a lower definition if they don't have very strong internet connection, so it's very good at serving people an appropriate video for their device and their level of internet connectivity. And another thing that was really important to us is that when you upload videos to Vimeo, the rights are retained by the original rights holders and Ngataonga Sundan Vision doesn't actually own the rights to any of the items in our collections. These are all maintained by the original depositors, be they somebody who deposited their home movies or a big production company like TVNZ or Radio New Zealand or another distribution company. So we were really cautious that we didn't want to be giving away any rights to any of the collection items and posting them in our online catalogue, but Vimeo does not subsume any rights ownership, they stay with the original rights holders and they also have very good security and levels of password control over videos and things like that. It's also significantly cheaper to host mass amounts of video on Vimeo than it is to self-host on your own site server. So if you start getting into the thousands or tens of thousands of video items, that can become very expensive to host yourself, but Vimeo is very cost-effective. Vimeo also hosts the bandwidth, so there's no limitations on number of users and players. And another thing that's really cool about Vimeo is there's a good amount of customisation of the video player, so we've managed to create a lovely branded video player, which is in the Ngatonga Style and Turquoise and Fitsyn with the rest of our branding. So this is a video of the back-end of our Vimeo account and you can see that there's an OC prefix on all of the videos. And that's how Suppleject knows in the Harbour Scripts to go out and pull those videos into the online catalogue. It goes and searches a Vimeo account for everything that has OC in it. There's an example of a video with the OC and reference number title. It matches the reference number up with the reference number in FileMaker. We host the photographic items separately to the videos. These we self-host on servers at Ngatonga. And again, these are labelled by their reference number so that Suppleject knows to match it up with the right record from FileMaker. It runs the harvest, matches the media item up with the reference number and they're all unified on the online catalogue. Same thing with audio files. We self-host these on our own servers and name them by reference number so that Suppleject can find them and recognise newly added material and link it up with the proper record. And it's the same process of running Harbour Scripts on the media items as well, which Suppleject is scheduled to run Harbour Scripts every day to pick up new videos and audios that we're adding to the catalogue because we're always growing. The number of data sources is there online. We're adding new content almost daily. And so that is what the back end of Suppleject looks like. I'd encourage other organisations to talk to Digital New Zealand about it because it is quite easily customisable and Suppleject can harvest from any number of different data sources so various different types of databases or even things like Excel spreadsheets. Very flexible. Any number of different sources, Digital New Zealand uses it to harvest from hundreds of different sources and bring these together. So this is the public interface Suppleject's doing a lot of work, automated work behind the scenes as you've seen and this is what the public sees which is quite streamlined. So this is Ngatong's online catalogue. There's most 300,000 records in there. So when you enter the catalogue you see everything then you can refine your search. Question mark brings up some really detailed search tips on how to run Boolean searches, how to use fuzzy logic, how to refine your searches and things like that. But this is really designed with dedicated researchers in mind. It works equally while just running a simple search by entering a search term into the main search box. This pink available online filter enables you to refine your search to only things where you can see videos or listen to audio or see images online. So that's quite useful and here's an example of some of the videos that we've got online. We've got quite an interesting range dating from 1896 for on tool. A couple of years ago so it's really eclectic and diverse. So those are some of the videos that we've got viewable online. Again you can filter by audio that you can listen to directly online so that's what I'm doing now. We've got almost 500 audio clips that you can listen to from across New Zealand audio history adding more all the time. And here's some of our documentation items that you can look at online. Quite a few film posters and some film stills as well. So if you want to do something that's a bit beyond a basic search in the search box you can then filter your search. So here's an example that I've listed in Catherine Mansfield. So the initial search brings up everything that Natanga holds about Catherine Mansfield. A lot of them are in formats that are not directly viewable or listenable online. So then if I wanted only things I can watch and listen to directly I used the available online filter to narrow that down. And here I have a set of material that includes a few videos relating to Catherine Mansfield and oral history and the poster. And within that I could focus just on film or just on audio or just on images. Here's an example of a Vimeo branded video player and what that looks like in the public interface. If I really like this item I can star it as a favourite. Go back to my list and then I might be interested in this history about Catherine Mansfield as well. So I click into that and here's an example of our audio player. And this is the metadata brought in from the Vernon database. I also add that to my favourites list. And there's also a poster about a film relating to Catherine Mansfield's life as well. And that's one of the JPEGs which Supplejack is harvesting from our internal servers. So now I go to view favourites and I can see the list of items that I've added to my favourites list. And I can either email Natonga's sound and vision and ask about them. Or I can send it to myself or a friend and share my favourite items with them. So I know that we're about to run out of time so I'm not going to spend too much time on this. But this is about the request film that we built that's part of the online catalogue. As James mentioned, Natonga has quite a diverse range of users which include people wanting to reuse material in new productions, people just wanting to watch in the viewing library, people maybe wanting an education screening. And all of these different users have a different team within Natonga's sound and vision who assist them with their enquiry. So we had quite a complex tree of email directs for the form in terms of the enquiries needed to go within the organisation. We distilled this down to something very streamlined with two key breakouts within it. And as James mentioned, we've just launched the new online catalogue at the start of the year. It was built in a job process which means it is continually developing. We've got a feedback button on our website where we capture feedback from our users, we keep a log of these and this is a way of prioritising our ongoing development of the website. It's really useful for Natonga's sound and vision as a charitable trust to build in an agile way because having the user feedback and continuing to build the product based on that means that we are able to be responsive and use our very narrow budget on things that our users want. We'd love to hear your thoughts about the website. Please do contact us using the feedback tab on the left-hand sidebar of the website. So this is only phase one. We've got lots of things planned coming up. We've got ideas for more sophisticated means of refining your search results. We're adding a lot more video, audio documentation that can be watched online. We're also building online exhibitions themed sets of audio and video on topics relating to New Zealand's social history. The first one is going to be about film and TV and radio advertising in New Zealand. Do you want to talk about the digital library? Just very, very briefly. One of the most exciting things about Supplejack is the ability to bring in these different digital items from different sources. We're putting a new SAN in on-site, which is going to include a viewing server, and we're hoping in the next year or so that we'll be able to have Supplejack basically powering people's ability to view everything that's in our viewing servers and our digital libraries and our Wellington office, Christchurch as well. Thank you very much.


So here's another question. Alex, when confronted with someone antagonistic, how do you keep your cool? My favorite answer to this is that, well, first of all, when you've seen me do that unless you know me personally, there's a video camera on me.  And therefore, I have a very high incentive motivation. Now, in general, I don't lose it very often. It's quite rare that that happens. And I think that's because, well, there's a couple of things. One is just, I just try to recognize what's in my control and not in my control. And if I, if I think I'm right and the other person's not listening to reason, no reason to get bent out of shape, particularly this one on one, I just have to leave. So I'm very good at exiting from situations. And then let's say if the person points out something of mine and I can't really give a perfect answer and that's frustrating. Well, okay, that's on me. I just know you. Yeah. There's no use getting upset about it. Even if I, the most frustrating is I know the person is wrong, but I can't quite explain why in the moment this can happen in debates and whatnot. It's frustrating. But I think the best thing is just to say, look, I think this is really off. I give you a couple reasons. I need to think about it more later, but if I don't fully know or I can't give an explanation, I'll explain that. And then the other thing is just strategically, if you're beginning a conversation, the premise has to be the person is open to reason. And it's one thing I teach in workshops on constructive conversation. And some of my stuff on my newsletter and my online videos is you have to begin with eagerness and friendliness. The idea that, Hey, there's potential value in talking to you because you might learn something valuable from me. I might learn something valuable from you. And even if they started antagonistically, if you're going to proceed, you have to proceed with eagerness and friendliness. You're free to leave. But as long as you're there, you're on the premise that they're honest. And if you have a contradiction, which is they're honest, that's why I'm having the conversation. But they're dishonest. That's why they're not processing it the way I want. Then you're going to make yourself miserable. And then you'll lose your cool.


So, Brazil is in this dilemma. This is the challenge that faces Brazil. Brazil is where Chile was maybe 30 years ago. Brazil has just appointed a Minister of Economics who is a free market kind of Chicago boy. I think he was trained in Chicago. Brazil has an opportunity to rise up like Chile from an economic perspective. And let's really hope that they take advantage of that opportunity. The people in charge of the economy in Brazil right now are pretty good. The President, Bolsonaro, is weak. He's a nationalist, a collectivist, not particularly a free market guy. But he has been sidelined for the most part. He has been sidelined for the most part in economics by the free market group. So, Brazil really has a chance to succeed like Chile did economically. But what I'd like to see is that Brazil do more than that. That Brazil also adopt a moral view of free markets. Also adopt a philosophical, ideological view of free markets so that it is a one-way street towards liberalization and freedom rather than a pendulum which goes nowhere. What a bazillion businessmen, all businessmen everywhere need is they need the moral certainty, the moral knowledge of the virtue of what they did. Not the virtue of what they do because just because it helps other people, but because what business is a manifestation of human reason in order to improve human survival. It is virtuous not only because it helps the other, but primarily because it helps self. It is a manifestation of the application of your individual reason in solving the problem of survival for you and for others. That's what makes business moral. A moral activity. That morality, that confidence in the virtue of capitalism, not only in its materialistic success, is what Brazil needs. Brazil needs an injection of Ayn Rand, an injection of the morality of capitalism in order not only to embrace the market system economically, but to embrace the market system morally and philosophically. And if it does, the upside in Brazil is massive, is massive. And I have to say that Objectivism is doing very well in Brazil. The books are translated, Ayn Rand's books are translated in Brazil. They're selling quite well. There's a lot of energy, a lot of excitement. I get large audiences when I go to Brazil to talk about Objectivism. Brazil might be one of the better places to be an Objectivist. It might be primed right now to hear a voice of reason, to hear a moral voice defending capitalism and ethical foundation. So, go Brazil. Is it safe? Somebody asked if it's safe to go to Brazil? You have to be alert. You have to know what you're doing. You have to be careful. There is still a problem of violence in Brazil. All right. Using the Super Chat, and I noticed yesterday when I appealed for support for the show, many of you step forward and actually supported the show for the first time. So, I'll do it again. Maybe we'll get some more today. If you like what you're hearing, if you appreciate what I'm doing, then I appreciate your support. Those of you who don't yet support the show, please take this opportunity, go to Iranbrookshow.com, slash support, or go to subscribestar.com, Iranbrookshow, and make a kind of a monthly contribution to keep this going.


The IAEA Board of Governors is meeting this week at the agency's headquarters. Board members discuss important aspects of the IAEA's work, including its technical cooperation activities. In his opening statement, Director General Yuki Yamano updated the Board on verification and monitoring activities in Iran. Iran is implementing its nuclear-related commitments under the Joint Comprehensive Plan of Action. It is essential that Iran continues to fully implement those commitments. The agency continues to monitor the nuclear program of the Democratic People's Republic of Korea. At Jambion, further activities were observed near the Korean River. At the Light Water Reactor, the agency also observed activities consistent with the fabrication of reactor components. And the possible transfer of these components into the reactor building. However, without access, the agency cannot confirm the nature and purpose of these activities. Member states were also informed about the progress of the IAEA Low Enriched Uranium Bank in Kazakhstan. I am pleased to inform the Board that the agency has signed L.E.U. acquisition contracts with two suppliers, Kaz Adam Prom and Orano Cycle. Our aim is to have the L.E.U. delivered to the IAEA storage facility before the end of 2019. From Vienna, Austria, this is Alejandra Silva reporting for the IAEA.


I mean, I was totally used by that money, but I want to spend a few minutes with you about accessibility. First, I want to mention, if you're going to be talking about accessibility this morning, if anybody heard of this hashtag, accessibility, can move my power point here, there we go. Ali is actually a one-one-y. It is a and two-ones-and-a-y, accessibility, okay? And there's 13 letters in accessibility, and in the social media world, they have to shorten that. So that's how we came up with Ali, okay? And then we can add this hashtag, Ali. This is the sign language for hashtag, okay? So if you're going to be tweeting and posting today about accessibility, and if you're noticing today's schedule, we have me talking about making the case for accessibility, and then at 1 o'clock, we have Kim Smiley talking about accessibility. So if you're tweeting and posting about it, make sure you use the hashtag, A, number 11, or one-one-y. So, and this is what I want to spend a few minutes with you. I have three points to make with you. But first, I have a quote that I want to share with you. Three points that I have to make, and a good business, good design, and it's the right legal thing to do. And that's why I'm here to make my case. I'm a little bit thrown off here. My size is going the way I rank. There we go. This is my favorite quote. Stock, stock, more stock. This is John Cronin. He's the owner of an e-commerce business, and is currently making one million dollars. His mission in life is to make and generate happiness through the world of stock. If you go to the website, he starts our kind of crazy stock. And if you look at him, he is a pretty special guy. And before we go further, I want to talk about the internet. Do you realize the internet is 29 years old? This man, Tim Barnard Lee, invented the internet in 1989. Two years later, he launched the first website, 1991. And the purpose of that website was to share information with researchers. And we've been building websites ever since. He's also the director of the Worldwide Consortium, W3C, which is the Web Standard Organization. Now, this is the organization that specifies the technology, the guidelines, other things that make the web perform. He also believes that the web has a purpose for the humankind. This is the quote that he said around 2006. The power of the web is in its universality, accessed by everyone regardless of its disability, existential aspect. Today, websites are pretty much indispensable. Pretty much. Just like we are without smartphone. We can't imagine being without a smartphone, right? Every day we get up and we go to our computer, right? We go out there and maybe we go check out the news, check the weather. Maybe we go on the website and the computer looks for information, look up a company, look at a product. What was the last time any of you looked up your yellow pages? Really? What was the last time you opened up your Wikipedia? We go to the website to go shopping. How many people have worked with Amazon today? But we support more e-commerce business as well. So we go shopping. We build communities through websites, right? Members of the site, forums. The websites today are indispensable. But what if you can't access them? What if you can't do something with some websites? That's what I'm going to talk about. I don't know if these links are going to work or not, but I have some examples of links here where there are some obstacles. The first link up there is the podcast. I'm reading a book right now by Michael Hayek. I'm not trying to pick on anybody here. You have to understand that. The Best Year Ever by Michael Hayek. And he thought that he would try to provide some supporting materials to go along with his book with podcasts. They're great. Love it. Except I can't hear them. They're not transcribed. The next one, I make my living supporting clients with social media. I'm always looking for tools and resources to maximize knowledge so I can help better serve my clients. So I'm looking for educational resources. So this happens to be a webinar on how to provide social media support for business to business clients. The problem? The webinar is not captioned. Because I can't hear what the speaker said. There's not even a side video where I can look for it. And the last one is Atlanta's History Center for Career. This has to do with a screen reader. An online job application. Now it doesn't pertain to me, but it pertains to a person who's visually impaired or maybe has a mobile challenge. You click on that website, instead of going directly to an online job application, there's a pop-up. There's another step that they have to go to. And if you're visually impaired or you have a mobile challenge, it's an obstacle. Here's what I want to do. I want to try a little experiment. No. I don't want to freak anybody out or make anybody uncomfortable. I'm going to share with you what I want to do. What I want to do, I want to say, I bet, in this room, if you're willing to try this, just a little experiment. I'm going to list off some disabilities. And after I've listed them, we can stand up. OK? But after I list them, OK? So here, I bet that after I've listed them, there's about 15, maybe 12% of the people in this room that have some sort of disability. OK? You're willing to try it? All right. Here we go. I have to hold onto this because there's quite a bit of disability to list in here. And by the way, I have three of them that I'm about to list. All right. Here we go. I'm trying to make sure I can read to them. I'm wearing my glasses at the front of them. All right. Here we go. Here's my list. Can you not see at all? You wear glasses. Do you have color blindness? Are you deaf? Do you consider yourself hard of hearing? Do you have proper hearing and certain situations? Do you have a mobility challenge? Do you have colorful syndrome? Have you ever had an arm or a leg in a cast for more than two days or for two weeks? Do you suffer from migraines? Do you live most of your day in a wheelchair? Do you have an attention deficit disorder? Do you have obsessive-compulsive disorder? Are you bored with this list? How about autism? Do some letters. Look upside down or backwards to you. With English, not your first language you learned. Now, I think I'm going to stop here. There's a lab that's going on here. But OK, I think I'm going to stop right here. How about now you can stand up. Stand up in front. You have any of those disabilities that I have listed in here. OK, stand up. There you stand up. Now I want you to look to your left. Look to your right. Look behind you. This is who we are designing websites for. This is who we are writing for. This is who we are podcasting and doing webinars for. Look at it. We are all wonderful, fantastic people that we are doing this for. Thank you very much to that. You get it? This is what I'm trying to say. We're now doing these things for some person, not multiple persons, hiding somewhere or somewhere. We're doing this for everybody. We're doing this for people who are like us. And that's what I'm trying to point that I'm trying to make. There we go. So what forms of disability are we talking about here? So three kinds of assets. We have permanent, episodic, and temporary. And I have some up here. Now, I know I'm generalizing when I'm saying that. When people think of disabilities, they think of the permanent ones. Oop, died. Blind, deaf, autistic, two people policy, or maybe someone with an accident that paralyzed in a wheelchair. Then those episodic ones. Epistemic are short-term disabilities. Do you know that cancer is considered an episodic disability? Migraines falls in that category. Epilepsy. Asthma. Those are episodic disabilities. Epistotic disability is defined, and if I read it correctly, it says here, having a long-term condition that is characterized by periods of good health. Interrupted by periods of illness or disability. These periods may vary in stability, length, and predictability. So that's what episodic disability is. And then last thing, temporary. Now, I'm sure there are some of you out here. Maybe you have had to wear a pass because of LZI. Maybe you have broken a bone in your arm, leg, and it happened to be your dominant arm or leg, right? Now, what if you had to move, try to move a right? Have you ever tried moving a mouse with an arm that wasn't your dominant arm? Pretty difficult. And let's tell you just now a little bit. If you're taking your traveling on a bus or a train, and you forgot, get your phone.  I know I will hear you. The train or bus can be pretty noisy. So you have two choices. You've got to turn up the volume, add your smartphone and your iPad so you can hear it, or you can go like this and look like a fool, right? But what if it were a caption or a transcribe? Let me point something out here that I haven't mentioned. Each of us may experience disability in our lifetime. Temporary, epistatic, permanent comes from maybe when we're older. Or I've got to get old, OK? A huge affair, but I think it's an affair, OK? So let's not forget that. Today, there are about 650 billions, I forgot that word, people in the world that have disability, or that's about 10% of the population. In the United States, 12% of the population have disability. Now, someone asked me this question. Is there a way that you can tell if someone came to my website if they have a disability? Many of us know. Just look at these statistics. It could equate to one in five people in the United States that have some form of disability. So you can look at it that way, that you are potentially ignoring or creating an article four that are coming to your website. That could be the way you could look at it. The only place you wouldn't know if somebody has a disability, believe it or not, is when you go to fill out a job application. Have you ever noticed that? You have to fill out if you have some sort of disability. The government keeps track of you that way. All right, so here we are. I want to talk about the good business, reasons why. We need to have accessibility. I'm ready to make my point. If more of a social responsibility, I want to say that we bring creativity, talent, and unique perspectives. If you want to bring us into your company, we are a resource that's worth for us. So if you want to retain and attract the best people in your organization, I mean, would you want maybe another Stephen Hawkins in your organization, maybe another Gavin Hurtgerma? You'll want to make sure that your website is accessible. And we are also wage owners. There are 30% of us out there in the population. They're white-collar workers. And if you look up white-collar workers, the definition of what that means for professional workers, earning pretty good income, not equate to pretty good income. And we have money to spend. In the 2015 report, I said, that shows that we have money to spend in the travel industry. We are tech savvy. And I can vouch for that. When I was in high school, and I won't give away my age here, I was in high school studying for different backgrounds. And when I graduated from high school, when the Mac first came out, the iMac, it was probably about the size a little bit bigger than this little mini iPad that I'm holding. I remember ironing it like it was my future, and it was. And I went after that iMac because I knew it would open up the world for me, because that's when the web was starting to take off. And then the internet, email, and text messages started to take off at that point. I was the first one testing and emailing with my family members. Today, I make my living this way. I talk on my phone through voiceover IP. And my phone translates my conversations with people through a capital captioning on a screen that would not have been made possible, but was not for technology. I love video conferencing, because I can read lips with my clients. Where would we be without technology? And for a lot of us who have disabilities, we are usually the first adopters, because we can see how it can open doors for us. So we are the first adopters with technology. And if we see the company, if you're a company or an organization that supports inclusion and diversity, you will gain our loyalty from us but from our family members. And we will support you. And we will have our die-hard loyalty. Then there's a statistic that shows that 15% of the disabled are entrepreneurs. The majority of them run a home-based business. And there are stuff taught like most of us.  And we're always looking for ways to grow to be better and to be able to be more successful. And the other statement is that the increasing population of the older people, just like I mentioned, we can't ignore them as well. The hearing is going, eyesight is going. And the medication, I can remember my father, when he has to take medication to control his blood pressure or whatnot, the major thing from us so bad, that is a mobility challenge. So we cannot ignore that. They are becoming the largest website users. So that, I believe, I've made my point that it's a good business reason to have your website accessible.  Good to die. OK. Now, good to die is the other part that I want to make. Now, the other reason why we want to make accessibility is Google's distinction, Yahoo's distinction, Bing's distinction all have a learning capability of a four-year-old. And if we design a website for assistive technology, think about that. We will make it easier for Google, Bing, and Yahoo to pull up in those third sanctions because they will pick up no matter what they're looking for. And you will rank higher in the third sanctions, because your website is organized and labeled freshly. Four-year assistive technologies are getting to that later. Melanie and Kat, who's speaking tomorrow at 9am, will explain that a little bit. So make sure you have her on your agenda tomorrow. Another way to look at this, if you ask for transcription for your webinar and podcasts, we'll also help you website search up higher in the third sanctions ranking. And your third sanctions will also be able to pull up a podcast a lot faster than just little things. That's why I noticed when I go to a podcast website, they should list the follow points. But that's all I said before. You're missing out the opportunities if you put the transcript of the podcast in there for third sanctions to pull up more of the key words that are in there about your podcast or your webinar. There's another one more point to make about that. What is the reading about it? And they see a quote or something that they really like that resonates with them. You know what they're going to do with it? They're going to clap to that. And they're going to highlight, pull it. And they're going to tweet it. And they're going to post it. And then they'll refer back to you. What a great way to get back to you in a social media world. Better be, better burn. There's a way. Now, that's the other way. The transcript would be a great benefit for your website. Another point that I want to make about feeding efficiency. When we're designing your website for accessibility, we're thinking about user experience. We all know that user experience comes from user accessibility. I'm saying, usability is the dying upside. We all know that good websites are dying. Come from good user experience. So that comes down to, well, again, well-organized websites. And Melanie will find us when you go to a session Sunday at 9 AM. And the purpose of my speech here today is not technology. But when I'm talking about user ability to die, is that when you're thinking about assistive technology and how they work, you are going to be thinking a little bit more about user experience. And when you remove the barrier away within your website, you are actually creating a better user experience. Therefore, it comes down to making your website much more efficient. And then it increases the speed of your website as well. And then at the end, you get savings. So your website won't need as much as the double capacity that it would need. So you save money that way. And the last point here, you won't need it for a lawsuit either. And here's a quote from Avon Gurma, who is a deaf and blind lawyer. She's also a speaker advocate for disability rights. She said, disability is never the barrier of society. The obstacles of the people create and it up to all of us to practice inclusion. Now, if you can YouTube her and find her Facebook, she actually shows her experience trying to go shopping and e-commerce. And how much of it is the frustration for her to go shopping. This is the last point. And this is the one real reason why I'm talking about this topic. It's illegal. Right. I'm going to be showing links here from our United States government, the ADA, and Section 508. The ADA stands for American with Disability Act, which was signed in 1990. It is a civil rights law that prohibits discrimination based on disability. Now, I know that some people think, well, it has nothing to do with me. It has to do with buildings. It has to do with infrastructure, sidewalks, and making sure ramps are accessible for the disability. But that's not the case. If we read it a little bit more further, there was an interpretation that came to some cases that made it that websites are now defined as a public, and that's the word that they use, a public accommodation. And again, it's based on whoever's making the determination. So now they say any business is considered a public accommodation, and that includes websites. Again, it applies to whoever's making the determination. Section 508 complies with the amendment to the United States Workforce Rehabilitation Act of 1973 is the federal law mandating all electronic and information technologies developed, procured, maintained, or used by the federal government be acceptable to people with disabilities. Now, this pertains to schools, colleges, and any businesses that does business with the government. So if you're collecting money from Medicare, you're going to collect money from Medicare that equates to that. If you're a non-profit entity collecting money from the government, that equates to that.  I'm going to show you some businesses that have been sued for not having non-hostageable websites. And they're pretty renowned businesses. WinDixie, a grocery store, they were ordered to conform because the website was not accessible for screen readers. Target, same thing, they were ordered to conform because the website was not accessible for screen readers to read. Happy Lobby, they maybe started out of court. Same reason, screen reader could not read the website. Out of garden, the online menu, same reason, maybe started out of court. But on the outside, they didn't appeal. The screen reader could not read the online menu. Five guys, they were sued because of the menu. But the case was dropped because they agreed to make the amendments. Blick, the out-of-supply, they were sued for the same reason, dropped because they agreed to make the changes. A middle-class financial bank, online banking, they're being sued because their online banking is not accessible for the blind and the visually impaired. And the last one, bags and baggage, the online job application in the festival. It was often described as false evidence appearing real. But this is the guy who may not have anything to do with what I'm talking about here.  I'm here just to make a point. I'm here to say, look, you may think all those big blondes moving with the government and schools are starting to move. I'm here to say no. I'm here to say that it applies to all of us, regardless. Because we're all in this together, just like we're enemies that this morning, right? We're all a team. We're all a family. We're all a community. World-class communities, only this week, even the staff said they made an announcement, a commitment to make world-class as inclusive. And the staff said, well, that's possible. And there's a link. And a commitment for proof. They just announced it this week. And they're forming a team. So where you can go from here, you can learn more. So after 1 o'clock today, you're at Kim Camp Smalley. And then tomorrow at 9 o'clock in the morning, you're listening to Melanie Eddcock. So the good news is there's a lot of good things to learn. We have learned a whole lot of time, whether or not you know a lot about accessibility. If you know a little about accessibility, that's fine. But this is the perfect time to learn about it. It's never been easier. And with world-class behind us, we're ready. We can do it. We can be part of the team. The understanding's become better. The software's better. The hardware is better. The assistive technologies have become available. And if you don't know what assistive technology is, the screen reader is one of them. Now, in order to design well for accessibility, we need to understand what we're grappling with. We all have all these wonderful things that we've invented to overcome these challenges. Recall these assistive technologies. And by understanding them, we know how to best write or design for them. I've just done a mention of Fulham. I've been talking about screen readers. The screen reader is a software that works with the blind or the visually impaired that reads the text that's displayed on the computer or onto a Braille. Then we have captioning frame five text. And then the picture that you see here is called a SIP path device. It's a head device. It's for those that have a parallel from the neck down and putting them up. And when they move around, they're basically moving around on a monitor on a computer, like a mouse. And then when they puff, it's like cooking on a mouse. Because that's how that thing works. And if you design your website properly with the guidelines that are available, you will be able to start moving around on the website. But if you don't, you can't. And that's the whole point of it. So what you need to know is the WCAG 2.0 guidelines. And I have a link where you can go. My PowerPoint will be available through the real camper of the site. And you can go to this website. And again, the WCAG community is showing this link as well on the handbook. And this is a standard that everybody applies by. There's level A and level two. And you will hear Kim's mother talk about it. You'll hear Melanie talk about it. So there are 38 levels that we have to try to achieve. If you achieve level A, then you can say, I have a level A accessible website. If you achieve a level two, you can say, I have a level two accessible website. But there are 38 no rules, as we call them, or standards. And an example of a level A, for example, I put it up there. It's using alternative text with your images. Now, I think most of us know what alternative text is. But there are specific ways that we need to use the alternative text, especially when it comes to screen readers. And again, you hear Kim and Melanie talk about it. Level two is to make all functionality available from a keyboard. Now, that's the challenge. You have to make sure that you can move around a lot of things without the use of a mouse. That's level two. All right, I think that wraps me up. I think you can see that I'm pretty passionate about this topic. And I also want to say one more thing before I wrap this up. I want to thank the WorldKF organizers for picking this topic, the theme, creative people, creative type of history.


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Start enjoying Fatima tomorrow. Dragnet, the documented drama of an actual crime. For the next 30 minutes in cooperation with the Los Angeles Police Department, you will travel step-by-step on the side of the law through an actual case transcribed from official police files. From beginning to end, from crime to punishment, Dragnet is the story of your police force in action. It was Tuesday, January 9th. It was rainy and windy in Los Angeles. We were working the night watch out of homicide detail. My partner's Ben Romero, the boss of Stad Brown Chief of Detectives. My name's Friday. It was 9 27 p.m. when I got to room 42. Homicide detail. All right, Joe. Great night, huh? Terrible weather. Just look out down Spring Street. Yeah, I know. I just came in out of it. Really coming down. Yeah. Just like I told you on the phone this afternoon. What's that? Every time no sea coast lying from the coast, it means rain. Yeah. Sure is a fine coat. I've never been sorry I bought this. Let me take another look at that, Joe. Yeah, sure. Oh, yeah. Yeah, that's a good one. English coat, huh? Yeah, they make them a little heavier over there than we do here. Seem to be kind of good in our business. You remember that Henderson stake out last month? Oh, yeah. Really poured down that day. Mm-hmm. This coat kept me dry as a bone. Water just seems to roll off it. Yeah. That's a good one. Here you go. Thank you. We have to hang it up. Mm-hmm. Supposed to keep a good coat on a hanger, you know, especially when they're wet. I bet you. Trouble with mine is it leaks right up here over the shoulders. Must be through the seams, huh? Yeah, I guess so. Same one I've been wearing. I told you about it before. We said you're gonna get a new one, didn't you? Yeah, but it's such a good coat otherwise. I hate to throw it away. It's no good if it leaks. I guess you're right at that. Maybe I get those seams fixed, you think? I don't know. How long you had it? Seven years. I'll get it. Homicide Friday. Right. Yes, sir? Yes, sir? What's that address? Seven Oxford Place. Yes, sir. We'll be right there, Mr. Gray. Seen 27 Oxford Place was on the east side of the street. It was an average one-story stucco home. All the homes on the street were about the same general style and size. It was a nice neighborhood. All the grounds appeared to be well kept from what we could see through the heavy rain. The porch light was burning when we got there. Inside the house were met by the two officers from Unit 37R who filled us in on the results of their preliminary investigation. We asked them to stand by in front of the house. Then we asked the husband of the murdered woman, Leonard Gray, to show us where the body was. Back this way in the dining room. Everything just the way you found it, Mr. Gray? You didn't touch anything? No, sir. I haven't touched anything. Right there on the floor. That's very fast. Can't I wait up there to look at you? Yes, sir. It's all right, Ben. Would you like to help me? Yeah. Just sit right there. We'll be right with you. Thank you.  Yes. It's just two of us. No children. Ben? Yeah? It's children. We're supposed to put up a struggle, huh? Yeah. Some redness there on the throat. Strangle? Yeah, it could be. Deep gas there on the floor. Broken vase there on the floor. Do you want to call a crime lab? Yeah, okay. Mr. Gray, where's your telephone? Right in the hall out there by the bedroom. Thank you. You think you could tell us about it now, Mr. Gray? Yes, I think so. Do you have a cigarette? Yes, sir. Can you tell me just what happened here tonight? Earl Anderson, that's my friend. He lives two houses down here and I went out after work. We usually do once, twice a week, just to have a few beers. Yes, sir. I don't know how it felt, pretty good. I guess I had a couple too many. Earl said it was late and we'd better be getting home, so he did. I had a little too much to drink, so he drove. I see. Where were you and your friend drinking? The bar right across from where we work. Earl Anderson and me. A lot of the men go there for a beer right after work. Were there quite a few men from work in there tonight? Yeah, quite a few. I wonder if the other officer found the phone already. Yes, sir, I'm sure he did. Kind of hard to find sometimes. Or I've had it covered with little curtains. That's all right, Mr. Gray. Let's try to take it easy. You're on your way. Right. He was telling me that he and his friend Earl Anderson stopped after work. They had a couple of beers and then the two of them drove on home. Right, sir. Is that right, sir? Yeah, that's right. Well, we got home and I was feeling pretty good, so I asked Earl to come on in and have a little nightcap. What time was that when you got home? About half past six. Earl didn't want to come in because he said Hazel would be upset with me because we were a little late. Anyway, I finally talked him into coming in with her.  A little bit, yeah. She used to be unhappy when I was late because of dinner, but she was never unreasonable. I didn't make it a habit to stay out unusually late anyhow, all right, sir. I feel terrible. I feel terrible. When we got in the house, the first thing Hazel asked me was if I'd looked at the car. Whose car was that? It's our car, Dodge sedan 42 parked across the street now. What if we might check back here a little? Yeah. I thought I understood you to say that you felt that you'd had a little too much to drink, so your friend drove this Earl Anderson? Yes, but it was his car. I guess I should have made that a little clearer, you see. We take turns driving home, either his or my car. We trade off to fight the traffic no matter whose car. I see. What if you'd go on, please? I didn't know what she meant by asking if I'd seen the car. She said someone had let all the air out of the back tires. Do you know why anybody'd want to do a thing like that? No, I had no idea who'd do that to us. Hazel said she wanted to use the car tonight. She had to go to her friend's house to help her do some remodeling or something. She didn't say a word about my being late. I thought the car had kind of taken her mind off it. I told her I'd go out and look and see if I couldn't fix it. Well, did it strike you as being important that you fixed the car right away? How do you mean? Well, sir, I was just thinking I wouldn't want to go out and all that rain unless it was something pretty important. Well, I didn't want to either, but I figured all I'd have to do was put a little air in the tires and then drive it down to the gas station. I see. Do you want to go out? Earl said he'd be willing to give me a hand, so we went out to have a look at the car. One look at the tires and I knew we couldn't fix them. Somebody had cut them with a knife or something. They were beyond the fair. Do you have any idea who did that? No, I couldn't figure it out. I have no enemies that I can think of. No one that would do a thing like that. What did you do then? Earl and I figured that we'd better take the wheels off, take them down to the garage and buy some new tires. I borrowed Earl's jack and we took off the wheels. Earl said he'd be glad to take the wheels down and that I'd better go back to the house with Hazel because she might wonder what we were doing about fixing the car. I understand. We talked back and forth from minute or two and I finally insisted that I go. Where did your friend Earl Anderson go? To his house. I dropped him off there. Where does he live? Just two houses down the street. After I dropped him off, I went down and picked up two new tires and two tubes and they mounted them on the wheels for me and I came back. About what time was it when you got back here to the house, remember? I don't know. Somewhere around 9.15, I guess. Then what did you do? I was going to put the wheels on but I thought I'd better go back in the house and tell Hazel that I have the car fixed in a minute. Yes. When I walked in the door, I knew something was wrong. It seemed like I could feel it. I called to her. She didn't answer. Went through the house and when I got to the dining room, I found her. We'll have to ask you to come downtown if necessary. You'll have to give us a complete statement on this. Is that necessary? Yes, sir. I'm afraid it is. All right. I wonder if it'd be all right if I called my friend Earl Anderson to go down with me. I haven't told him about this. Well notified. Well, this friend of yours, Earl Anderson. Yeah. When you spoke with me on the phone, didn't she say something about your best friend saying that he thought that you killed your wife? Did I say that? Yes, or you did. I didn't mean it that way. How did you mean it? I've been drinking earlier tonight.   No, no, he didn't. I know this has been a strain and a pretty bad shock, Mr. Gray, but you told us that you didn't say anything to Earl Anderson about this. Now, isn't that right?  Is that what I told you? Yes, sir. You asked me if he'd be all right if you called your friend. You said you hadn't told him anything about that. I did. I called him right after I got home. I was terrified. I didn't know what to do. Then you did mention your wife's death, didn't you? Yes, sir. When you men are questioning me, your tone sounds as if you think I might have done this. Sir, we're just trying to get the facts straight. Right now, anybody's a suspect. I didn't do this.  Do you have any idea who might have wanted to kill Ms. Gray? No, no one. Hazel and I didn't have many friends. No enemies that I know of. I see. Do you men have any ideas at all? Can you tell me anything from what you've seen? We might know a little more after the crime lab checks things over. As soon as the lab men get here, then you can start on the case. Sir, we've already started. 10.15 p.m. We continued to question Leonard Gray, the husband of the dead woman, Hazel Gray. His answers seemed to follow the same general pattern of hazy confusion. Ben and I weighed the possibilities and cause for his evident confusion. He admitted that he'd been drinking earlier that evening and the tremendous shock of the death of his wife, the complete interrogation necessary in the investigation. All these things could prove to be reason enough for Leonard Gray's apparent confusion. They could all be possibilities of pretense as well. We had to be sure. We asked him about relatives and in-laws. He told us that his parents were not living, that his wife's mother and father resided in Los Angeles in the southwest section of the city. He gave us the address. He furnished us with a list of his friends and his acquaintances. He was feeling quite badly, but seemed to want us to continue with the questioning. From time to time, he would add unimportant bits of his story, which he had omitted the first time through. 10, 17 p.m. The crime lab crew arrived and went to work. Gray's friend, Earl Anderson, was picked up and brought to the murder house. Any idea who did this thing? We're working on it. It's just one thing I want to make sure of. You don't suspect Len do? Why do you ask that? Well, I know how something like this can be. Len and Hazel are wonderful people, very good friends of mine. Just wanted to go on record as being able to pouch for Len. You wouldn't do a thing like that. Is that what you wanted to tell her? Well, yes, sir. I've known Len for about five years now, going on to six. We work the same place. Just want to vouch for him, that's all. Would you know of anyone who might have a reason to kill Mrs. Gray? Never sold in the world. Hazel was wonderful to everybody. She didn't have any enemies that I know of. Such a pretty girl. We know that you're a close friend to Gray's. We're able to answer a couple of questions for us. Any way I can be of help to you. How did Mr. and Mrs. Gray seem to get along? I mean, did they have any arguments that you know of? Well, I really don't think I should go into their personal life in this thing. You mean you don't want to answer it? No, sir, didn't that. It just seems it's really not my place to go into it. We're going to have to question everybody that the Gray's new. All their friends and acquaintances. Appreciate any help you could give us. I don't want to help. I know that if I answer, it's going to make Len look bad at the moment. We're going to have to get all the facts from one source or another. Well, they used to have some arguments. I guess you'd find it out from the neighbors anyway. Were the arguments that bad? Pretty loud, yes, sir. I don't mean to imply that Len ever struck Hazel, but she used to get quite put out with him sometimes. All right. How do you know? Len likes to go out with the boys. You know, booze it up quite a bit. She used to tell him that she wasn't going to put up with it any longer. He said he never struck her. Not that I know of, Sergeant. Do they have these arguments often? I don't feel right talking this way about Len behind his back. I want to know that as his friend you want to get this thing cleaned up. Yes, sir, that's right. I do. Yes, he used to have quite a few arguments. Please understand that these differences of theirs may have been loud, but I know Len would never think of hurting Hazel anyway. Do you find out who sliced the tires on Len's car? We're checking on it. I wonder if that couldn't have some bearing on this. Possibly.  Just tell us exactly what happened with you. Excuse me for a minute. Sure. Friday, see you in a minute. Right, Harris. I'll be right back. Okay. We're just about through. It's all photo'd. Lift some prints. The coroner's ready to take the body, okay? Yeah, it's all right. Anything besides the prints?  Looks like it was ripped off a shirt. Where'd they find it? Near the body. We'll see you follow us back to the office, huh? Yeah, okay, Harris. Thank you. I was just telling your partner, Sergeant. I'll do it out of the room. Yes, sir. In this kind of a case, if it turns out to be murder, you'd have to know the whereabouts of everyone concerned, don't you? Yeah, we do. I suppose Len told you about his going down to get the tires fixed on his car? Yeah, he did. Did he tell you that I was at home during that time? Who are you? Yeah, I was. I don't mean to try to tell you your business or anything like that, but isn't that the sort of information you have to have? Yeah, that's right. Is there anything else you'd like to know? Yes, sir. Who killed Hazel Gray? You are listening to Dragnet. 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Yes, in Fatima, the difference is quality. Insist on Fatima. Start enjoying the quality king-size cigarette, Fatima. Best of all, long cigarettes. 10.30 p.m. Tuesday, January 9th. Mr. Gray, the husband of the murdered woman and Earl Anderson, his friend, were taken downtown to Homicide for further investigation. Complete statements were taken from both men. We checked them through R&I, no record on either one. We had all prowlers and burglary calls in the vicinity of the murder house rechecked. Units working the area where the murderer had occurred had picked up two possible suspects loitering in the neighborhood, but they were eliminated almost immediately. All of the neighbors, friends and relatives of Mr. and Ms. Gray were contacted and questioned, no leads. All their stories tallied almost exactly with that of Earl Anderson. The Grays had been known to argue, quite frequently. The arguments were loud, but no one could say that they ever showed any physical violence toward one another. Was the opinion of the relatives and in-laws that Leonard Gray drank too much? Earl Anderson, his friend, was checked and found to be a completely reliable man. We talked with the repairman at the garage where Gray had his tires exchanged. His story was correct in every detail. Earl Anderson's wife was checked. She vouched for the Grays as well as her husband. Ben and I talked with Captain Steed for an hour, 1.45 a.m. Well, Kipper seems to feel like I'd do a body. Yeah, my husband Gray. Sure looks that way, doesn't he? We've been over that story three times with him and we get three different versions. Yeah, I know. He's completely sober now. He should be able to tell a straight story. No, I don't know, Joe. Yeah, well, I'm not completely satisfied. As far as that goes, the Captain isn't either. You heard him. I'll admit Gray looks bad right now. What do you think? I don't know. I got it. I'm aside from Meryl. Yeah, Edmonds. No, Joe's right here. You want to talk with him? Oh, fine, yeah. Yeah, go ahead. Oh, yeah. Okay, thanks, Bob. George Juneau. Yeah? Picked up a couple of kids. They confessed to slashing the Grays' tires. I don't know if it clears that up. Didn't seem to figure it anyway. Did it to you? No. If somebody did it to draw Gray out of the house. Well, it's cutting it pretty thin, isn't it? Yeah. What's the time? 10 minutes to 2. I guess I better call Leighton Prince and see what they got. Okay. Did Edwards say that they were going to hold those juveniles for us? Yeah, I said they were bringing them down here for interrogation. Oh, yeah. Well, hi. Hi, Mac. From Meryl. Yeah. Uh-huh, good. All right, thanks. Yeah. You got something? What'd he say? One of the prints they left out there is a palm print. The girlfriend says it'll work for elimination. Well, something else. A print. It was pressed in spots of blood. The killer of Hazel Gray had left behind him a clue to his identity, about which there could be no mistake. His palm print. The prints of the dead woman, Hazel Gray, were checked and eliminated. They weren't hers. 2.40 a.m. Leonard Gray and his friend Earl Anderson were taken down and fingerprinted. Their palm prints were also taken. Both men will return to the interrogation room. Sergeant, why'd we have to be fingerprinted? Yes, routine. Just like I was telling you, Sergeant Friday. What's that? Leonard and I have been suspects all along, haven't we? Well, it's just a matter of elimination. Anybody involved in any way has to be checked out. Didn't the fellow down at the garage verify Leonard's story? Yes, he did. It's the truth. I wouldn't lie at a time like this. I don't believe that anybody thinks you're lying, Landon. It's just they have to be sure. That's right. Again? Interrogation room. This is Ramel. Oh, yeah, right. Okay, right away. Crime lab, Joe. Finger says Ian Jones would like to see one of us right away. All right, you want to go? Yeah, I'll be right back. Okay. Sergeant, was there really any specific reason for us being fingerprinted? Well, we already told us it's just routine. Wouldn't it be perfectly in line to find Landon's fingerprints around his own house? Well, yes, it would. Yours could be there, too, Will. Yeah, I was going to say that. I'm over at their house a great deal at the time. Yeah, we know you mentioned that. Makes you feel kind of funny getting fingerprinted. It doesn't make any difference what I have to go through if you can find who did this thing. I feel the same way, Landon. Think you're any closer to knowing who did it? Well, possibly. You men have had a little time to think this over. Do either of you have anything to add to your story? Maybe some small detail you may have overlooked? I've been thinking about it all night. I can't think of anything I haven't already told you. You do, Mr. Anderson? Hmm? Is there anything that you might have forgotten to tell us? I'm sorry, I was just thinking. Yes, sir. There couldn't have been anyone Hazel knew, could there, Landon? How do you mean? Well, somebody maybe from her past, somebody she might not have told you about. I don't see how that could be possible. You people checked your father and mother, didn't you? Yes, sir, we did. Well, it eliminates that possibility. Haven't you found any way at all of telling who it was that killed Hazel? Yeah, we have. Well, I think that Landon here is entitled to know. I'd be glad to leave the room if you want to talk to him alone. No, sir, that's not necessary. When we work it out, you'll both be told about it. If there's something definite, you'd tell me, wouldn't you? I think girl's right, I'm entitled to know. Well, sir, we're assigned to the investigation, Mr. Gray, and we're doing everything that we can to get to the bottom of it. Sergeant Landon and I think you men know a great deal more than you've been telling them. His wife was a victim, it's his right to know how the investigation is going, isn't it? Well, I told you before, whatever you should know, we'll tell him anything that we withhold from him is done for a good reason. Joe, want to take a look at this? Yeah, thanks. Here you are. Here's your report on it. Oh, thank you. That shirt belonged to either of you men? It's not mine. No, why? What's it mean? I get it. The interrogation room Friday. Yeah, Dean. Right, thank you. What about that shirt, Sergeant? What's it mean?  It's found with a body. You notice the front of the shirt here, button ripped off? See how it matches? Yeah, it's not my shirt. It was found in your house. I never saw it before, it's not mine. The palm print was? What? The print of your palm. Blood stains on it was found near the body. What's he talking about, Earl? What do you mean? I killed Hazel. What? I killed Hazel because I loved her. I think I loved her more than you did.  You do if you love them enough. You ready to give us a statement, Anderson? Yeah, I'll tell you. I can't believe all this.  All right, Gray. Hold it. I can't believe it. My best friend. I'm your best friend. The story you've just heard was true. Only the names were changed to protect the innocent. On April 4th, trial was held in Superior Court, Department 89, City and County of Los Angeles, state of California. In a moment, the results of that trial. And now, here is our star, Jack Webb. Thank you. Friends, let me tell you how to size up king-sized cigarettes. First, take a Fatima, any other king-sized cigarette. Side by side, the two may seem to look alike, but they're not. Because no other king-sized cigarette has Fatima quality. That's right. In Fatima, the difference is quality. Quality that starts with a blend of the finest domestic and Turkish tobaccos and follows up with extra mildness. A better flavor and aroma. Now, if you haven't tried Fatimas yet, take my advice. Buy a pack. Compare Fatima. You'll find just as I have that in Fatima, the difference is quality. Earl Taylor Anderson was tried and convicted of murder in the first degree. He was executed in the Lethal Gas Chamber at the State Penitentiary, San Quentin, California. At home and overseas in camps, hospitals and military installations and in battle areas, Red Cross personnel work for the welfare, recreation and morale of those who defend the nation. Today, Red Cross is expanding these services to keep pace with the rapid growth of our nation's defense forces. Your support of Red Cross makes this expansion possible. Remember, when you give to the Red Cross, your gift is a lift to our fighting men. You have just heard Dragnet, a series of authentic cases from official files. Technical advice for Dragnet comes from the Office of Chief of Police, W.H. Parker, Los Angeles Police Department. Our thanks to Quick Magazine for this week's salute to Dragnet's Jack Webb. Fatima Cigarettes, best of all, long cigarettes has brought you Dragnet, portions transcribed from Los Angeles. Here a gold smuggling case on Counter-Spy next over most NBC stations.