This is an L-23, a light army aircraft. The army has many such aircraft, but the man at the controls of this particular flight makes it something special. He is the highest-ranking active army pilot, the only four-star general in the army, who is qualified to handle both helicopters and fixed wing craft. His name is Herbert B. Powell, and he commands an organization which is, among other things, the largest peacetime training establishment in American military history. That organization is U.S. Conarch, the United States Continental Army Command, with headquarters here at Fort Monroe, Virginia. And in a few moments, General Powell himself will be your host for today's story of your army in action, Men in Training, for which his command is responsible. Later we will be moving around the country to see something of the scope and importance of this continent-spanning training responsibility. Right now, here is General Powell. Welcome to Fort Monroe. It's a command which reaches into every one of the 48 continental United States. And if you have a father, brother, friend, or a sister serving today in the army, the Army Reserve, the Army National Guard, or in an ROTC unit anywhere from Maine to California, you and I have a mutual interest. The well-being and the military proficiency. The skill of every member of the army is a matter of direct concern to us here. You're about to take a brief look around the post, I understand. I'll see you again at my office. Since time is limited, I'll just say again, welcome. The mission of Conark, its objective, its reason for being is simply stated. It is readiness, complete and constant. At this headquarters, men of your army are at work every day to ensure the success of that mission, the achievement of that objective. It is a many-fold responsibility. For example, Conark provides the largest combat-ready command in the United States Army, our strike, which is the Army component of the strike command, two full-cores, about 312,000 uniformed men, and everything they need to do their jobs. Conark is, for the first time, the single command which is responsible for virtually all army training, basic, advanced, and specialized. It is also the only command headquarters of the Army Reserve and supervises all Army National Guard and ROTC training. Top-level responsibility for all of this and more rests with the people who make up this headquarters, Conark. Ultimate responsibility, of course, rests with the commanding general. Right. I think that will take care of it. See that it gets out by wire to the command's concern. I'll see to it, sir. I hope you enjoyed your brief look around Fort Monroe. I wish we had more time for a fuller inspection, but there's a great deal for you to see around the country. Let me give you an idea of what I mean. Military installations in every one of the 48 continental states. 73 active Army installations. About $4 billion worth of American real estate. Of course, we can only show you a few examples of the training that is today building an American Army that's ready for anything, anywhere. Each of these symbols represents a training operation of one kind or another. Army training takes literally hundreds of forms. The skills called for today are many. But all of it begins where soldiering itself begins. With basic infantry training. The foot soldier is the basic unit of America's fighting strength. And it is the young citizenry of America which provides this strength. The transition from citizen to citizen soldier. This is the objective of basic training. And for the recruit, it is a transition which involves major changes in his way of living. Roughest eight weeks that you've ever spent in your life. During this eight weeks, you're going to find out how to survive as an individual soldier and how to work with other men in this platoon as a team.  You're going to be physically fit to go into combat. Now, men, I'm sorry to tell you, this is the fifth platoon. Now, I know that ever since you came in this Army, everybody's been telling you what to do. Well, that's just the beginning because you haven't heard nothing yet. You might find nothing to you. It is not myth to be pleasant to you. It is not going to be pleasant to you. And someday, you men may have to face combat. And someday, you're going to be in that situation where you're going to have to have this discipline. And when someone tells you to move, you've got to move or you're dead. One thing I want you to get straight, I've only got one mission here. And it's not to become your dear friends. You left that when you left your home.  As the weeks pass, the recruit is the object of much attention. He does learn to work as a part of a team. And he learns something of the pride that comes of doing it well. He is toughened, trimmed down, built up. He becomes intimately acquainted with the basic tools of the profession of arms. And he uses them under realistic conditions until he has mastered them. And along the way, he masters himself. By the end of his basic training cycle, he has learned many things. The self-discipline that comes from learning to accept discipline. The self-confidence that comes from succeeding at that which is not easy. The deep, sometimes surprising satisfaction of serving. In a few short weeks, the citizen has in fact become a soldier. Elsewhere too, KONAK plays a role in providing basic military training. In colleges and universities across the nation, ROTC units function as a source of young officers who will be ready, on graduation, to take on the responsibilities of command. Under KONAK supervision, the officers who serve as professors of military science feel deeply the importance of their work. I believe that no man of character will allow himself to remain unsuited for the best possible use of his talents in behalf of this essential task. Our course is aimed to develop your talent for leadership. I hope that you will not try to get by or simply do well. I hope you will give your best. Gentlemen, that is all for today. You are dismissed. Across the nation, the training operations of Army National Guard units, as well as those of the reserves, are another part of KONAK's continental responsibility, and a source of additional combat-ready manpower should the need arise. Within the Army itself, the training of soldiers goes on from basic infantry training to an operation which reaches out to take in the officers and men of nearly every free world nation on Earth. Advanced infantry training is a specific term and means just what it says. Here, for example, the man of arms receives instruction in the wide range of weapons which make the American foot soldier the formidable fighter he is, a graduate course in striking power. The objective of this training is the advanced infantry soldier whose signal, follow me, has become a motto and battle cry. Advanced infantry training is often a prelude to the specialized disciplines of airborne training. In combat, the airborne soldier must function well under pressure. He trains under pressure, and no mistake escapes the notice of its instructors. You dug your right shoulder into the ground. Next time, rotate the upper body to the left to make your proper parachute landing fall.  Yes, Sergeant.  Recover. As he moves ahead in his training, he moves at the double, both literally and figuratively. There is much that he must know how to do, and he will be drilled until he knows beyond question how to do it. Instant correction of mistakes is the trainee's best insurance against trouble in actual airdrop, and he knows it.  Get your chin down on your chest. Recover. Number two.  Your hands crossed on top of your reserve parachute. And so it progresses, the hard way, the only way. The payoff is the airborne soldier himself, able, confident, the nucleus of America's hard-hitting and far-ranging troubleshooter forces. It's Koenig's job to see that he is ready to move instantly and ready to function when he arrives via the wings and canopy, which have become his insignia. Ranger training is quite often the next step for men who have the mental and physical qualifications. It is not a course to be entered upon lightly. Hostile terrain, days without rest, and nights without sleep are an integral part of this training. Here must be in top shape physically even to begin. To stay, he must have that blend of stamina, stubbornness, and devotion that makes up what the Army calls a highly motivated soldier. It's not all physical conditioning. There are advanced classes in skills like demolitions and compass navigation, skills essential to this raid and fade type of combat operation. Ranger training demonstrates to the man who sticks with it that he is capable of far more than he ever thought possible. This is a valuable thing for a combat soldier to know. It is Koenig's intention for this training to be as realistic and demanding as possible, and the night maneuvers which take up a good part of the Ranger training's time meet both these requirements. To find the objective in darkness and silence, strike, destroy personnel and equipment, and get clear of the area, this is a typical Ranger training assignment. Operating against well-trained aggressor troops, the action can be disturbingly realistic. The U.S. Army Special Warfare Center is Koenig's answer to the threat of communist guerrilla and insurgency activities around the world. And the men who complete this training are special indeed. They must know not only how to use and maintain all the basic light weapons issued to American troops, but old and new weapons of many foreign nations. They must learn well, for their prime job will be to teach others. This familiarity cannot be superficial. They must know these weapons in terms of performance and capability, and then learn in the only really effective way by using them, getting the feel of them, seeing what they can do. A member of a Special Forces team must also be able to assemble and use a light radio transmitter and to send and receive Morse code. The communications specialist of the team must be able to build such a radio from parts available if he has to. Every man is trained and trained thoroughly in first aid. The kit carried by Special Forces teams is extensive to support the advanced capability of the team's medical aid specialist. Each man of the Special Forces team must be a skilled demolitionist, and at the Special Warfare Center he learns what types of explosives to use for a given objective, and where to place them for maximum effect. These forces often operate in remote areas. They may have to live off the land, so they are taught silent ways of securing food. Traps can provide meat for a guerrilla force, or act as silent and deadly sentries against the approach of hostile troops. Like the Ranger, the Special Forces soldier is trained to make impossible terrain his everyday route of travel, a necessity for men who may have to live and work deep in hostile territory. A highly specialized CONARG training establishment is housed in these buildings overlooking the Bay of Monterey in California. Here the languages of nearly every modern culture on Earth are taught to selected members of all our armed forces. The expanded requirements of today's Army, its global commitments and involvements create a vital need for men who can speak the language of other countries. Modern electronic facilities accelerate the learning pace, enabling many students in individual sound cubicles to work at a given language simultaneously. The objective is useful, practical and workable command of spoken language. The work sessions are concentrated, and the subject matter pertinent. Here a student responds in Russian. As the training of today's soldier becomes more specialized, it has also become more technical. Modern communications, systems able to link up forces separated by miles or even hundreds of miles, are as essential to the 20th century Army as weapons and ammunition. Equally essential are skilled Army technicians to service, operate and maintain the complex electronic devices which provide such communication. The training of such specialists is yet another aspect of Konark's responsibility. This highly technical kind of training extends to the new breed of artillery men. The missile man. The days when a soldier needed only to know how to keep a clean rifle and a closed mouth are no more. The weapons of today and the technology from which they have sprung make unique demands upon the men who must train to operate them. These soldier technicians are called upon to operate systems so complex and so powerful in destructive capability that they are revolutionizing the concept of artillery firepower. There has been much to learn and they are learning it well. Army's Sunday punch on the ground has not been neglected however. Konark's armored training responsibility has been increased and the men of today's armored forces train in realistic combat exercises with tanks and other armored vehicles which have greater range, firepower and punch than ever in history. Combat can come in a great number of ways and it is Konark's job to see that the army is ready to act on any scale, large or small. Indication of the widely varied training which Konark must oversee is this class of graduates. They are now in addition to being crack combat troops, military policemen. They have completed training which included instruction and skills required of civilian police and many more as well. Of the precision and discipline through which a skilled team of military police can master the disorganized mass emotions of a mob of rioters and at the school they have put that teaching into practice. Learned how a single MP at a key intersection can ensure an efficient flow of traffic whether that intersection be on an army post or on a supply route in a combat area their lives may depend upon an uninterrupted flow of supplies and material. Their training has fitted them for a wide variety of duties all over the world where they will work in cooperation with their military and civilian counterparts acting not only as military police but as unofficial ambassadors of goodwill. In a final example we touch on Konark's training function with regard to the high mobility required of today's army. Air transport means pilots and it is Konark's responsibility to train them. The army has fixed and rotary wing craft for every type of task and while this display does not show them all it indicates the scope of pilot training that becomes necessary in keeping them manned and ready. One type of training puts an army pilot and his tiny aircraft high above enemy positions to act as observer for artillery and pointing targets directing fire upon them. The army pilot must have the skill to make a landing field of whatever the terrain offers whether he's flying a light spotter plane or such heavier reconnaissance aircraft as the fast and rangy Grumman mohawk the army's largest aircraft the highly rugged and versatile caribou the copters play a major role in the army's air operations and their pilots attain a virtuosity of control that is sometimes startling to watch here's a whirly bird's square dance 50 feet above the ground such displays of precision are more than just an interesting show however for no less a degree of control is acceptable when a pilot must take off and skim the treetops avoiding enemy fire to complete a mission like this one the recovery of casualties from a forward combat area and when on a much larger scale waves of troop carrying copters move in to deliver an army assault force to a key combat objective it is army pilots who do the delivering the combat ready troops the men who transport them by land or air still others who provide communications ammunition supplies the people who perform the hundreds of different operations which make it possible for a fighting force to bring its power against an enemy all of these have gained their skill through training and across the breadth of our continent the providing of that training has been and remains one of the vital functions of Konark the continental army command what you have seen of course is only the smallest of samplings a few representative samples of Konark's training responsibility and this training of course is only one of a number of missions which Konark must fulfill but it is a vital one its objective is the basic one you heard described earlier readiness complete and constant the time and the circumstances in which America finds itself demand this degree of readiness your continental army command intends to make sure that this demand is met


Ladies and gentlemen, the railroad hour and here comes our star-studded show frame Tonight the association of American railroads presents the enchanting operetta the Great Wall starring Gordon McRae and his lovely guest Lucille Norman Our choir is under the direction of Norman Luboff and the music is prepared and conducted by Carmen Dragon Yes tonight another memorable musical success is brought to you by the American Railroads the same railroads that bring you most of the food You eat the clothes you wear the fuel you burn and all the other things you use in your daily life And now here is our star Well tonight i am Johann Strauss the younger and lucille norman is the lovely terace as we bring you the great waltz Excuse me Would you tell froline terace, please that here strauss is here. Are you here? Oh, I just love your music I'm afraid you're thinking of my father. You see there are two of us. Do you compose too? Well sometimes a little shawney you're early racy. I've got news great news Here's strauss has just been telling us that he is a composer a very good composer Oh, it must be awfully difficult to find new melodies out of your head Music doesn't come from the head From the heart it's always there waiting for something to let it out Well a morning like this for instance a look in a woman's eyes And a tune is born Dark girls or fair my songs Leading me for a flutter there's a melody in every word you order every smile is like a song you sing to me Life shawney, what's the news? You're bursting with it racy Steinbrook has engaged me to conduct Sean at the new pay-to-health gardens Do you know what this is going to buy us racy? A marriage license. Oh shawney darling. I shall tell everyone in the audience. Please like his music It's so full of love Anybody who's ever been in love will know racy As my guide and the freight siley side, you won't tell your father about conducting Why racy? I think he's the reason you've never been hired in Vienna Your father is jealous of your talent the waltz king doesn't like any pretenders to his throne Your mistake can be I'm going to tell father then i'm going to do something. There's a very influential person I'm going to see to help protect you from your father People music racy keep playing. I knew you'd like it countess. Oh, it's a waltz that forces you to dance Does this one have work? Oh, yes countess. It's called only one hour Listen, and I can tell from the way you see that you're in love with the composer Oh, I am countess very much. Then I shall attend to the father You and I we shall concoct a little scheme, racy Now when does young mr. Strauss give you next music lesson tomorrow? I shall be there Play and sing some of this wonderful music. Perhaps an extra pair of ears you'll be listening Dear countess, where are we going to a bakery shop? Containing very rare delicacy A daughter who sings like a dream the daughter souter who composes magnificent songs Well, I'm always anxious to help young composers. If the more established composers I am interested in his Strauss Such as yourself You have played every capital of europe but mine It has always been one of my ambitions to play at the court of your country I think I can arrange that with my ambatador My countryman will be enchanted by the music of the waltz king It's curious how a title spoken in jest many years ago pleased It is richly deserved at any rate. I have never had to defend the title Look Who's that playing? That my dear hestrauss is my surprise He is a young man who may one day be your rival You may yet have to fight for the title of waltz king This is very interesting. I should like very much to meet you right through this door hestrauss Charlie Father, uh, your ladyship hestrauss Hello, lacy What was that you were playing shawney? Oh, I was just improvising father.  It has a lovely quality. Don't you think you have a kind heart madame But let me see that music What Well, this is just a jungle against every established rule in form I thank you counters for speaking in my behalf But this is an old argument between my father and me I maintain you must write the music you feel But my father is traditionalist who feels one must write according to all the established rules But this beautiful melody About a great many things. I know nothing about one thing. I know a great deal that thing is music I was writing successful waltzes before this boy was born. Nevertheless My dear young man, I shall be there on your opening night to applaud you. What opening night? I haven't had a chance to tell you father But steinbrück has offered me a chance to conduct at the peterhof garden You're not sufficiently equipped to conduct. Why they tell you apart.  I will not have him make a fool of himself on the platform It is my duty to tell them that's what I believe Listen Listen to this music Shawnee play it This is music that will live when every stuffy thing you've ever written is dead and forgotten here strauss Listen listen to some great music by the great Johann Strauss And for the second act of the great waltz in just a moment Hear that That's about the way the first railroad locomotive must have sounded when it made its first run back around 1830 And from the very first run of that pint-sized engine the railroads learned a lesson they have never forgotten For light as it was that first locomotive in america was too heavy for the track over which it ran And from that day to this it has been a basic rule in railroading that the locomotives and cars which are run Over any particular stretch of track or any bridge Shall not be heavier than can be carried without damage and deterioration Which would mean heavier expense in maintenance and repair What was learned so long ago about railroads is now being learned about highways There's an inescapable relationship between the strength of a highway or a bridge and the weight of the vehicles Which it can support This fact was scientifically demonstrated in a test conducted for 11 eastern state highway departments on a rigid paved road in maryland A road typical of many thousands of miles of america's highways The report on the results of that test issued last week shows that all other things being substantially equal The heavier the load the greater the damage With an increase of one fourth in the loads on single axles There was more than six times as much cracking of the pavement With an increase of 40 percent in the loads on tandem or dual axles There was more than 12 times as much cracking Yes highway engineers have learned by experience by observation and by scientific test That failure to protect highways and bridges from abuse and overloading means heavy damage and added costs Costs which must be borne by the general taxpayers and by all motorists who use the highways Fortunately, the steel highways of the railroads are built to take heavy loads And their maintenance and repair doesn't cost you or any other taxpayer a single penny And now here is act two of the laurence and lee version of the great wall Starring gordon mackray as yohan strouse the younger and lucille norman as racy With john mackentire and janette nolan as our featured players Is in the I don't want to go in. I know how you feel shawney It was terrible of your father to convince steinbrook not to hire you And why is he playing in your place? I don't want to go into the play to help gardens at all, but the counter said she planned a surprise Well, whatever it is. I shall have a little heart for it. Oh, come on in watching everybody dance and sing with chirisau Hello Good evening, carlis. Johnny the orchestra rehearsed your new walls this afternoon. It sounded beautiful. Did it? It felt good when I was writing it, especially when Oh, what's the use nobody will ever hear it? Don't be too sure Now if you'll excuse me, I have some important work to do don't go away All right, see if someday I should stand in a podium and conduct an orchestra which is playing my music Every downbeat will say your name, and everybody listening will know that, well, that your name is written on every note. Johnny, they're all calling for your father. Where is he? I don't know where he is. Has anybody seen Hersch Strauss? Countess! Yes, Hersch Steinbrook? Hersch Strauss was last seen entering your carriage. Well, all I know is the ambassador from my country suddenly wished to extend an invitation to the Walt King. I was good enough to lend him my carriage. Is it a very slow carriage, Countess? My coachman will take hours to the back streets of the city. Meanwhile, Vienna will get a chance to hear some wonderful new music. Countess! What can I do? They want Strauss, Hersch Steinbrook. Give them Strauss. This young man is ready to conduct the waltz. Brilliant, my dear, brilliant. Is it all right, Johnny? Oh, yes, yes, Hersch Steinbrook. Ladies and gentlemen, your attention please. The waltz king has been unavoidably delayed, so we have asked his son Johann Strauss the Younger to conduct. I entrust him to your kindness. Ladies and gentlemen, I would like to play a new waltz of my own. It is called the Blue Danube. Countess, this is really the great waltz. Yes, Hersch Steinbrook. A few weeks ago, father, the son eclipses the father. Young upstart. Father, the doctor said you must not talk. Heart has been so filled with the music of Vienna that there's been no room for affection. Leave room in your heart for more than music. For people, for racing. I remember, father, you're a good musician, you're the light of me, the Blue Danube. The fine melody should be an E flat instead of D, more brilliant register.  A son who wrote the Blue Danube, a son. It seems strange that you weep, Shawnee. He was hardly a father to you. I am not weeping only because my father is dead racing, because Vienna has lost her greatest musician. Our thanks to Jeanette Nolan, who was the Countess, John McIntyre, who was Johann Strauss the Elder, to Isabelle Jewel, her Butterfield, and to our entire company. The Great Waltz with book and lyrics by Moss Hart and Desmond Carter, and music by Johann Strauss, was dramatized for the railroad hour by Lawrence and Lee. The railroad hour is brought to you each week at the same time by the American Railroads. Marvin, chances are the rich resources of most of the 48 states, the products of forest and farm, mine, mill and factory in every part of the country were needed to help fashion the comforts of your home and to tie together all those far-flung ingredients to help change, say, a giant tree into a gracious table takes a lot of railroad transportation. And because that's true of most everything you use, it's no wonder that railroads move more tons of freight, more miles than all other forms of transportation put together. Thank you, Marvin, and now here again is lovely Lucille Lawman. It was wonderful singing the Great Waltz with you, and what are you planning for the show train next week? We have an enchanting musical, Lucille, which has delighted theatregoers for a long, long time. Sigmund Romberg's tuneful, My Maryland, and Dorothy Kirsten will be Barbara Fritchie. You wouldn't miss it. Good night, Gordon. Good night, Lucille. You were wonderful. All aboard. Well, sir, it looks as though we're ready to pull out, and so until next Monday night, and My Maryland, this is Gordon Macrae saying goodbye. The Great Waltz was presented by special arrangement with Tams Whitmark Music Library. Macrae can currently be seen starring in Warner Bros. About Face. Lucille Lawman can soon be seen in the Warner Bros. production, Carson City. A choir is under the direction of Norman Luboff, and our music is prepared and conducted by Carmen Dragon. This is Marvin Miller saying goodbye until next week for the American Railroad. Now stay tuned for your Monday night of music on NBC.


My name's Regan. I work for Anthony J. Lyon, Detective Bureau. They call me The Lion's Eye. Jeff Regan, investigator, starring Paul DeBovis Regan with Frank Nelson as Anthony J. Lyon. We'll stand by for mystery and suspense and adventure in tonight's story titled, The Smell of Magnolia. Wellington Butterfield was a songwriter who wrote tone poems with one finger. Using both hands, he was capable of writing even more impressive ditties. The question? Was Wellington Butterfield capable of murder? It began without benefit of overture in the office of my boss, Anthony J. Lyon, one beaming Monday. Anthony J. was on the phone when I walked in. A look on his face said, easy credit terms, no money down. No, no, you won't have to worry about a thing. Not a thing. It just said tight, now send one of my men right out. Yes. Well, thank you, Mr. Butterfield. Good day. Good morning, Jeffrey. You client? Yes, indeed, Jeffrey. The Lion Detective Agency is on its toes as usual. Nothing like an efficient organization, I always say. You'll send one of your men out? I heard that part of it. Well, now, Jeffrey, there might be other men working for me. If business picks up the way it has been, well, I may have to increase the staff. And a secretary, maybe? Jeffrey, what a delightful idea. A thoroughly delightful idea. But first we have to pick up the extra business. Your business? Oh, yes, Mr. Butterfield. I almost forgot. You better run right out there, Jeffrey. His office is in the Johnson Building, Hollywood. Yeah, and a secretary. Lion, did Mr. Butterfield happen to mention why he wanted a private detective? He blinded the lead. That's so, cut it out. Huh? Oh, yes, Mr. Butterfield. Oh, yes, he did say something about a small redhead. Any problem? Let me see. Oh, I've got it. He thinks someone is trying to murder his wife. Jeffrey, what would you say to a cute little redhead? The lion got lost in his dreams of redheads and I drove out to Hollywood and the Johnson Building. Two stories of old stucco covered with more coats of paint than there were tenants. The Johnson Building used to be a movie studio, then studio dressing rooms. Now tiny cement offices with scarlights and battered doors. Every office on the second floor faced onto a passageway without a roof. Pen houses for 25 bucks a month. I went up, dodged the rooftop ventilators, the broken glass from windows that hadn't been repaired since Metro met Goldwyn. Hanging above each office was a shingle. One said no to Republic and music copyist. Another one said artwork, reasonable. Another one said quiet, keep out. The last one down the passageway said Wellington Butterfield. I stood in front of the door and listened. In the Johnson Building, you don't knock, you just walk in. You heard it? Yeah, not bad. Not bad at all. Oh, that's not really my kind of music, honest. But I wanted you to hear something else. You'll like it, Mr. King. Sure, oh, I'm not... Now don't say anything till you hear. Oh, the blue bonnet says blooming in Texas But they won't bloom for me very long She still waits for me, but I'll never see The blue bonnet's blooming down Did you say you weren't Mr. King of King's Music Publishing? My name's Regan, Lyon Detective Agency. Oh, Mr. Regan, I'm glad you came. Want to tell me the story, Wellington? Just call me Wellie, Mr. Regan. My friends call me Wellie. Wellie? Well, sir, it's about Sue. Sue's my wife.  She tell you that? Oh, no, no, sir. You see, I was out at the blue club one night. Sue sings there, and I heard voices from her dressing room. He was saying mean and angry things this man was. Go on. But when I came in, the man was gone and my wife, Sue, Sue was crying. She tell you what the man said? She wouldn't talk about it, Mr. Regan. He just wouldn't talk about it. That's all?  But she wouldn't say who it was. You just got to help her, Mr. Regan. It's all my fault. If anything happens, it's all my fault. Why? Well, you think I like sitting here day after day, writing songs, nobody'll buy while my wife works six nights a week in a nightclub. You think I like that, Mr. Regan? Okay, take it easy, Wellie. She needs watching, Mr. Regan. Lots of watching, and you've got to do it. Okay, I'll watch it. Oh, don't let her out of your sight. Not for a minute.  More than anything in this whole world, Mr. Regan. You don't have any idea who the man was? No, sir, I don't. You sure you're not leaving something out of the story? Mr. Regan at a time like this. Okay, I'll run out there. Mr. Regan, there's just one thing.  She wouldn't like that.  Sure, I understand. And you may meet the man that leads the orchestra, Mr. Lytton. Don't you say a word to him. You don't like Lytton? Don't like him? Mr.  Your story was smooth, but mixed up like pancake batter after a bout with a Mixmaster. I left Wellington Butterfield hunched over his piano. Outside, footsteps in the passageway made me turn. Suddenly, moving down the corridor away from Butterfield's window was a tall man in a blue sport coat and gray flannels. He moved not like a man leaving an office, but like a man leaving a keyhole. I started after him. Come in out of the sun, Regan. You might get freckles. Standing in the open doorway on my left, a blonde, a real blonde, real all the way. Either way, you started looking. I went in. My name's William. Your name's Regan. You work for the Lion Detective Agency, and Wellie Butterfield just hired you. Have a cigarette? Thanks. Wellie's office is right across the passageway. It's a hot afternoon. He keeps his windows open. I keep my windows open. Anything else? As a matter of fact, there is. I was about to follow a guy when you opened your door. You wouldn't have been trying to stop me from doing that, would you? Drink? You would. Regan, when you follow people, you find out things. When you find out things, people get hurt. I don't like to see people get hurt. Only in your case, it's too late. That it? You called Butterfield Wellie your friend of his? We're practically related. His wife, my husband. Come again? She caught spying on Wellington Butterfield as my husband. I forgot to tell you my last name, didn't I? It's Lytton. My husband's the orchestra leader at the Blue Club. Change your mind about that drink. Yes. Yes, I changed my mind. All right, Mr. Detective. Drink like a movie hero and say, why is a nice girl like you running a publicity office? Or is that the one? What about Sue Butterfield and your husband, Lill? Let us talk here. My ears may be big, but they're also delicate. Who's out to get Butterfield's wife? Every man within reach. Have you seen him? Mm-mm. Slick, little brunette. Wellowy. Soft like an agnolia blossom. Wise as glowy. Only your husband doesn't think so. I work 40 hours a week, Regan. What my husband thinks hasn't bothered me in over two years. What about divorce? I'm the old-fashioned type. You know, frilly curtains, barbershop quartets, and marries. I believe in all of them. Lytton doesn't. I tried. He doesn't. Why would Lytton want to kill Butterfield's wife? He may be a snake, Regan, but he doesn't crawl that low. You're on the wrong track. It fits that way. The voice Butterfield heard behind the door. I said you're on the wrong track. Maybe you better leave, Regan. I don't want to begin to dislike you. Where was Lytton going when I saw him a minute ago? Out of town. He left for good. He's good. My good. It's toss-up. They begin slow. They end quick. Don't they, Regan?  Maybe I do, Regan. The only trouble is I'd have to stand in line. Okay, forget it. Like I said, Regan, maybe you'd better leave. I don't want to begin to dislike you. If Wellington Butterfield was lying, it didn't check with Lillian Lytton. Put both their stories together, and Sue Butterfield looked like a candidate for Miss Mortuary of 1950. There were still two precincts yet to be heard from. Lil's husband and Butterfield's wife. I headed my car for the Blue Club. Middle afternoon as rehearsal time on the strip, it was that way at the Blue Club. The sign outside said Jimmy Lytton in his orchestra, the voice of Sue Butterfield. Inside the orchestra, without benefit of Lytton, he was warming up on what passed for a rumba. I wandered around backstage to the dressing rooms, found a door that said Miss Butterfield and Knot. Yes? She was everything Lil said, even including the magnolia blossom in her hair. Well, don't just stand there. Please come in. I'm Sue Butterfield, but then you probably already know that. My name's Regan. Yes, sir. What did you wish to speak to me about? Your husband, Mrs. Butterfield. Please, call me Sue. Uh, Sue. That's better. He's worried about Wellie. He's worried, Mrs. Bu... Sue, worried about you. About me? Well, that certainly sounds silly. Why on earth would he worry about me? He thinks you're in trouble. Mr. Regan, why are you concerned, Miss? I'm a friend of Wellie's. I see. Well, then, I appreciate your interest, but really, nothing could be sillier. Oh, now I see it. See what? He's worried about Jimmy. Jimmy Lytton. Isn't that ridiculous? Is it? But of course. Jimmy and I are merely close friends. Just because we work together every night on the bandstand is no sign. Well, you see what I mean. Oh, sure. So you see, Mr. Regan, it's all nonsense. Wellington sometimes tries my patience.  You should pity him. Poor Jimmy is just a lonely, misunderstood man. I'm kind of a mother to him. Uh, mother. I like people, Mr. Regan. I don't like seeing them blue. Jimmy is blue so often. Yeah, sure, Mrs. Sue. Thanks. Thanks a lot. And you tell Wellington he should have asked me before spending the money. Spending the money? Oh, yeah. Spending the money to hire a private tech. Bye, Mr. Regan. I got out of there in a hurry. Out the back entrance, under the parking lot, and then I saw him, loose sport coat, gray flandals, getting out of his car, glancing both ways, closing the door. He looked scared, very scared, and his name was Jimmy Litten. Litten? I beg your pardon. You don't remember me? Look, please, I'm in a hurry. I'm late for rehearsal. I'm the guy who was with Wellington Butterfield when you looked in on us. You remember that, don't you? No, please, please. Leave me alone, will you? I haven't done anything. Nobody said you have. I just want to ask you some questions. No. No, no, not now. Some other time, I really can't stay with you. Calm down, Litten. You're getting upset over nothing. Let go of my arm. Now, Litten, it'll go better. I said, Litten, come. It's the way you want to play it. Let me alone. Let me alone. James Litten, dust on his gray flandals, grease on his monogram white sport, shirt, blood on his cheek, running back inside the blue club, trying to restore his ego and the crease in his trousers at the same time. More scared than I thought. Littorette headed back to my car, sat there thinking, but not for long. It came from the blue club, from backstage near the dressing room. I got to the door marked Sue Butterfield, kicked it open. Two people in Sue Butterfield's dressing room, Jimmy Litten, and Wellington Butterfield. Litten was the one on the floor, dead. You don't have to look any further, Mr. Reagan. I killed him. I took the gun out of the little man's hand and felt sick. Then I got up and locked the door. Why did you kill him? Well, it's like I told you, Mr. Reagan, he came in here, he shouted at me, and I saw red. What did he shout at you? Well, it was something nasty, something I'd rather not repeat. For that you killed him?  Let's try it once more.  Yeah, I tried, Mr. Reagan. You came to her dressing room and she was gone. Yeah, I tried, Mr. Reagan. And Jimmy Litten burst into the room, he said something, you got mad, shot him. Yes, sir. Where did you get the gun? Well, I told you it was in a dresser drawer. Your wife's gun? Yes, Mr. Reagan.  You're covering for somebody, aren't you, Wellie? No, sir. You're covering for somebody. It's too pat, too easy, too simple. No, no, no, no. I'm not covering for anybody. Wellie, listen to me. What happened? What really happened?  You're covering for somebody. I killed him. I killed him, Mr. Reagan. Let me alone, Mr. Reagan. Let me alone. Okay, Wellie. We'll call the police. Lieutenant Sanducci came and went and took Wellington Butterfield with him. I waited around for nothing. For a rubber band that quit practicing only long enough for the sound of the police iron to fade like a bad taste in your mouth and then start practicing again. I went to the bar out front and found Sue Butterfield coming in the front door. Still here, Mr. Reagan? I thought you might leave with those police gentlemen. I like to ooze out. Then if you'll excuse me, I have to rehearse. You got a minute? Well, I really have. All right, it will only be a minute, Mr. Reagan.  Well, it's just like I told you, Mr. Reagan. Wellington should never have hated Jimmy Litten. He should have felt pity for her. You didn't answer my question. Well, Mr. Reagan, you'd hardly expect a wife to think her husband guilty of it. Whatever. Where were you? I beg your pardon. When it happened, where were you? Back stage, changing my costume. For rehearsal? After all, Mr. Reagan, I had to see if it looked all right with a knife. But you didn't use your dressing room. Somebody put my dress in the wrong room. I went there. Alone. Mr. Reagan. In the tone of your conversation. Oh, never mind. Forget it. Well, listen to the way you talk, a person. I said forget it, Mrs. Butterfield. The orchestra's waiting. A slow-eyed brunette drifted down to the band stand like milk leaves in a southern breeze. And then suddenly I couldn't stand the air around the blue club. I drove back to Hollywood. Mind if I come in, Lil? Reagan, I'm sorry about this afternoon. It's okay, Lil. Reagan, something's bothering you. Something you don't like. I know what I can tell. Your husband's dead, Lil. My husband? He was shot an hour ago. Your kid? No. No, you're not kidding. I found him in Sue Butterfield's dressing room. Butterfield had the gun in his hand. Really? Yeah, yeah, I know. I told you this morning about my husband and me. You don't have to explain. Let me finish. I told you, Jimmy and I, the way it is, was. I said I stopped caring what he did two years ago. I'm in it, Reagan.  Thanks, Lil. He was smooth and slick and clever. He's dead, let's forget it. I've got to know some things, Lil. It's important that I know.  Well, he worked over there, right across the way from me. I knew him, Reagan. He wouldn't kill a man. I know that. But you just said it. Wellington said, gun in hand, he told me he shot your husband. For 30 minutes, he stuck to it. Isn't there anything you can do, Sure, mix a drink. She mixed a drink, two of them. Lillian Litton, the dead man's widow. And we drank the drinks and talked about everything and nothing and not murder or her dead husband or the little man on the way to the gas chamber, but it wouldn't stay that way. I borrowed Lillian Litton's phone and called the lion. Anthony J. Lyle- Me, Fatso. Jeffrey, I was hoping you'd check in in Mr. Butterfield Call. He what? He called from the police station. Jeffrey, our clients committed murder. That's why I called you. Lieutenant Sanducci told him he could make the call. Mr. Butterfield just wanted to thank you for everything. Is that all? He told me it wasn't your fault that you tried to help him. He said he was getting ready to sign a confession. He didn't tell you anything else, Fatso? No. He sounded so sad, Jeffrey. Why did he kill the man? Later, Fatso. But I thought it was his wife who was in danger. Lyle, and that's it. Jeffrey, what's it? Hang up, Fatso. You're wasting time. The lion was wasting time all right. I told Lyle I'd see her later and head my car toward City Hall. If I push this speed limit, I might get there before Sanducci could have the little man's statement typed up for signature. I got there. What's the hurry? Sanducci did Butterfield's sign yet. No, no, no. Take it easy, Regan. My stand was typing it up. He was getting excited. Butterfield didn't kill that man. I know he didn't. Oh, that's an interesting twist. A man comes to me asking to be locked up by a new savior. What's your evidence? I haven't any. Not yet, but give me time. Time to talk my number one inmate out of a confession. Are you crazy, Regan? Listen, Sanducci, Butterfield is taking the rap for somebody else. He's that kind of a guy. Well, it's a twist, all right. Nice story as I've heard. Give me 10 minutes with him, Sanducci. Just 10 minutes. Give me a chance to get the real story. Regan, you're stepping out of bounds. I know you want to protect the client, but messing with an open in short case is something else. Yes? I got that statement ready for the prisoner to sign, Lieutenant. Oh, good. Bring it in freely. You heard him, Regan. Sanducci, 10 minutes. That's all I asked. Just 10 minutes. Regan, thanks. Thanks a lot. Oh, God, they're watching the line. The turnkey took me to the cell of Wellington Butterfield, and I was on my own. Hello, Mr. Regan. Well, listen, they've got a statement in there. All typed up. Sign it, and you've got a season's pass to the gas chamber. Yes, sir. I know that. Wellie, it's your life. You were alone when you shot Lytton. I told you that, Mr. Regan. Your wife wasn't in that room with you. Leave Sue out of it.  Sue was in the room, changing costume when Lytton burst in. She told me that, Wellie. She did? She said she was behind the screen, putting on the dress she was going to wear for the show. How come you forgot that? Well, it must have been a mistake. Sure it did. Your wife told me something else. She said nobody threatened her life. Well, Mr. Regan, I know better. I hurt...  Then I'll say it for you. You lied. Lied to me about Sue's life in danger. Sure, you overheard a conversation in her dressing room. Well, it must have just left my mind. Sure it did. Your wife told me something else. Sure, you overheard a conversation in her dressing room, but there's nothing wrong with your ears. You knew what they were saying. They? Sue and Jimmy Lytton.  You knew that. That's why you hired me to watch her. You loved her too much to turn her over to the police, so you hired me to protect yourself. But that doesn't mean I didn't kill Lytton. Sue will testify it. She saw me do it. How could she have seen you do it when she was behind the screen dressing? Your story so crossed up, Wellie, even you can't make sense out of it. Your wife wanted Jimmy Lytton to get rid of you. He backed out. That's why he was so frightened when I saw him. That's why he ran from me outside your office for once he'd gotten in over his head. Sue is not that mean, Miss Regan. She just needs to understand. I heard that once before, but even Jimmy Lytton couldn't take her any longer. He was leaving her cold, so she shot him, and you were taking the rap. The statement, Regan, is ready. You said you'd give me 10 minutes.  There is a very well, but there must be facts. Sanducci, let me read that statement first. Very well, Regan. You read it. Well, Regan, Mr. Regan, please. Regan, you're just obstructing justice. You know I could have you run in. Sanducci, it says here the body was found with bruises about the face, a cut under the eye. That's right, Regan. Butterfield left that part out of it at first, but when we examined that body, he admitted there had been a few blows between them. Oh, that's right, Mr. Regan. I'd forgot that part. Sanducci, Butterfield didn't fight with Lytton. He's lying. Regan, get out of here. Wait a minute.  Did you find bruises or cuts on Butterfield? Well, no. Yet Lytton was beaten about the face. Lytton, a man almost twice the size of Butterfield, is found beaten, but Butterfield hasn't got a scratch on him. So what? That still does not prove it. It proves Wellington Butterfield lied. If he lied, once he lied for all of it. I know, Sanducci, because I'm the guy who gave Lytton those cuts and bruises. Regan, for the last time... Lytton and I exchanged the blows, Sanducci, outside the blue club. It was just after that that Lytton ran inside and was killed. When you found the bruises, Butterfield had to change his story to make it fit. Go on, Regan. He lied again about being alone in the room. He just told me his wife was there with him. That's right, Butterfield. Well, um... Well, yes, sir, Sue was... Sue was with me. How many lies can you take, Sanducci?  This man's covering all the way trying to take the rap. Oh, oh, Regan! For his wife. Mr. Regan, you shouldn't have said that. Had enough, Sanducci? Give me a motive, Regan. Lytton was running around with Butterfield's wife. She fell for him, but then he ditched her. Lytton's wife told me he was leaving town, not with Sue Butterfield, like I thought. Lytton was pulling out alone. I'm still listening.  He turned her down and she couldn't take that. Woman scorned Sanducci.  He could have testified against her. Butterfield, you got anything to say about that? Well, she... Sue loved Lytton. She told me that. She didn't never love me. I tried to be what she wanted. Honest, I did. I tried to write music. It'd sell and make a lot of money, so she wouldn't have to work. It just wasn't my kind of music. I always feel it was my fault. Don't you see? If I'd only have been what she wanted me to be, this wouldn't have happened. Lytton came into the dressing room. He was angry. He blamed Sue for bringing the detective Mr. Regan into it. They said things to each other. Sue shot him. Then you took the gun and made her leave. You took all the guilt, all the blame for everything she was and stood for. Had enough Sanducci. But it was my fault. Don't you see? I've had enough, Regan. I gave a statement. Lillian gave a statement. Sue Butterfield came to jail with a bevy of lawyers. Didn't figure the lawyers do much good.  Resting, Fatso. Resting and relaxing. Are you still working for the Lyon detective agency, or have you retired from active duty? No, Lyon. The case was only closed a couple of hours ago. Well, at least you could have done his report back to me. After all, I'm interested in the welfare of our clients. Sorry, Fatso. Well, we'll forget it for now. Jeffrey, I have here a Mr. Harrington. He says he wants us to handle his case, and I believe he needs our help. Just a minute, Fatso. Okay, Fatso, shoot. Well, Jeffrey, our client has a most unusual case. It seems he was out driving the other day in his new Nash Rambler. Now, he had the top down, so he didn't notice there was a helicopter flying over him. No, Jim. Sure. Real cute. Like I said, Lill, you make good drinks. Now, our Jeffrey, are you taking all this down? Jeff Regan Investigator is written by William Fruge and William Fifield, produced and directed by Sterling Tracy, and stars Paul Dubov as Regan with Frank Nelson as Anthony J. Lyon. Original music is by Dick Aron. Jeff Regan Investigator is heard each week at the same time over CBS. Bob Stephenson speaking, inviting you to be with us again next Wednesday at 9 for more suspense and mystery and adventure with Jeff Regan Investigator. Thank you.


This is Mario Casquero. I am a software quality engineer from Red Hat Spain. And, well, this is my first time at DEF CON here in Brenno. And also my first time delivering a topic in a conference. So I hope you all will enjoy this lightning talk as much as I will do. Let's start. Today's agenda includes first quality testing, the basic concept, and some different types of tests that every quality engineer runs in the day to day. Next is how carbon emissions and clean electricity are directly related to a developer's work and how can those emissions be reduced. Next is what is carbon-aware software, how does it work, and the two main solutions used by retail companies. Finally, I'm going to present one of those solutions and how it is possible to make use of it in order to make not only quality testing carbon-aware, but basically any other task. So quality testing is mainly what we do as quality engineers. We keep some continuous control onto a product with the idea of reducing or even better eliminating the possible errors before this one goes to the market. The way we follow to achieve this is through a bunch of different tests that includes stress and regression testing, smoke testing, negative tests, sanity testing, and so on. So let's go with a little introduction for each one. Stress testing, it consists in performing any supported operation by the product in conditions of insufficient resources such as memory or disk space, high coherency, denial of service attacks, etc. For regression testing, the idea is to run tests over one or more features already existing in the product because they have been modified. Depending on the resources, the priority, or just the time, it is possible to test all the existing cases or prioritize some of them according to the changes that have been made. Smoke testing is simply the necessary set of preliminary tests that covers the critical functionalities of the product. First of all, starting the application. In case of failures, the software release of the product may be affected, so they are quite important. Testing ensures that a system handles properly, for example, unwanted data input and unexpected user actions. And sanity testing is similar to smoke testing, but it goes deeper because it covers more than the critical functionalities. Doing this over a stable build, typically related with the new or fixed functionality. It can be also understood as a subset of the regression testing. So, as everybody knows, carbon emissions are one of our current and biggest problems. A lot of companies are trying to reduce them, as it is the case with Red Hat. We will intend to reach net zero emissions by 2030. Nowadays, it is possible to reduce this carbon footprint inside a different time or location for running things. Because most of the electricity is produced by burning fossil fuels, but there is a percentage getting bigger and bigger, produced by renewable and cleaner sources such as solar and wind. So, if we make our software conscious to do more when the electricity is clean and do less when the electricity is dirty, that means produced by fossil fuels, then that's called carbon-aware software. If we are looking for our software to be aware of the carbon emissions, we need to start thinking about real data emissions and probably the most important forecast. Keeping in mind the provenance of electricity that is already measured in grams of carbon dioxide per kilowatt hour, it will be possible to select a time in which this amount is the lowest in order to run, for example, some stress testing, as I mentioned, that usually consumes a high amount of energy. If it also keeps the possibility to run things at different locations, the real data emissions or the forecast can be checked depending on the source selected. All of these are actually possible by the two following solutions, this time on electricity maps. For this lightning talk, a city's only 15 minutes, I will be focused on electricity maps. And the truth is that it is not totally free, they provide a free month trial, so it is enough at least to give a try, as is my case. Electricity maps work through an API, and the following endpoints are provided. Those are carbon intensity, power breakdown, power consumption breakdown, and power production breakdown. The last two ones are merely forecasts, so they do not offer real data. For today's purpose, the most interesting is the first one, it is carbon intensity. First of all, we will be obtaining the sound code for the region we want to know the current carbon emissions or to read the forecast. This is a public API, okay, registration is not needed in this case, so everybody can trigger it. If we take a look to the response, it is composed by a huge list of the supported countries and regions. I've summarized this one a bit, and we have to look for the one we are interested in. In this case, we have Chica here. As a clarification, we are only interested in the sound code, so for Chica it will be CMZ, not the sound name that is already Chica. Once we know the region, reading the real data emissions from the carbon dioxide will require the following endpoints. You will see the latest at the end of the endpoint and the sound code obtained previously. Taking a look to the response for the selected sound, in this case Chica, we have this carbon intensity value. This number will be lowered when the electricity is cleaner, that means produced by renewable sources, and higher when more fossil fuels have been used. This is actually measured in grams of carbon per kilowatt hour. One more thing, if you want to disable estimations for this kind of endpoint, you can just include the query parameter in the request, so include disable estimations, set it as true. To obtain a 24 hours forecast, the following endpoint has to be used. You can see the forecast at the end of the endpoint, and again the sound with the region we have obtained before. A real application for this could be to prepare an automated process that given a region, as it could be Chica, it will select the desired time based on the API results for sure, when the carbon intensity will be the lowest. Taking again a response during all the 24 hours forecast, this has been summarized again for sure, a real response will be so much bigger. We have 337 grams of carbon dioxide per kilowatt hour at this daytime, so that is the ideal time for running something like a stress test. That's it, that's a proper way that we can contribute to make our software aware of carbon emissions. One more thing, they provide cold snippets for making it easier to the final use to integrate these kind of endpoints. For example, you can obtain the cuckoo man, JavaScript functions, or a Python script among many other things. That's all, thank you so much for your time. If you have some questions. You are asking if the forecast changes a lot. Actually, it's true then because it uses estimation that is actually providing data in real time. It could change from maybe 10 hours or 12 but in the near time it should be quite confident. I'll just give you one try. Providers, how to go and so on, match the basic life. They take control of their variables like traffic, because I know in Google that they provide weather data, for example, to enrich the whole CO2 perspective. I don't have as much as experience with electricity maps as for this case, but I think not all variables are included in the estimation procedure. I also saw that it changed between America and Europe. For Europe, there are some extra data that you can keep in mind in order to provide those values. For America, it's not. It will depend on the region, and I am not sure if all the variables have the traffic or the way the electricity is produced are included. I am not so depth in electricity maps. Any more questions? Yeah, because that way you are consuming energy when it is produced from something like the sun or the wind. So you are not directly contributing to provide more CO to the atmosphere. We are out of time, we can discuss outside if you want. Thank you so much.


Man arrested after high-speed chase, farms being impacted by pandemic, lane closures next week on North 14th Street in Sheboygan. These and other local stories are coming up on this edition of Community News Review. I'm Maddie Fister and this is Community News Review for Thursday, April 9th, 2020. One of the Sheboygan's busiest streets will undergo utility work next week, likely causing slowdowns, especially during peak travel times. City Engineer Ryan Sazama announced that North 14th Street will be restricted to one lane traffic in each direction between Niagara and Wisconsin Avenues. That's just south of 14th Street Bridge. The restrictions will last the duration of the utility work starting Monday, April 13th, weather permitting. The utility work should be done by the end of the business day on Friday, the 17th. Sazama is asking for patience and cooperation and reminds drivers to slow down in construction zones during the project. A man is in custody after a high-speed chase in the town of Sheboygan on Wednesday night. The Sheboygan County Sheriff's Department says they tried to stop a vehicle on Mueller Road shortly before midnight, but the driver would not stop, leading the deputies on a chase that reached speeds of 90 miles per hour.  After responding officers broke the window of his car to get him out, he assaulted the officers before being placed in handcuffs. The man is now facing his fourth OWI charges, along with felonies for assaulting the officers and resisting arrest. As if low commodity prices, bad weather, and global market uncertainties weren't enough, Wisconsin's farmers are now challenged like everyone else during the COVID-19 pandemic, but there are available resources designed especially for farmers from the Department of Agriculture, Trade, and Consumer Protection's Wisconsin Farm Center. The center provides services such as financial and business consultants, farm succession and ownership transition planning, legal and financial mediation, and more, including counseling vouchers, and all at no charge to the farmer. About 2,000 calls come into the farm center each year according to the DATCP Interim Secretary Randy Romanski. He said, although each year has its challenges, no one could have predicted the COVID-19 and its effects. But Krista Kinigge, administrator for the Department's Division of Agriculture Department, said that they are ready to help farmers through this challenge, too. Farmers and agribusiness owners can contact the farm center by phone at 1-800-942-2474. Sheboygan Police are urging the public to mind Wisconsin's safer-at-home emergency order when using the city's parks. Team sports activities, playground, picnics, shelters, park restrooms, and other areas where maintaining appropriate social distancing is difficult have been closed. And while limiting recreation is encouraged for well-being during the coronavirus crisis, the city of Sheboygan is urging park and trail users to practice social distancing, keep a six-foot distance from the other park users, consider wearing fabric masks, and to not gather in groups. The Kiwanis Park, Skate Park, and the Disc Golf Course in J.C. Park are open and being monitored by city staff. And if the rules violations are seen, then the city will consider closing these areas. The Vallrath Park Disc Golf Course remains closed until further notice. People are advised to check police and city government's social media pages for any updates. Gas prices in Wisconsin are now some of the lowest in the nation. According to the website on GasBuddy.com, Senior Petroleum Analysis Patrick D. Hunt says the average prices for a gallon of gas of unleaded in the Badger State is now $1.42. He says recent events in the global oil market have a lot to do with the dip. There was an OPEC meeting about a month ago to discuss cutting oil production. Instead of an agreement on cutting oil production, Saudi Arabia and Russia both left the meeting saying they're going to increase production instead. Dihon told WXPR Radio in Rhinelander essentially started an oil production war that has led oil prices down to as low as $20 last week. Some industry insiders have also noted that with California and New York under travel restrictions, there are more gasoline supply in the United States as well. Gas prices in the Wausau area are as low as $1.56 per gallon, with some stations selling 15% ethanol for under $1.50. Diesel prices have also dipped to below $2 per gallon. Dihon adds that just like every other public place, you should treat gas pumps like they may have traces of coronavirus on them. Remember to be hygienic when filling up. A lot of germs on gas pumps, and I'd remind people to stay clean and healthy by at least using some hand sanitizers if not delaying purchases of gasoline if you can. The increased demand and lower prices have not been great for everyone. However, American ethanol giant poet announced on Tuesday that they have slowed production at many of their facilities and have cut down on the amount of corn they are buying. The decreases has also delayed their plans for a new ethanol plant in Indiana. And finally, one more person between the ages of 20 and 39 in Sheboygan County has tested positive for the COVID-19 virus, raising the total number so far to 33 cases. 19 of those 33 can be attributed to the outbreak at Sunny Ridge, and 12 persons have recovered, and the two deceased were residents at Sunny Ridge, where a contact investigation continues in effort to identify all who have had contact with the known positive cases. Those identified will be asked to quarantine themselves for 14 days from their exposure and will be monitored for fever and respiratory symptoms. Due to the overwhelming demand for testing, a tiered system has been established by the state so that cases can be prioritized. A physician's order is still required in order to be tested for the coronavirus, and 434 of those who have been tested so far in Sheboygan County were tested negative. And that is our report for today. Join me again on Tuesday for more local news and information on Community News Review. News content for this program is provided by WHBL in cooperation with WSCSTV.