<p><b>**SEE JL-15MO FOR ADDITIONAL STORY INFORMATION</b></p>\n<p></p>\n<p><b>--SUPERS--</b></p>\n<p>Monday</p>\n<p>Martin County, FL</p>\n<p></p>\n<p>Sheriff William Snyder</p>\n<p>Martin County Sheriff's Office </p>\n<p></p>\n<p><b>--VIDEO SHOWS--</b></p>\n<p>presser with Martin County Sheriff's Office </p>\n<p></p>\n<p><b>--SOT</b>--</p>\n<p>Sheriff William Snyder</p>\n<p>Have, we just turned on blue lights and, and he would have taken off. We would have, we would have to pin him and crash him on 995. But I'll say this, it was probably the highest profile stop the sheriff's office has ever made. We were stopping the man who, uh, uh, was involved in the assassination attempt on the highest profile target on the planet. And, and I am thankful to the men and women in this sheriff's office that, uh, put themselves in harm's way and apprehended that suspect without incident.</p>\n<p></p>\n<p><b>--KEYWORD TAGS--</b></p>\n<p>TRUMP FLORIDA ASSASSINATION ATTEMPT DONALD TRUMP ELECTION</p>\n<p></p>

Passage To Bermuda 1963 1960s Color Color North America Bermuda A trip to Bermuda in 1963 hosted by Jonathan Winters. people dressed up at outdoor garden party. Man wearing pith helmut. Blue blazers. Man wearing tall woman's tall straw hat with blue ribbon. Bermuda shorts with white knee socks. Woman with pearls. Lighting and smoking cigarettes, John F Kennedy and British Prime Minister Harold MacMillan pose in front of Government House, Bermuda, CU Harry Truman smiling. Truman holding a child with a group of people, street sign on stone wall: Silk Alley or Petticoat Lane. Jonathan Winters saunters down street hold hat and making faces, street sign on wall: Shinbone Alley. Jonathan Winters walks towards camera and bumps shin into barrel. Winces in pain. street sign on stone wall: Duke of Cumberland Lane or Old Maid's Lane. Jonathan Winters walks towards camera shaking like an old man, camera tracks through row of white lillies in a garden. Cuts to sexy woman in white dress reclining on elbow in middle of lily garden. actress Mary Martin sitting in the shade in a summer dress painting on an easel with long thin brush. young girls dressed as flowers with large colorful collars and hats. aerial views of Bermuda hotels. Elbow Beach Hotel, Wyndham Bermuda Resort, guest house, cottage colony. Gibbs Hill lighthouse. Couple on top, woman's hat blows off and falls though air. parade with floats covered in flowers. Boy with camera sitting on father's shoulders takes picture. Beauty queen on float waves. Jonathan Winters with reflex camera taking picture. Looks confused. Looks at watch. Weather vane on tower (looks like a clock). man and woman on rocks above beach. Man has camera, hands it to woman, says wow. man and woman holding hands run down steps to beach. Man and woman in bathing suits run into water. Another couple cavort in the waves. overhead shot, man and woman relaxing on beach with large rocks. Woman in bathing suit relaxing on beach with feet on rocks. Man helps put swimming flippers on foot of young smiling blond woman in bikini sitting on rocks. Scuba tank is nearby. Couples playing on beach and in water. Large beach umbrella, two people snorkeling. Woman on raft. Girl pushes doll on raft. young blond girl swims towards camera. Boy and girl on raft wearing flowered straw hats paddle towards camera. Young blond girl in water with large red balloon looks at camera. young boy in very small boat with puppy cradles duck. Young boy floats on raft. Two young boys in small boat hold puppy and duck. Duck jumps into water. blond woman in bikini lying face up on raft floats by man lying face down on raft. Blond woman glides around on raft. Black dog wearing sunglasses floats by on raft. Jonathan Winters in bathing suit lying on raft in swimming pool reading newspaper. Dips fingers in water to turn pages. Zoom into magazine article on John Lautner's Chemosphere House. two men drive golf balls off of tees overlooking water. Woman sinks a putt while man holds flag. low angle from water of Sunfish sailboat race. One boat capsizes. girl sailing Sunfish capsizes. Twp men struggle with sail on Sunfish. One climbs on as it sails away. water skiing tricks. Woman has legs around man on skis. deep sea fishing. Man hauls sailfish with gaffing hook and brings him on boat. Old woman sitting in fishing chair points to fish. underwater shot of bonefish swimming. Man standing in surf with fishing pole reachs down and brings fish out of water with one hand and holds it up. Jonathan Winters standing in front of large acquarium pretending to talk to fish. man and woman divers underwater wearing diving helmets caressing tropical fish. Fish swims through hoop. underwater diver feeds hog fish with baby bottle and from beer bottle. Smaller tropical fish swarm. Diver holds doll. sailfish sails by couple eating dinner on terrace of restaurant next to water. They drink wine. Man puts cracker in woman's mouth. street sign on concrete wall Featherbed Alley. Pan down to Jonathan Winnters wearing straw hat sitting on ground leaning against wall

INTERVIEW RESUMES: David Susskind Bob Brown you want to say something? Bob Brown Yes I wanted to say something. I had nothing to do really with showing this merchandise to children, the United States government since this summer, which is not so long ago. has sent overseas to deprive nations over 14 million condoms. The United States government has done that at a cost of the American taxpayer are $3.02 per gross. Now the interesting thing about these condoms that makes it different from what we've shipped in the past, is that these are in colors. They are in red, white and blue. They are in black. They are in gray. And they are in pink, to encourage the people overseas to try these things. Now, the United States government has embarked on this. The United States government embarked on another project that cost us $2 million a commission for obscenity and pornography. Yes. Which nobody's paying any attention to Barnard Sackett the what you're saying is maybe in all the hardcore films if the men wore prophylactics will be acceptable. Bob Brown That might be people David Susskind Do you disagree in New York Times reporter a fairly recently went to a porno theater. And he described it as being filled with men who generally sat alone, careful not to sit next to anybody. Some seats between them when the house lights came on. He said they looked embarrassed to be there. Is that an unfair description? Barnard Sackett I like to know who the man was Wakefield Poole I think so too Barnard Sackett I think I think we should have him analyze first. Wakefield Poole I think it's terribly untrue Bob Brown really everything's in the eye of the beholder. Martin Hodas He did an article he I was in that article. And I'll tell you right now, it was quite slanted, like most things I found that are in the newspapers. I don't think basically after I've read so many things about myself in the newspapers, and I was wondering after I put it down who this individual was. So basically, I've come to the conclusion that the newspapers just they do certain things for sensationalism, they're a business they want people to read their their press and they don't want to they don't have this press in there for people to to look at and just get a unordinary feeling from it has to be a little bit sensationalist. So they have to they add in a little bit between the lines and everything for us to say whether this reporter was telling the truth or not Barnard Sackett Martin I'll tell you a funny example. I have a film a called a rock icon that opened in Washington. The Washington Post refused to accept the advertised with the name Erotica con. So I went down to the Washington Post and I saw the advertising message Why won't you take the title is because pornography, it's pornographic? It's obscene. It's dirty as a way to go to what does it mean? He says, Don't you know what it means? I said of course I do. I made it up is Oh, I thought was a word. The dictionary actually happened The Washington Post. So we got the word through. You got your head. Of course the title got through not the ad. David Susskind There's not really harassment there's a good deal of amusement in your work, isn't it? Barnard Sackett Yes. If you that's why just like going to see the so called pornographic films David people come in come in with a sense of humor. They come into enjoy themselves, you know, not to be afraid to look at one another. We put the house lights on during intermission. People look at each other. They want to make friends. Wakefield Poole The guilt syndrome has gone to I mean, that's I think that's a thing of the past. David Susskind I'm curious, what kind of people make your pornographic movies. What kind of actors? Wakefield Poole as the actors David Susskind wild exhibitionists. Wakefield Poole No, no, you're wrong. Bob Brown demure housewives Wakefield Poole no ordinary people. I mean, Barnard Sackett they want to learn the business. Wakefield Poole They want to learn the business. Not only that, I think everyone has a desire to be immortal. And it's a chance you know, Hollywood, the old days of Hollywood, everyone used to run to Hollywood, you know, to try and get into films. Now. porno films are being made underground films. And it's that same thing that made people in the 30s and the 40s rush to Hollywood it's that being a mortal being there to to having the experience of seeing oneself there. I don't think it's to see themselves have sex. I think it's just the idea of being on film. Martin Hodas You know, there is no doubt in my mind that in the years to come we'll see maybe two maybe five years maybe 10 years we're gonna look back right now and what on what this government has done you could say to people in our business we're gonna look back at it as we look back today on what Massachusetts did to the witches up there in those days David Susskind Oh, I hardly think so Martin Hodas Well I basically believe in I think almost every business believes in it. I think I think that is such nonsense what is going on today is such nonsense and all all the money that's being spent in everything to like this fella Keating and everything to show people you know what's happening in your neighborhood the show that's what for what for? In other words they burnt witches in those days and they thought they were doing the right thing. Ascending and Descending people today that are making sex film to gently think of doing the right thing. And who are you to say basically that in 10 years from now, we're not going to look back at it and say it was a travesty of justice this is definitely going to happen. David Susskind I think you can't compare yourself to the New England witches have Martin Hodas Well right now let me tell you in those days they believed in witches. This is wrong. Bob Brown This F lee Bailey, the noted criminal lawyer has just come out with a magazine which is supposed to be a competitor to playboy. The first issue came out in October. So obviously there's more than one issue. The name of it is gallery. Definitely Bailey just felt like putting this out. He is. David Susskind It's a hobby. Bob Brown It's a hobby, okay. But it's a sex magazine. The first run has 425,000 copies that that will be unavailable in no time. Playboy put out a competitor to itself, we compare it to its to itself called Oui oui, French. And their first run was 800,000 copies about three months ago, within a week, you could not buy a copy. They are all collector's items. David Susskind There is no doubt that there's a wide appetite for this. And I also want to say it's my job to question you sharply. But if you said what do you think, I believe in the prohibitions of that commission of the obscenity commission that children should not be allowed to get access? And certainly you shouldn't entice with overly graphics? Bob Brown Well, we all agree with that. David Susskind But I would say that consenting adults have a right to read the books books they want to read Martin Hodas I don't think there is a bookstore in this country Bob Brown We all agree with that but that doesn't make a bit of difference. David Susskind we will come to the time in this country when an adult may make his own decision with respect. Bob Brown I'd like it to happen in my lifetime David Susskind It will happen in your lifetime Martin Hodas why do we have to wait for it right now to constitution says we are entiltled to it right now? David Susskind You might have to wait another four years or so. But let me ask you a question. Do you personally enjoy the stuff you sell and show? Barnard Sackett I personally don't look at the films that I play I don't have the time for it. Well, that's Martin Hodas a very very boring in other words, anything to do with sex is very boring to me. Right? David Susskind I would agree with that I Martin Hodas find after a while you know, it's like a Chinese proverb that says you know, that which is the least obtainable is the most desired that which is the most obtainable as at least desire. That's stolen cookie. Yeah, basically, that's the size of yourself. You've made it easy and it's no longer that desire, but that's why the business has fallen off to what it has. It's because a guy knows that hey, you know, he says I can come next week and get a magazine so David Susskind you yourselves are bored with it. Wakefield Poole Bored doing it or bored seeing it? David Susskind board seeing it board reading it Barnard Sackett board see get to such an extent I decide to try something I'm very serious about this. I've decided I'm going to take one week of an advertiser film, and you come to that theater, you see absolutely nothing on the screen for an hour and a half. But music, are you gonna hear his music? I'm serious about this. I might run the film, you know, process film, get all that, you know, the the mock through, that's all and let people have their I don't have a title and an end. And let people imagine what they think they've seen on that screen. And I thought putting a girl on the door, the take tickets, you know, very flimsy outfit, which will set them up with the idea. David Susskind I've heard everything. Now I want to thank you very much for coming. Do you have a final Bob Brown Yes I have a final one in 1957? In the Roth case, which was very important case David Susskind you're a historian of pornography Bob Brown Well, I've been in porn enough almost a lawyer on 1857. Roth versus United States and Albert, Albert versus California. Supreme Court Justice Bennon ruled that obscenity and sex are not synonymous. Now therein lies the crux of the problem, David, all these law enforcement officials, all these sex organizations who pay their people to fight it, claim that sex just sex is illegal, immoral, degrading, wicked, vicious and should be put out of business. Well, if it were, we wouldn't be here. But that's the problem. To them. Sex is illegal. And they're the ones who need those Wakefield Poole Biggest obscenities of Vietnam War. David Susskind I buy that. We'll be back in a minute. Thank you gentleman

Criterion Restaurant, London. <br/> <br/>L/S of a fashion model walking along a raised catwalk in the restaurant. Man stands behind a microphone presumably describing her outfit. Narrator states: "There was a time when women were content to wear the trousers, but now they're wearing another conventional part of male dress - the waistcoat." M/S of the model who is wearing a rather fabulous shaped waistcoat with sticky out collar. This show is at the "Waistcoat Club". Model strikes various poses. M/S of a group sitting at a table. One of the woman wears a red and white striped shirt with a blue waistcoat with stars on it - a variation on the American "stars and stripes" flag. C/U of her showing the outfit to good effect. Camera pans down. Narrator says something about this outfit being inspired by a honeymoon in America. <br/> <br/>Another waistcoat is modelled - red velvet with black trims. Narrator describes this outfit as having "the accent on glamour". Model wears long gloves. Shots of another waistcoat being modelled are intercut with shots of the audience. Narrator recounts the history of the waistcoat. <br/> <br/>A young Jon Pertwee (later of course Doctor Who!) is seen talking to Jean Marsh (actress and later wife of JP) about waistcoats. Jon has a collection of waistcoats dating back 300 years and he was a founder member of the Waistcoat Club. More styles are modelled. L/S of Geraldine Smith modelling an embroidered waistcoat suitable to wear on the beach (great hat and sunglasses too!) - a photographer is seen in the foreground as well as large film light. L/S of Jon Pertwee and Jean Marsh with another couple - Michael Pertwee (Jon's brother) and his wife Valerie French. C/U of Jon putting a cigarette case in the pocket of his ornately embroidered waistcoat. <br/> <br/>Narrator states that the Waistcoat Club was founded in 1953 to "add a little colour to men's austere clothing." C/U of Michael Pertwee and his wife Valerie. L/S of another group of waistcoat fans which includes Peter Cushing, host Charles Stein and Mike Hawthorn. Various shots of the group and of their waistcoats. C/U of "in-the-fashion" Helene Cordet gets a few hints from James Norbury (they compare waistcoats). C/U of Sandra Dorne who wears a super glamorous leopard print waistcoat which the narrator observes: "knocks spots off the others". A group of three models pose in their waistcoats. "Some men may complain" states the narrator, "but if waistcoats can look like this on the fair sex, let's forget convention and give them equality." <br/> <br/>Note: what a great step forward for feminism! <br/> <br/>Sandra Dorne was a British film actress. Helene Cordet was French but appeared in 3 British films. Jean Marsh was married to Jon Pertwee sometime in 1955 - later divorced. Not sure who James Norbury is. According to paper records, the girl in the stars and stripes outfit is June Oakes. Other personalities mentioned in paperwork are Charles Forte, Anna Valentina, Penny Morial (sp?) and Mary Parker. Models are listed in paperwork as Jean Clark, Geraldine Lawson Smith, June Woodcroft and Diana Martin. <br/> <br/>This was apparently a New Year's Eve party.

CU MCCARTHY BUTTON ON DRESS OF GIEL. CU GOOD LA WASHINGTON MOUNMENT AGAINST BLUE SKY WITH LIGHT CLOUDS. PAN DOWN TO CROWD SEATED ON GROUND. VS CROWD, MILLING ABOUT. LS WITH TRE- MENDOUS CROWD AND BASE OF WASHINGTON MONUMENT WITH AMERICAN FLAGS. MOST OF CROWD ARE YOUNG. ALL SIT ON GRASS SHOWING THEIR SUPPORT FOR POOR PEOPLES MARCH. VARIOUS PAN DOWN WASHINGTON MONUMENT. MS TWO BAND PLAYERS SINGING AND PLAYING ON BARS AND GUITAR. BILL CROSBY TALKS. CU FREEDOM SIGN WITH PICTURE OF DR. MARTIN LUTHER KING. TAP DANDER PERFORMS. ROBERT CULP STANDS BEFORE CROWD. CI: CIVIL RIGHTS - POOR PEOPLE MARCH, D. C. , WASHINGTON. PERSONALITIES - COSBY, BILL. PERSONALITIES - CULP. ROBERT (? ). BUILDINGS - MONUMENTS- MEMORIALS- WASHINGTON MONUMENT. ENTERTAINMENT - SHOWS- (SOLIDATARITY DAY SHOW FOR POOR PEOPL MARCH) .

WHERE TO GO IF YOU ARE IN D.C. FOR THE INAUGURATION.

LOS ANGELES COUNTY CAO

Common kingfisher in nature.

RICK WALTERS INTERVIEW BERT GRIMM'S TATTOO, Long Beach, CA DAVID ELLIS: How does the tattoo process begin - how do you make a tattoo. 18:18:52:17 RICK WALTERS: Well, the tattoo is made by, you start out with the picture that you draw and then you make a tracing of that picture and make a stencil of the tracing, then you apply the stencil to the skin and then you do your outline and shading and coloring. DAVID ELLIS: Can you make a guess - what do you think the tattoo process was like a hundred years ago? 18:19:16:06 RICK WALTERS: It was similar to what it is now, except for, instead of using, uh, the electricity that we use now they used batteries. They ran, basically, the same type of machine. DAVID ELLIS: For a sailor or whoever was getting tattooed in 1900 or 1920 - when people come in here they have the sterilized... 18:19:42:02 RICK WALTERS: YEAH, WELL, they didn't have the sterilization, right. DAVID ELLIS: But how did tattoo artists become artists in those days? What were they, really? 18:19:40.15 RICK WALTERS: Um, they served an apprenticeship. You know, and then, eventually, uh, after they apprenticed with somebody they opened up their own shop, but, like you were saying the sterilization doesn..., you know, wasn't anywhere near as good as it is now. Of course the diseases [CHUCKLING] weren't as bad then either, you know, and consequently, uh, nowadays, they were real critical on the sterilization and the proper care of putting the tattoo on. DAVID ELLIS: What is it that sterilization does for you? 18:20:20.20 RICK WALTERS: Well, it kills all the bacteria on all of the needles and, uh, you know, makes the cuhs, customer a lot more, you know, comfortable with the situation. But, basically, it cuts down any chance of infection or something of that nature. DAVID ELLIS: How do you guide people who are trying to choose the right design, but don't quite know? 18:20:43:03 RICK WALTERS: Well, it's sort of hard, actually, uh, to guide somebody to get a tattoo, you know, is, eh, it has to be something that they really want, you know, and so you can talk with them and find a, get an idea of what they like, you know what I mean, and then sort of aim them in the right direction and possibly send them home to find a picture at home, you know, it doesn't necessarily have to come out of the tattoo shop. DAVID ELLIS: I've been in a lot of shops and sometimes I see people, a lot like me, looking at all the flash, back and forth, back and forth. Do you try and analyze - can you tell when people come in the door what they need or want? 18:21:23:28 RICK WALTERS: NAHH, IT'S pretty hard to tell what they actually want without talking with them, you know, and it's pretty much a decision that they have to make their-self, you know, you can't really tell somebody what they like, they pretty much have to figure it out, you know, and find something that they really like, you know, because it's going to be on their body forever, you know, and you only got one shot at putting it on there. DAVID ELLIS: How do you take care of tattoos, what's the best way to maintain your tattoos? 18:21:52.00 RICK WALTERS: WELL, once you get the tattoo, then we bandage it and you leave the bandage on for, oh, eight to ten hours, and wash the residue that, the bleeding or whatever off, after you take the bandage off and then you use a thin coat of an antibiotic salve such as bacitracin or Neosporin and, after that, you just basically let it dry out and heal and, once it completely heals, if you're going to go out in the sun a lot, you probably ought to put a little sun-block on it to keep it from fading. DAVID ELLIS: You know, I told you I shipped out on the Merchant Marine when I was a kid and a lot of the guys ex-Navy guys from the war and their tattoos were kind of blue/black and, very often, you couldn't tell what they were. 18:22:37.08 RICK WALTERS: Yeah, well, back in the forties and fifties they used a, the larger line and the tattoos were more cartoonish than they are today and, consequently, the line spread a little because you have, you know, you're working on human flesh, you're not working on a piece of paper; and, so if the line doubles in size, if it was already, say, an eighth of an inch wide, then it would get blurry as it doubled, whereas, now, we try to use a little thinner line on the smaller designs, consequently, they stay nice for a longer period of time. Eh, and, you know, it's just a spreading, aging factor of the tattoo itself. DAVID ELLIS: So, if a 21-year-old comes and gets a tattoo, what should it look like and 40 years? 18:23:21.14 RICK WALTERS: Well, it depends on a lot of different things, you know, on, on the care they take of their skin for one thing and, also, on the ability of the person who put the tattoo on. I have tattoos on, myself, that are 20, 30 years old that look just fine. Whereas, I've seen tattoos that were 10 years old that look horrible, you know, and, uh, it's a combination of the person who has it and the guy who put it on in the first place. DAVID ELLIS: You were showing us your machine before and needles poking out, can you tell me what we were seeing in that closeup? 18:23:59:00 RICK WALTERS: Well, the machine runs free when it's not in the skin. I mean, we have a weighted bar on top of the, the machine that is pulled down by electromagnet and, consequently, you build a certain amount of inertia and the weight of the bar pushes the needles a certain depth into the skin and that's adjusted by spring tension and the amount of power that you put onto the machine and, consequently, you can regulate how deep the needles go into the skin, just by setting the machine up properly and it slows down when it hits the skin, I, uh, I don't know if you noticed or not, well, while I was tattooing the, if I wasn't in the skin it would be going a lot faster, then, as soon as I hit the skin you could hear it go [LOWER SOUND] slow down and, consequently, that's what causes the, the inertia and the depth of the needles. The ideal situation is to go through like three to four layers of skin where you have seven, so, you want to go about half-way through the skin, because if you go all the way through, then it gets blurry. DAVID ELLIS: How long should tattoos last? 18:25:04.26 RICK WALTERS: For rest of your life - forever and forever. You know, eh, as long as you take care of them. Now, they will get blurry over a large period, long period of time if you don't take care of your skin, you know, you, if you look through a picture that's on a old, dirty, nasty piece of glass it's going to look horrible, whereas, if you keep the glass nice and clean and shiny, the picture looks good and it's the same thing, the nicer your skin is, the better the tattoo looks. DAVID ELLIS: REST OF YOUR LIFE - I WAS JUST ADJUSTING.... Okay. What made you become a tattoo artist? 18:25:52:05 RICK WALTERS: UMMM. Well, I don't know, I started, uh, messing around with tattooing when I was real, real young and doing it by hand in the garage, you know, and whatever and, eventually, uh, I got good enough at, at doing it by hand that a guy took me off to the side and said, here, you've got to do it like this, here, and set me up with some machines and I practiced a little bit and, when I was about, oh, I'd say, 19, I started tattooing in a shop professionally and I'm 52 years old now, so I've been at it a couple of years. DAVID ELLIS: I know, as we all get older, we learn, hopefully, something about human nature, but you see people...what have you learned about human nature by tattooing people? 18:26:43:22 RICK WALTERS: UM. It's hard to say, people do some pretty stupid things occasionally, you know, eh, you know, some people are a little smarter than others, but, on the, in general, I guess, most people are fairly good people, but, occasionally, you get people that aren't, you know, but most of the time they're generally decent people, but sometimes they make mistakes, you know, that's just normal, you know. DAVID ELLIS: Tell me a little bit about the kind of people who've come in over the years, you know, who you've worked on. 18:27:16:09 RICK WALTERS: Well, you get a vy, variation of clients, nowadays especially, but, say, back in the sixties and fifty, or sixties and seventies, you did mostly bikers and waitresses and sailors and marines and people like that, whereas, in the last 10 to 15 years you get into a little more blue collar people, that's, you get occasionally doctors and lawyers and nurses and, you know, people who work in the grocery store, it's pretty much everybody's getting tattooed these days, in comparison to the old days, you know. So, the clientele, actually is a little nicer than it it used to be, you know. And it's sort of nice, working with nicer people. DAVID ELLIS: What do people talk about when they're sitting in your chair. 18:28:02:07 RICK WALTERS: Well, it's sort of like a barber shop, you know, just depends on what's on their mind, eh, girlfriend's mad at or, you know, their mom's going to get upset because they got a new tattoo or, whatever, you know, but, sometimes they talk about their cars, you know, it just depends on the person, and it's pretty much like I say, in a barber shop, you know, okay, everybody talks a little different thing, you sort of learn to just listen a little bit and, you know, just let [CHUCKLING] it go by. DAVID ELLIS: What were your favorite designs in the old days and how have they changed in the last 30 years. 18:28:41:17 RICK WALTERS: Oh, the designs nowadays are a lot more intricate than they were, say, back in the sixties and fifties and a lot of the older tattoo artists, you know, haven't came up with the times and they're still back in the fifties and sixties trying to make a living; and the ones that have any brains have progressed, you know, and, and moved on with the, you know, the trends, uh, cuh, tattoos nowadays are a lot more colorful, uh, more detail -- and favorite tattoos, oh, I don't know, I, I sort of l-lean towards the traditional-style tattoos and, uh, the big oriental pieces, but, then occasionally I'll do something real fine-line that I really like, it's hard to say, you know, it's, it's sort of a, oh, mixture of this and that and whatever and, and if you did the same thing over and over it'd get real boring, you know, so it's sort of nice being able to do a little of everything, but, like I say, some of the old guys they just never got the message, [CHUCKLING] you know, and they're back in the fifties. CHANGE TAPE 18:29:49 DAVID ELLIS: You know, I don't think I've seen anybody with this kind of blue line - I like that. RICK WALTERS: That's a shaded black, actually, it fades out into blue...when you shade the black out it goes from like black to gray. DAVID ELLIS: Does black become blue? RICK WALTERS: Um, actually, over the years it sort of turns a greenish color, you know, sort of a dark green. DAVID ELLIS: The old-timers I shipped with it was like you couldn't quite tell what color the old tattoos were. 19:00:37.28 RICK WALTERS: Yeah, they get that grainy look, sort of a, it's a real dark, almost green. The, some of my stuff's got a little green here and there, but... ROLLING DAVID ELLIS: I want to talk about technique. You were talking about how your work, after so many years, you're more efficient - what is it that a tattoo artist needs in terms of both art and technique to make the process work? 19:01:15:18 RICK WALTERS: Well, right often you'll find somebody who's a really, really good artist and they don't take the time to learn about the equipment and, consequently, they put on a beautiful tattoo, but six months later it just goes away, the lines are broken and the colors' faded and blotchy and, eventually, they will figure out how to use the equipment and get the ink under the skin, but, if somebody apprentices and learns how to put the ink under the skin first and then the artistic aspect of it is going to fall in, uh, you've saved probably, maybe 80 to 90% of the stuff you do, you trace anyway, even stuff I draw, I draw it on paper and then I trace it and put a stencil and put it on the skin, so it really isn't relevant who drew it, you know what I mean, it, it's more relevant how well it's put on the skin and how [SIGHS] smooth the lines are and how smooth the shading and coloring is. You know, that's really the most important part because that's what's going to make it last. Now, if you tattoo for a number years, sooner or later you're going to learn to draw, I mean, you can only trace a rose so many times, you know, eventually, you're going to learn how to draw a rose, I mean, if you've got any kind of common sense at all. DAVID ELLIS: What's your reaction when you see people that you did work on a year or five or ten years ago, do they ever come and revisit? 19:02:42. RICK WALTERS: YEAH, I see people quite often, since, as I've grew up in this area, so, quite a few of the people that I've tattooed 15, 20 years ago still end up coming down here and it's, you know, it's sort of interesting looking at the work, you know, and how it's progressed, you know, over the years and how they've taken care of it and whatever, occasionally, I'll pull somebody off to the side and tell them, let me touch that up for you, man, you know, because they, maybe they were a roofer, they were outside all the time and the color faded out of it, you know, it's hard to say what happened to them. DAVID ELLIS: I'm curious, some people seem to enjoy working with different artists, what is it that makes some people do that and others go to one artist and get their tattoos? 19:03:28. RICK WALTERS: Uh, it's sort of a, some people like to move around and get a little of this and a little of that and the other side of it is, is if you find somebody who's doing quality work then it's a good idea to stay with them because there are people out there who aren't, so, you, you found somebody that's doing good work, you know, might as well hang around for a while and some people research it and they actually find other artists that are doing, guh, real good work and they get a piece from this guy and a piece from that guy, you know, and, and, but they pay more attention on, on the quality of the work, whereas, you know, just, it's not really skipping from one shop to another, they actually, you know, figure out who's doing the good work and they go get a good piece from this guy or they go up to 'Frisco and get Ed Hardy to put a piece on them and then they'll go somewhere's else and have somebody else put a piece on them. DAVID ELLIS: Can I ask you a little bit about Bert Grimm's, this is an amazing place, how do you tell us briefly, what makes this a special place to be for you? 19:04:30. RICK WALTERS: Well, it's the oldest shop in the United States so that sort of makes it real special and Bert, he's sort of a, uh, he started out, seh, as a vagavant[sic?]-type tattoo artist, he worked with, uh, Buffalo Bill Cody's Wild West Show, back at the turn of the century. And he had a shop in St. Louis for a number of years and then, like, in the, I guess, the late forties, he came here and bought the shop from another person, who had, it had been a tattoo shop ever since 1927 and then he bought the shop in the forties and, when he retired in the sixties, his nephew Bob Shaw took it over, and now his wife Wanda is the one that owns, but, uh, Bert was sort of a nice guy, done a lot of different things, you know what I mean, you had to sort of take what he said with a grain of salt [CHUCKLING] occasionally, some of them old guys, you know, they talk crazy. DAVID ELLIS: We've been in a lot of tattoo shops and this is the only one, I know, that has pictures of people tattooed here from the twenties, the forties, the fifties...YEAH. Does it make you feel special to hang out and work here? 19:05:39. RICK WALTERS: Yeah, I sort of like it, I've been here almost 21 years now, if I didn't like it, I guess, I still wouldn't be here. But, yeah, it's sort of neat, it's like the place is almost like a museum, you know, and I think part of it is the fact that Bert was a photographer, also, and, consequently he photographed quite a few of his pieces way back, you know, and he, you know, did quality photographs, you know, and it's all black and white because they didn't have color film back then, but the photographs, the quality of them were real good and that's why, mainly because he was a photographer. He had like, when he first started here he had a photo studio on one side and an arcade-type thing and then the tattoos on the other side and then, eventually, it just progressed into being completely tattooing. DAVID ELLIS: Can you think, can you tell me what the strangest tattoos are that you've been requested to do? 19:06:31 RICK WALTERS: Oh, man, they get some weird ones occasionally, man, you know, it's just, uh, strangest is pretty hard to say, you know, what's strange to me might not be strange to the next guy, you know, but, oh, people'll do weird things. I mean, and it's, you know, one guy with a bungee jumper coming out of his butt, I mean, that's pretty strange, you know. Another guy with a frog doing the same thing, you know, with this frog leg sticking out, so, I mean, that's, that's pretty weird stuff, you know, but, uh, yeah, most of the people don't get strange stuff and, occasionally, you get some weirdo in here they'll want something really strange. DAVID ELLIS: Can you talk us about pain in tattooing. We were watching you work on your apprentice today, tell us how pain fits into the whole tattoo process. 19:07:24. RICK WALTERS: Well, pain is definitely a factor, I mean, uh, if you get over an area that's fairly meaty and tougher skin like, say, on your ar, outside of your arm, that's very minimal, you know, that's just like a bad irritation. Whereas, if you get on your rib cage or the middle of your chest, like where I was doing on Thomas today, it's fairly painful because there's nothing there but nerves and bone and, consequently, you're pinching the nerves, you know, whereas, if you get on a tougher meaty area, you don't, you know, the skin is tougher and it doesn't have anything to pinch against because the skin's softer, so, it's, you know, it just depends on what part of the body it is, (TATTOO PAIN) I would say the center of the chest or the, mid, the rib-cage is probably the worst place to get tattooed, as far as pain goes, maybe the lower back isn't very well either, where the spine, you know, right in the middle, but you get into most of the other areas and it's fairly minimal in comparison, but they do hurt, you [CHUCKLING] hurt, you know, everywhere. DAVID ELLIS: Over the last two days, we saw people with tattoos in some amazing places and, you know, we didn't have time to ask them, but how can people with elaborate tattoos, complicated ones, how do people put up with them? What do you tell them, what do you advise them? 19:08:44. RICK WALTERS: Uh, well, most of the people that get a fairly elaborate tattoo in a real painful area, they don't do it all at once, see, they can only put up with it for a short period of time and then they wait and, when it heals, they go back and do a little more, you know, because, I mean, you can only put with so much, you know. Uh, there are occasionally a few people that can block it out of their mind and, they'll go ahead and do the whole thing all at once, but, I mean, you get in a tender area sometimes you've got to stop, you know. Sometimes, if you don't feel good, you know, you, you have to stop because, uh, your skin is a lot more sensitive when you're a little sick, so, you, seh, sort of thing you've got to be in the mood for, you know, as, if you're not in the mood for it, you know, it hurts more. DAVID ELLIS: Have you ever had people stop and say, "please, I don't want to go on"? 19:09:38. RICK WALTERS: Yeah, I've had a couple of people stop in, in the middle of the tattoo, but, um, I can only think of one guy that didn't come back, you know, usually they come back later on and have it finished off. I mean, you don't want to walk around with half a bird, you know. DAVID ELLIS: Over the years, you've met so many different people, what do you think it is that motivates people to get a tattoo? 19:10:02. RICK WALTERS: I'm not, eh, real sure, to be honest with you. It's, you know, it's sort of a, everybody has their own reason, you know, and, eh, I definitely don't think it's the pain, you know, because most people would rather it didn't sting, you know, some people like the art work, uh, some of the guys that they wanted to make everybody think they're real macho, you know, what I mean, so they do these macho looking tattoos, uh, other people do it because they have certain memories that they want to keep, you know, it's, uh, parents' names or kid's names, or something like that, but I mean, everybody has a little different motivation, you know, to, to what, why they're getting what they get and you get the people who are heavily tattooed, usually, they're more into the art aspect of it, you know, they, they like the art work. DAVID ELLIS: Do you ever get customers who ask for certain designs that you think, immediately, you really should be going in a different direction - what do you say to people diplomatically? 19:11:06 RICK WALTERS: Well, it's hard to do, you know, eh, if that's what they actually want and it's something that's just totally out in left field somewheres, and I usually just tell them, well, you'll have to go somewheres else, you know, I don't want to mark somebody's body up with something that, that I don't feel is ethical or, you know, decent looking. You know, like people will bring in pictures that look like their third year, third grade kid drew it, you know what I mean, well I want it just like that, and I go, "You ain't going to get it here, you know, uh, if you let me redraw that design for you, then no problem, I'll put it on you, but I can't put it on there like that." You know, it just looks horrible, that, that's my reputation walking out the door, you know, and if I do horrible work on people, then it makes me look bad. DAVID ELLIS: At what point in your learning to tattoo did you realize that you actually had special skill and you wanted to protect that skill? 19:12:02. RICK WALTERS: Well, that's a pretty hard question, at what point you think you have a special skill, well, I don't know, uh... I've been doing it for, what, 33 years now and I still learn stuff, you know, it's sort of something that you progress, you know, as over the years, you know, you just, it's a weird situation, I, eh, you can figure out different ways to do things and possibly it heals a little better or it goes in a little faster and, so, I pretty much strive to find better ways to do stuff and, and learn about things, I, I'm sort of a person that likes learning, you know what I mean, so, I, hopefully, won't ever quit learning, you know, but, a point where you think you're skilled enough to where you need to protect it, uh, I don't know if that's really applicable. Uh, you get a lot of people that become paranoid in the business and they're afraid somebody's going to steal their designs and they're going to steal their customers or this or that, whatever, and, personally, I would prefer to work on the aspect that I have my customers and the reason they're coming to me is because they like the work I do and I don't have to worry about the guy down the street stealing them from me because I'm, you know, uh, comfortable with my own work, you know, I, I feel that I do a good enough job that they will come back. DAVID ELLIS: Do you remember that you did a tattoo on somebody and you said, "Hey, that really turned out beautifully," to yourself? 19:13:43. RICK WALTERS: Ummm, yeah, it was probably back in the sixties, I would imagine, but, more often than, than that I, I think you usually have a tendency to be your worst critic, you know, uh, other people will look at something and say, ah, my God, that's beautiful and I look at it and I remember, ah, man, there's a crooked line over there, which nobody else even notices because I shaded over it and covered it up so you didn't see it anyway, but you have a tendency to pick apart your own work worse than [CHUCKLING] somebody else would, you know, and I feel that's another reason why you continue to learn, you know, which I prefer to do is, the, if I can't find something wrong with the tattoo, than how can I learn to get better, you know, and so I, I feel that no matter how good it looks, you should be able to find something that you could have done a little better, you know, and, and then next time you try to do it a little different the next time, you know, and I just, I'm, maybe it's because I'm Virgo, I'm never satisfied, you know. [CHUCKLES] DAVID ELLIS: You speak like every other artist that I've spoken to and most people have this stereotype, at least in the old days, but some now, that tattooing is some special little world, but almost everybody we've met is really proud of the art they do. 19:15:07 RICK WALTERS: Oh yeah, yeah, it's, uh, it's a lot more artistic than it used to be and, and most of the artists today, actually, draw their own designs, but we still copy, too, I mean, don't get me wrong, you know, if that's what the person wants and it's a decent picture, I mean, what the heck, not everybody's going to like what I draw and you have to use, eh, you know, get rid of the ego, you know, you have to figure out, okay, this is on this person, they have to get what they want, you know. But, uh, yeah, it's, you get a lot more artistic license than you used to, you know, it'd be, people give you a little more room. You know, but you still, like I say, you have to pay attention to what they're saying because you want it to be what they like, you know, and that makes it a little different than somebody who's painting an oil painting, you know, whereas, you can paint a picture and hang it up and a thousand people can look at it and one guy buys it, whereas, with a tattoo, it's got to be the right way the first time and it's got to be what that guy likes, not what you like. You know, so you have to pay attention to what they're saying, you know, if you want to stay in business - you don't have quite the openness that you would in another art field. 19:16:05 DAVID ELLIS: Finally, I just want to ask you about... can you tell us a little bit about your special machines. You know, Gil Monte waxes poetic about your tattoo machines. What makes a tattoo machine special? 19:16:38. RICK WALTERS Well, there's so many machines out there and there's a lot of different variants, you know, the... we try to manufacture a machine that works the way we want it to work, whereas, most manufacturers manufacture machines to make a profit, you know, and, and they cut back on this and they, and they machine a part a certain way because it's cheaper and they do this and that and whatever to, to, cut costs and 90% of the manufacturers don't even tattoo, so they don't have a clue what they're doing, you know, and the machines that we make now, uh, Col. Todd and, uh, a guy named Doug Martin got together and designed the frame and we changed them over the years a little bit at a time and, and they're basically the same frame as what we started out with, but it's a three-piece steel frame that's a lot more versatile than most of the other frames because of the fact that it is steel and you can bend it or you can slot it and move it and make it do different things, you know, some, sometimes when you're putting one color, well, like a color piece in, you want the machine to hit the skin a certain way, whereas, when you're, say, working with a light gray, you want it to hit a lot softer so there's different ways you can adjust the machine or change the springs to make it hit a little different for the gray, than it would for say the color or the black shading. And, so, the machines we build are a lot more versatile than most of the other machines because they are very adaptable. DAVID ELLIS: What were machines like in the years after Edison came up with that early kind of engraving thing that became a tattoo? 19:18:24 RICK WALTERS They were real heavy and clumsy and they weren't real adjustable, you know, as, whereas the machines we build now are a lot lighter and they're a little easier to handle because they're not as tall and top heavy and clumsy and they're a lot more adjustable and the technology, the tuning of the machines has changed, you know, the... You continue to learn, you know, and, so, consequently, over the years, just like any other profession, the things get better and better, you know, because you figure out different ways it works a little better, you know, and you take that knowledge and share it with somebody else and then they get some of their knowledge and share it with you and everything gets a little bit better, you know, and, say, back in the forties and thirties and whatever, people had a tendency not to do that, you know, whereas the people of today are a little more open because they're not really threatened by the guy down the street, you know, as much anyway, I don't think. At least I'm not, I, I try to be friends with everybody. DAVID ELLIS: You have this very fancy tattoo machine, it's a precision instrument, how were people getting tattooed sixty years ago, you know, in the forties, when they were going out to war and they were here on the Pike, what would this place have been like then? 19:19:49.02 RICK WALTERS Oh, this place was a madhouse back then, I mean, it was crazy, they had, like 10 people working here, you know, and, and they just backed up out the front door, you know, the guys, if you didn't get here like by five or six in the evening you didn't get tattooed, you had a line that long down the street. But, yeah, it was just crazy and they made a lot of money down here on the Pike, you know. But, in the seventies, they moved the Navy and that was the [LAUGHING] end of that era. DAVID ELLIS: What was it about all those Navy guys that they... 19:20:20 RICK WALTERS WELL, SAILORS have a tendency to want to get tattooed anyway, you know, they get their ships and their sweetheart's names and, I don't know what it is about war, but, for some reason people get real patriotic and real religious around [LAUGHING] wartime. So, then they're getting religious tattooed and American flags and battleships and, you know, I guess they're putting their life on the line, they figure they need something to, you know, resemble that or whatever and, consequently, most of the sailors got tattooed and, heck, during Viet Nam, they had like 300,000 sailors stationed half a mile from here, that's a lot of people, you know. And, so, consequently they did a lot of business here, they had like seven or eight tattoo shops within a block of this place. DAVID ELLIS: Finally, let me ask you - what's the most important thing that you'd like people to understand about the tattooing art today? 19:21:13. RICK WALTERS UMMM. WHAT WOULD YOU LIKE THEM TO UNDERSTAND? DAVID ELLIS: That, you know, that... 19:21:19. RICK WALTERS Well, that it's more of an artistic thing and it isn't... DAVID ELLIS: Begin like, "Tattooing... 19:21:23. RICK WALTERS YEAH. It's a lot cleaner and more sterile and... DAVID ELLIS: Would you begin with the word tattooing... 19:21:31. RICK WALTERS OH. TATTOOING, is a lot cleaner and it's a lot more sterile, everybody sterilizes their equipments, uh, everybody wears rubber gloves, you know, they use single serving-type ink cups so they throw them away after each tattoo and, you know, everybody's a little more, uh, into the sterilization type thing because of the fact that they could cause some type of an infection or transfer a disease from one person to another and to be ethnical[SIC] you should do that, and most of the tattoo shops you go into, they actually do practice proper sterilization and you'll find people tattooing out of their house, they mess people up sometimes because they don't have the equipment it takes to do that...Just a decent autoclave, you're probably looking at, a cheap one's twenty-five hundred dollars, so the average guy on the street don't have that kind of thing, whereas the tattoo shop it's, it's worthwhile to buy that, you know, and you have four or five guys using it, so it, you know, it's cost effective, also. DAVID ELLIS: Gil was talking to us about this problem as he sees it that there are all these sort of amateur people who have decided to set up shop in their garage. 19:22:38. RICK WALTERS It's a very bad situation, is the amateur guys in their garages they, they don't have decent equipment, they don't have decent inks, they don't have a clue what they're doing, so, and they're not using sterile equipment and then consequently transferring mega-different types of diseases, you know, ranging from just plain infections up to, you know, hepatitis and staph infection and all different types of viral warts, whatever, because they don't clean their machines properly. And, ya, Most of your tattoo shops they actually, uh, use brand-new needles that are sterilized and there's a reason for that, they ac, the new needle puts in the ink better than the worn needle. You can sterilize a used needle and, uh, you're not going to transfer any diseases or whatever, but once they get worn a little bit they don't put the ink in as well, so, consequently you're better off using a brand new needle every time because you get a cleaner line and smoother shading and more solid color. So, it's, you know, it's more practical as far as the actual tatoo itself goes. And the people, they feel a little more comfortable with that even though, you know, just sterilizing it would be more than sufficient, because you sterilize properly in an autoclave, there's nothing alive on that stuff and it kills all the bacteria. DAVID ELLIS: I don't want to ask you confidential information, but, for a fancy, custom-made machine like yours and to buy new needles - what kind of money does it take for professional artists like you or anybody else to have this wonderful stuff. (TATTOO EQUIPMENT) 19:24:15. RICK WALTERS Well, the equipment varies anywhere from a hundred and fifty dollars a machine up to three or four hundred dollars a machine, depending on who's making it and selling it. Some of the cheaper stuff that you buy from the manufacturers, say, you can get them for a hundred and fifty, two hundred bucks. You get a little better equipment starting, you know, around two and a quarter, two and a half, three hundred, just depends and if you get some guy that thinks he's famous, he sells the same stuff for, you know, three or four hundred dollars and it isn't any different. But, uh, the needles is, most of the people make their own, uh, at least I do, I mean, uh, I couldn't even conceive of using needles somebody else had made because I have a certain way that I want to group the needles and, you know, different, seh, in different situations, (ABOUT TATTOO NEEDLES) you have flat shaders, magnum shaders, round shaders, half round shaders, flat, half, or oval, you have single needle, three needle, five needle, seven-needle outlines, I mean, so there's so many different ways that you can group the needles to make them do what you want them to do and, consequently, I wouldn't trust somebody else to make the needles the way I want them and, so, consequently I make them myself, you buy bulk needles, they run about, oh, anywhere from 50 to 100 bucks for a thousand needles and then you configure them yourself on the needle bar and, you know, it's, it's just more practical to make them yourself and it's cheaper. DAVID ELLIS: Thank you very much. Patient guy. I was bombarding you with questions. ROOM TONE OVER BARS. = AUDIO SLATE - AT BERT GRIMM'S TATTOO ROOM TONE

&lt;p>&lt;b>**ATTENTION AFFILIATES: BELOW IS A ROUGH TRANSCRIPTION PROVIDED BY AN AUTOMATED SERVICE. THIS MAY NOT BE EXACT. PLEASE CHECK FOR ACCURACY BEFORE TAKING TO AIR.**&lt;/b>&lt;/p>\n&lt;p>&lt;/p>\n&lt;p>&lt;/p>\n&lt;p>&lt;b>--SUPERS&lt;/b>--&lt;/p>\n&lt;p>Monday&lt;/p>\n&lt;p>Stuart, FL&lt;/p>\n&lt;p>&lt;/p>\n&lt;p>Sheriff William Snyder&lt;/p>\n&lt;p>Martin County, FL; Took Trump Suspect Into Custody&lt;/p>\n&lt;p>&lt;/p>\n&lt;p>&lt;/p>\n&lt;p>&lt;b>--SOT&lt;/b>--&lt;/p>\n&lt;p>That's funny. Aaron with all the technology and the license plate readers and, and all the mystical things that law enforcement oftentime have we got that car? Because my road deputy sitting at the Palm City exit on I 95 saw the vehicle, didn't see the t, saw the vehicle and yeah, and, and got on the radio. Uh, I was listening, of course and advised, hey, I think I've got the vehicle. We have a, a technique here. We don't just blue light a car and risk a chase. We actually have heavy duty trucks with big front end bumpers. We positioned our vehicle eased him off the interstate, gave him no opportunity to run. He gave us no opportunity to have to use any force and, and fortunately, we were able to shut it down and make it come out just right now. I'll go back to my church analogy. He not only acted like he was getting ready to go to a late night Sunday church service. He drove like it that he was obeying the speed limit. It was able to let us get into position and get him and get him stopped. I don't think he knew we were there. You know, the, the road patrol car, our techniques stay back. Don't, don't spook him into a chase cause then you, you risk the, the, the, the, the citizens, you know, the motorist back away. We get the unmarked in there, the big trucks and just pinch him off, get him off the interstate. We're, we're known for that here, Aaron, you can't go through Martin County and come out the other end if you're a bad guy without getting caught. Well, that's all, that's a big, tall, that's a tall order to extrapolate from what we saw, whether he was a lone wolf or not, he was alone then when we caught him. But before that, after that, leading up to it, you know, I think of course I've been asked all day, what's the first question I would want to answer? I think the question is, did you operate alone? Ruth WW. Did, did you engage in some conspiracy that somebody sends you down here? That would be the biggest deal because if that's not the case, we have the only person involved. Uh, former president Trump can go back to his activities and I know there's not a, a lone wolf out there that got away from law enforcement.&lt;/p>\n&lt;p>&lt;/p>\n&lt;p>&lt;b>-----END-----&lt;/b>&lt;/p>\n&lt;p>&lt;/p>\n&lt;p>&lt;b>--KEYWORD TAGS--&lt;/b>&lt;/p>\n&lt;p>FLORIDA TRUMP SHOOTING MAR-A-LAGO ASSASSINATION ATTEMPT&lt;/p>\n&lt;p>&lt;/p>

Early 1950's? <br/> <br/>England <br/> <br/>THREE SEASONS (reels 1 & 2) <br/> <br/>Ships at sea (various shots) Passengers disembarking. SS Queen Elizabeth moving past camera. SS Chusan seen from the rear. SS Queen Mary coming into dock. A BEA and BOAC plane taxiing on the runway. The passengers disembark <br/> <br/>Title: "The British Travel Association presents" "Three Seasons". <br/> <br/>(Autumn) leaves blowing through Windsor Park. Two women feed ducks by the lake. Mix to group of horse riders in Windsor Royal Park and another horseman in Richmond Park, London. Cut to the Richmond Park deer grazing (several shots). Cut to the lake of St James' Park, London. A woman and child feed the ducks. City men in bowler hats cross the lake bridge. Cut to Buckingham Palace with cars passing in front (including an Austin Princess). CU the statue in front of the Palace. Pan down to the Household Cavalry going past. Cut to evening, and a lamplighter lights the gas lamp outside Westminster Abbey. Cut to the bright neon lights of Picadilly Circus. The words 'Follies Revue' forms on the Prince of Wales theatre. Other neon signs on theaters including 'Norman Wisdom' in 'Where's Charlie' on the Palace Theatre. The neon lighting on top of the Princess Theatre. People in evening dress walking and arriving by car at the Covent Garden Opera House. Inside view of the chandelier, and the women's fashions. The guests arriving greeted by the Commissionaire. Camera pans up the ornate balconies as people take their seats. The curtain rises. Ballet dancers perform. CU a woman looks through her opera glasses. MS Margot Fonteyn and partner on stage. CU their feet. The audience applauds. Cut to a notice board "A Midsummer Night's Dream, The Old Vic". Cut to two scenes of the play being performed on stage featuring actor Frankie Howerd as Bottom. Several shots and CUs of Frankie. Beautiful women's costumes. <br/> <br/>(Winter) Cut to Guy Fawkes night: A evening village street precession with fiery floats. Bonfire and firework shots. CU Two pretty girls laughing. Cut to state coach carrying the Queen (Elizabeth II), followed by the household Cavalry in the procession for the opening of the Houses Parliament. Cut to the Lord Mayor's Show - his coach outside Mansion house. The Lord Mayor enters and the carriage procession drives off. Cut to very crowded market in Petticoat Lane. Shots of market stall dealers selling, household goods, raw chickens and Christmas crackers (sync sound of the traders dialogue - If he doesn't want the goods "don't muck 'em about". Cut to shop window in Regent Street and the Christmas decorations. The front of Selfridges department store and close up of Christmas decorations and father Christmas display. Cut to Santa inside the store surrounded by children (several shots including grotto an helpers). A young couple with Christmas boxes looking at Christmas cards. Cut to Trafalgar Square at dusk with fountain, Christmas tree and St Martin's church. Cut to Denham village at night. Carol singers outside a cottage (several shots). A boy looks through the window and sucks his thumb. Cut to daytime and the village covered in snow. Children play with sledges and snowball fight. Cut to several chef's carrying a boars head, turkey and Christmas pudding into a family dining room. CU the guests at the table in party hats. CU the food. CU putting a log on the fire. <br/> <br/>Cut to Players Theatre notice board sign "King Charming" "The Blue Bird of Paradise" with Margaret Ashton and Shirley Lee. Several shots of the audience in a small theatre. The performers on stage (a witch and Irish gentleman, and a bird that turns in to a prince (played by a beautiful woman) who says "At last, I'm a man once more". The audience laugh. Two women perform operatics in wonderful costumes. Cut to Scottish dancers. Cut to GV of Edinburgh, Hollyrood House and Edinburgh Castle. Cut to a Christmas party where everyone is holding hands in a circle to sing 'Auld Langs Syne' (lovely shot with party hats and colourful dresses). Great party scenes as the balloons in the ceiling are released. <br/> <br/>Cataloguers Note: Some beautifully scenes and wonderful colours

NAME: AUS DIABETES 20071114Ix TAPE: EF07/1370 IN_TIME: 10:57:25:24 DURATION: 00:01:42:06 SOURCES: AuBC/VNR /Channel 7 DATELINE: Various, 13/14 Nov 2007 RESTRICTIONS: see script SHOTLIST AuBC - No Access Australia Sydney - 13th November 2007 ++NIGHT SHOTS++ 1. Various of the Sydney Opera house lit up with blue lights to mark United Nation's World Diabetes Day. VNR Sydney - 14th November 2007 2. SOUNDBITE (English) Professor Martin Silink, President of the International Diabetes Foundation, "If you control your diabetes then you can prevent most of the complications of diabetes. For those unlucky enough with complications we can slow down their rate of progress. So World Diabetes Day is really a message of hope and these buildings that are lit up in blue are really beacons of hope that send out this message to everyone." AuBC - No Access Australia Sydney - 14th November 2007 ++DAY SHOTS++ 3. Australian Prime Minister John Howard walking with young diabetes sufferers 4. Howard saying hello to people exercising 5. SOUNDBITE (English) John Howard, Australian Prime Minister, "I hope that with a much wider use of these insulin pumps, which are a great development, but they're expensive and this sort of targeted subsidy I know will help thousands of diabetes sufferers in Australia over the next few years." Channel 7 - No access Australia Sydney 13th November 2007 ++NIGHT SHOTS++ 6. Zoom out of Opera House lit up with blue lights AuBC - No Access Australia Brisbane - 13th November 2007 7. Various of the Brisbane Town Hall lit up 8. Blue window 9. Pan of the Neville Bonner (first Indigenous Australian to be elected to the Parliament) Building lit up AuBC - No access Australia Melbourne, Australia, 13th November 2007 10. Flinders Street Station lit up STORYLINE: One of the world's most iconic buildings, the Sydney Opera House, and Melbourne's Flinders Street Station have been illuminated in blue lights to mark United Nation's World Diabetes Day. Other famous landmarks being lit up include New York's Empire State Building, Niagara Falls, the UK's London Eye and Japan's Tokyo Tower. "If you control your diabetes then you can prevent most of the complications of diabetes. For those unlucky enough with complications we can slow down their rate of progress," said Professor Martin Silink, President of the International Diabetes Foundation. "World Diabetes Day is really a message of hope and these buildings that are lit up in blue are really beacons of hope that send out this message to everyone." The theme of World Diabetes Day, 2007, is Diabetes in Children and Adolescents. In Sydney, the Australian Prime Minister, John Howard, was joined on his morning walk by young people with diabetes. He announced that a re-elected coalition government would provide 22 million (m) Australian dollars (19.5 million (m) US dollars) in extra funding for type-one diabetes sufferers. "I hope that with a much wider use of these insulin pumps, which are a great development, but they're expensive and this sort of targeted subsidy I know will help thousands of diabetes sufferers in Australia over the next few years," added Howard. It will be the first time the the Australian government has subsidised the costly insulin pumps, which equate to around 6,300 US dollars. Sufferers who wear the pumps are delivered insulin directly via a plastic tube and needle, removing the need for regular injections. The cost of pump consumables, such as tubing and needles, is subsidised under the federally-funded National Diabetes Services Scheme. But families without private medical insurance have had to pay for the costly pumps themselves. The program will target children aged under 18 years. According to the World Diabetes Foundation, diabetes affects approximately 246 million (m) people worldwide, including 21 million children. The foundation said that currently 3.8 million (m) people die from diabetes related causes each year.

NASA 1977 HIGHLIGHTS

Martin fisher (Alcedo atthis ) perched on a branch, waiting to fish, has a blue color and nose, its long beak to facilitate its fishing, it will hunt its prey in the water.

&lt;p>&lt;/p>\n&lt;p>&lt;/p>\n&lt;p>&lt;/p>\n&lt;p> WE'RE GETTING A FIRST LOOK AT WHAT THE FIRST WOMAN AND PERSON OF COLOR WILL BE WEARING WHEN THEY WALK ON THE MOON. &lt;/p>\n&lt;p>NASA AND TEXAS-BASED COMPANY AXIOM SPACE HAVE UNVEILED THE NEW SPACESUIT DESIGN. &lt;/p>\n&lt;p>THE SUITS ON DISPLAY ARE BLACK WITH BLUE AND ORANGE DETAILING. &lt;/p>\n&lt;p>BUT THE ACTUAL SPACESUITS WORN BY &lt;/p>\n&lt;p>&lt;/p>\n&lt;p>ASTRONAUTS WILL BE SUED FOR TRANING BY LATE SUMMER. &lt;/p>\n&lt;p>&lt;/p>\n&lt;p>&lt;/p>\n&lt;p>&lt;/p>\n&lt;p>&lt;/p>\n&lt;p>The new design, which looked black with blue and orange detailing for the unveiling, appeared to take on a vastly different aesthetic than the puffy white suits worn by moonwalkers of the 20th century. However, Axiom Space noted in a news release that its suits are covered in an extra layer — bearing the company’s colors and logo — for display purposes.&lt;/p>\n&lt;p>&lt;/p>\n&lt;p>The actual spacesuits worn by astronauts must be white “to reflect heat and protect astronauts from extreme high temperatures,” according to the release.&lt;/p>\n&lt;p>&lt;/p>\n&lt;p>“We have not had a new suit since the suits that we designed for the space shuttle and those suits are currently in use on the space station,” said Vanessa Wyche, director of NASA’s Johnson Space Center. “So for 40 years, we’ve been using the same suit based on that technology. And now today, Axiom is going to innovate. We’re going to provide (access to) all of our facilities and we will be working together to make sure that we have a safe suit that performs and everything that our astronauts use for doing surface operations.”&lt;/p>\n&lt;p>&lt;/p>\n&lt;p>The suits will serve a crucial role in NASA’s Artemis program, which seeks to return astronauts to the lunar surface later this decade on a mission dubbed Artemis III. After astronauts land at the lunar south pole, the spacesuits will serve as mobile life support, allowing them to explore the lunar terrain on foot.&lt;/p>\n&lt;p>&lt;/p>\n&lt;p>“NASA’s partnership with Axiom is critical to landing astronauts on the Moon and continuing American leadership in space,” said NASA administrator Bill Nelson in a statement. “Building on NASA’s years of research and expertise, Axiom’s next generation spacesuits will not only enable the first woman to walk on the Moon, but they will also open opportunities for more people to explore and conduct science on the Moon than ever before. Our partnership is investing in America, supporting America’s workers, and demonstrating another example of America’s technical ingenuity that will position NASA and the commercial space sector to compete — and win — in the 21st century.”&lt;/p>\n&lt;p>&lt;/p>\n&lt;p>The design of the spacesuits borrows from NASA’s own research. The space agency had previously unveiled a prototype design for lunar spacesuits in 2019, called xEMU.&lt;/p>\n&lt;p>&lt;/p>\n&lt;p>“Leveraging NASA’s Exploration Extravehicular Mobility Unit (xEMU) spacesuit design, the Axiom Space spacesuits are built to provide increased flexibility, greater protection to withstand the harsh environment and specialized tools to accomplish exploration needs and expand scientific opportunities,” the company said in a news release. “Using innovative technologies, the new spacesuit will enable exploration of more of the lunar surface than ever before.”&lt;/p>\n&lt;p>&lt;/p>\n&lt;p>The new suit allows for more range of motion and flexibility and its design can accommodate at least 90% of the US male and female population, according to NASA. Axiom Space will develop, certify and produce the spacesuits and the company will “test the suit in a spacelike environment prior to the mission.”&lt;/p>\n&lt;p>&lt;/p>\n&lt;p>Features of the suit include an HD video camera and a light band mounted to the visor of the helmet. The light band will afford astronauts better visibility as they work in the permanently shadowed regions of the lunar south pole or go on spacewalks, said Russel Ralston, deputy program manager at Axiom Space.&lt;/p>\n&lt;p>&lt;/p>\n&lt;p>A hatch with two hinges located on the back of the suit allows astronauts to enter the spacesuit feet first, then shimmy into it, and a backpack provides the portable life support system. The boots have been reinforced with extra insulation to keep the astronauts’ feet warm as they work in icy regions of the moon that never see sunlight.&lt;/p>\n&lt;p>&lt;/p>\n&lt;p>“This is this is a great example of what innovation can do,” said Peggy Whitson, retired NASA astronaut and current Axiom astronaut. “This is going to be such a much more flexible suit and the range of motion is really going to improve the astronauts’ ability to do all those tasks that they’re going to do while they’re out exploring on the lunar surface and eventually on Mars.”&lt;/p>\n&lt;p>&lt;/p>\n&lt;p>Whitson, who holds the record among Americans and women for spending the most time in space — a total of 665 days — is the director of human spaceflight at Axiom and is slated to launch on Axiom’s Ax-2 to the International Space Station in May.&lt;/p>\n&lt;p>&lt;/p>\n&lt;p>Developing new spacesuits capable of keeping astronauts alive on the moon has been a years-long effort at NASA. At one point in 2021, the space agency’s inspector general, Paul Martin, warned that significant delays in bringing new spacesuits to fruition would quash NASA’s goal of getting humans to the moon by 2024. The space agency has already delayed the crewed lunar landing to no earlier than 2025.&lt;/p>\n&lt;p>&lt;/p>\n&lt;p>Martin concluded at the time that the suits were “years away from completion” and would cost more than $1 billion dollars.&lt;/p>\n&lt;p>&lt;/p>\n&lt;p>Then, NASA announced that it would allow the private sector to take over production of the spacesuits, and the space agency selected Axiom Space as the contractor in September 2022. The deal, referred to as NASA’s xEVAS contract, was valued at up to $3.5 billion.&lt;/p>\n&lt;p>&lt;/p>\n&lt;p>“We’re carrying on NASA’s legacy by designing an advanced spacesuit that will allow astronauts to operate safely and effectively on the Moon,” said Axiom Space CEO Mike Suffredini, who previously worked at NASA for more than 30 years, in a statement. “Axiom Space’s Artemis III spacesuit will be ready to meet the complex challenges of the lunar south pole and help grow our understanding of the Moon in order to enable a long-term presence there.”&lt;/p>\n&lt;p>&lt;/p>\n&lt;p>Suffredini served as NASA’s International Space Station Program Manager from 2005 to 2015.&lt;/p>\n&lt;p>&lt;b>--SUPERS&lt;/b>--&lt;/p>\n&lt;p>&lt;/p>\n&lt;p>&lt;b>--VIDEO SHOWS&lt;/b>--&lt;/p>\n&lt;p>&lt;/p>\n&lt;p>&lt;b>--LEAD IN&lt;/b>--&lt;/p>\n&lt;p>&lt;/p>\n&lt;p>&lt;b>--VO SCRIPT&lt;/b>--&lt;/p>\n&lt;p>&lt;/p>\n&lt;p>&lt;b>--SOT&lt;/b>--&lt;/p>\n&lt;p>&lt;/p>\n&lt;p>&lt;b>--TAG&lt;/b>--&lt;/p>\n&lt;p>&lt;/p>\n&lt;p>&lt;b>--REPORTER PKG-AS FOLLOWS&lt;/b>--&lt;/p>\n&lt;p>&lt;/p>\n&lt;p>&lt;b>-----END-----CNN.SCRIPT-----&lt;/b>&lt;/p>\n&lt;p>&lt;/p>\n&lt;p>&lt;b>--KEYWORD TAGS--&lt;/b>&lt;/p>\n&lt;p>&lt;/p>\n&lt;p>&lt;b>--MUSIC INFO---&lt;/b>&lt;/p>\n&lt;p>&lt;/p>

A COUPLE OF TRANSVESTITES PULL A FAST ONE OVER A FORT MYERS MOTORIST.. IT HAPPENED LAST NIGHT AROUND EIGHT O'CLOCK WHEN THE MOTORIST STOPPED AT A TRAFFIC LIGHT AT CRANFORD AVENUE AND DR. MARTIN LUTHER KING JR. BLVD.POLICE SAY TWO MEN DRESSED AS WOMEN JUMPED INTO THE STOPPED CAR, AND ORDERED THE DRIVER TO DRIVE TO AN UNKNOWN LOCATION. IT WAS THERE THE TRANSVESTITES ROBBED THE VICTIM, TAKING CASH, AND A TV SET. THE TRANSVESTITES THEN SPRAYED THE VICTIM WITH A CHEMICAL SPRAY... 20-YEAR-OLD COLTON BLUE AND 15-YEAR-OLD LEONARD THOMPSON 15 ARE BEING CHARGED WITH THE ROBBERY...

Ingenuity in Action

TAPE_NUMBER: EF00/0160 IN_TIME: 13:35:07 // 19:23:00 - 20:11:42 - 20:54:19 LENGTH: 01:22 SOURCES: ESA RESTRICTIONS: FEED: VARIOUS (THE ABOVE TIME-CODE IS TIME-OF-DAY) SCRIPT: English/Nat The European Space Agency has released new pictures of the furthest parts of the universe known to humankind. The agency's X-ray space observatory photos give new views of the Universe as scientists know it. The photos confirm that the spacecraft being used as an observatory and its X-ray telescopes and science instruments are functioning perfectly. One of the most powerful X-ray telescopes in space has been switched on, allowing scientists to get a new perspective on galaxies that are (m) millions of light years from our own. Europe's new X-ray Multi-Mirror (X-M-M) observatory has sent back these dramatic first images. In this image what is thought to be hot gas around a black hole shines through a dense cloud of material with an intense blue glow. SOUNDBITE: (English) "The little blue point sources right at the centre of this image, we can see them only because of the large collecting area of the telescopes and especially at the higher energies. Now these objects probably do not belong to a large Magellanic cloud. They are likely to be active galaxies or quasars very deep in space behind the Alem Sea." SUPER CAPTION: Ulrich Briel, Max Planck Institute Other images show the wreckage of exploded stars scattered across vast tracts of space and super-hot gas being sucked into a black hole. This colour exposure shows colliding galaxies, the so-called Hickson-16 group, which is 170 (m) million light years from Earth. SOUNDBITE: (English) "These rather fuzzy coloured areas around there these are stellar explosions which again are triggered by the disturbance of the orbits caused by these merging mixing galaxies. So we've really got two exciting images for our first light." SUPER CAPTION: Dr Martin Turner, University of Leicester Mission controllers say that the spacecraft is extremely stable, its telescopes are focusing perfectly, and the instruments are working as expected. The X-M-M observatory was successfully launched from French Guiana in South American in December, 1999. The project is the most expensive science ever undertaken by the European Space Agency. SHOTLIST: XFA Madrid, Spain - February 9 2000 1. Labelled still of distant stars 2. Still of distant stars 3. SOUNDBITE: (English) Ulrich Briel, Max Planck Institute 4. Cutaway of panel 5. Still of second photo 6. SOUNDBITE: (English) Dr Martin Turner, University of Leicester 7. Wide shot of news conference 8. Both photos Keyword-space Keyword-science-technology?

Closed up Common kingfisher (Alcedo atthis), uprisen angle view, relaxing on the old bamboo over riverbank of Taeng River, Mueang Khong, a small town in middle of the valley at Chiang Dao, Chiang Mai province, northern of Thailand.