New York Times Opinion the end of meat is here. I think we've made at least half a dozen videos about how they plan on taking our meat away But this is Despicable absolutely despicable the agenda is in full force Twisting of words Shaming people dishonesty all around they have never been more straightforward About what they want to do this was written by Jonathan Saffron for and now I understand why he has this Opinion he probably gets all of his meat personally injected down his throat every day by his boyfriend So he doesn't have to actually eat meat the rest of us. However need our nutrition I mean he was involved with Natalie Portman.  Believe me. I do but I don't really like girly looking boys And just kidding I do is any panic more primitive than the one promoted by the thought of empty grocery store shelves Is any relief more primitive than the one provided by comfort food? We wouldn't have panicked in our past We would have used our intelligence to procure calories to hunt to harvest But with this fear-mongering propaganda that is our modern media panic is preventing people from realizing the solution Separate themselves from this government system that is controlling our food supply Is any relief more primitive than the one provided by comfort food?  This is what they think about us This is how they truly feel we deserve to be treated and all of these people Deserved to be lined up in front of a ditch So this clown goes on to say how the shortage of meat has Inspired many Americans to consider how essential meat is Saying that the outbreak hotspots are where slaughterhouses were operating Really? Why is a slaughterhouse any less sanitary than a grocery store a produce processing plant hint? It's not if anything more chemicals and disinfectants are used in animal slaughter than any other food operation They literally spray down every carcass with acids bleach Disinfecting the meat in a comically unnecessary fashion it would be as if they dipped every single apple and bleach before you ate it That's not what's happening meat is literally the cleanest food You can eat eating meat out of a freshly slaughtered animal is cleaner than eating an apple picked off of a tree Cleaner than a freshly sprouted carrot the fertilizers Agrochemicals literal human fecal waste that is used on fruits and vegetables is Safer to eat than meat not to mention the amount of hands that touch produce and vegetables compared to meat is Exponentially higher from harvesting and placing and transport Do we not see the hypocrisy here the contamination potential for fruits and vegetables is Exponentially higher than any animal-based food plus if we're allowed to eat food from supermarkets Why can't we go to restaurants? I mean I mean I can't stand this I'm so sick of this the hypocrisy how no one has any critical thinking skills anymore How all these people would make great FEMA camp prisoners obeying Everything our overlord say free your own good, and if you guys missed it We did a video about two weeks ago about how all of these meat plants were coincidentally Near newly installed cell towers and antennas So if you guys didn't see that video definitely check it out as these places were obviously Targeted with this military weaponry. They are disguising as new Wi-Fi infrastructure And then this monkey that wrote this article tries to shame people because of the poor practices of Conventional agriculture how they have to abort pregnant pigs because meat plants are backed up other animals being euthanized and Literally piled up like garbage how hog farmers need mental health resources Yeah, those hog farmers probably need a psychologist because of all the metals and toxins They're inhaling on their farms every day not because of what they're physically doing despite this grisly reality and The widely reported effects of the factory farm industry on America's lands Communities animals and human health long before this pandemic hit only around half of Americans say They are trying to reduce their meat consumption grisly reality effects of factory farming Yeah, how about how every single monocropped grain and vegetable literally destroys the top soil Completely ruining any nutritional quality of the food How about all of these billions probably trillions of insects small animals Destroyed by harvesting machines and starvation. Is that not grisly? What about all of the poisonous Agrochemicals being doused on our crops Diseasing our babies our children and ourselves. Is that not grisly?  I'm gonna calm down.  It's for the good of the planet It's for your safety Stay locked in your home like a rat eating our poisonous concoctions They're good for you.  Ah, man It's hysterical. It's amazing that people believe it further the CDC reports that three out of four new or emerging infectious diseases are Zoonotic the result of our broken relationship with animals instant appeal to authority of a corrupt globalist Organization the CDC the scarier part is that they aren't just going to try to convince people to not eat meat They are literally going to take our meat away For our safety. It's dangerous to eat meat now. You'll get very sick He even says it it goes without saying that we want to be safe We know how to make ourselves safer, but wanting and knowing are not enough These are not my or anyone's opinions despite a tendency to publish this information in opinion sections And the answers to the most common responses raised by any serious questioning of animal agriculture aren't opinions Someone put me in a room with this guy. I just need 20 seconds. You know, you know what not even just give me 10 seconds Let me crunch the sky into a basketball. We can live longer healthier lives without it Most American adults eat roughly twice the recommended intake of protein Including vegetarians who consume 70 percent more than they need people who eat diets high in animal protein Are more likely to die of heart disease Diabetes and kidney failure, of course meat like cake can be part of a healthy diet But no sound nutritionist would recommend eating cake too often. I'm done with this article It's just a rehash of all these appeal to authority Nonsense studies everything the mainstream already knows Everything they've been pushing for years and years and years We've said this a lot the vegan diet is basically a rehash of the food pyramid under the guise of now being plant based And it's funny because the pyramid is the symbolism of their group of people and it's used to control us They put everything in plain sight by making it a pyramid They're telling you that you will be controlled if you follow this diet Essentially giving up your free will and this anti meat shit is pushed by those same people That we're using the food pyramid and you know if they don't want you to eat meat Or you know, whatever they tell you not to do you should probably Do the opposite I can't wait for all the cornerbores in the comments to be like, oh wait for a good while. Let's eat more growing fed steak Uh, no, I mean if you guys want to eat grain fed steak and poison yourselves Go ahead So the main point of this video is we need to move away From the control of the government, you know, hopefully later this year I get approved for my loan We're going to get a farm somewhere and I'm going to start providing you guys with high quality nutritious animal foods as soon as possible And hopefully make a positive difference. So thank you guys for joining me today You know how to support me with all the stuff in the comments on organ supplements We're doing a buy one get one free sale for the liver capsules because I'm getting new labels You know, all of the products are beef, but it's a pig label Whole catastrophe. The point is we have a sale on organ supplements.com buy one liver I'll put an extra one in your order for you guys. Thanks again for joining me I can't stand this article It's ridiculous


What's going on everyone? Sam here with Layton Sports Cards and I am ripping four boxes for Dan W. All a little bit of all over the place I would say. We've got one box of 2022 Panini Absolute Baseball, one box of 2022 Topps Inception Baseball, one box of 2022 WWE Revolution, and one box of 2022 Topps Star Wars bounty hunters. So looking forward to this. Dan's ripped a lot of Star Wars with us which is really cool. So I'm really excited about this. Get generally two hits per box. One of them is like a wanted car. You'll see what I mean when we pull it, but it's hard to explain without having it in front of me. And then generally you get an autograph too. So two hits per box. Base, base, blue not numbered base. Half of Simon Casanides as Rex Wolves. That's really cool. Nice hit there Dan. That's awesome. Grats on the auto. That's so cool. The autos in this are so awesome. Nice one there. We've got base, base, base and base on the back. Yep, we're good. Oh, I'm excited Brad. That's gonna be awesome. Got a blue of kin, base. But I'm just glad it was worth it though, Brennan. That makes it so much better that they won base there. Heck yeah. Nice. We got a purple job of the hut to 75. Nice one there, Dan. Nothing like a job of the hut. Heck yeah. Nice one there. Base, base, base, base. Just base there. That's true Joshua. That's very true. Size noodles not numbered. Contenders optic as we enter in the danger zone. Got blue of Raquel Hardin. Base there. Another auto out of this. It's so awesome. Got green of grief cargo to 99. Nice one there. Got base, base, base and base. Got blue of the armor not numbered. Base there as well on the back. Size noodles on top. Feeling one more auto. Luca, let's hope so man. Would love one. Blue was of IG88, thought so, but weekend rips were really nice. Caleb and I grinded through every single Almanac personal on Saturday. So much fun. I've been chilling. Went to a Motley Crew Joan Jett and Poison concert yesterday. So had a lot of fun there. Went with my girlfriend, our two friends and then two other, or one of our friends' moms as well. So we had a really good time. Ooh, nice. Sketch. Star Wars bounty hunter sketch card. Nice hit there. Damn. Let's go. That's sick. Somebody helped me out with the character really quick. That is so cool. Heck yeah. Oh, I'm pumped, man. Let's go, man. I don't really rip a ton of stuff on my own, I would say. Luca, I usually just stick to buying singles. I bought that Raven's Triple. That put me out of buying cards for like a month or so. Green ELS to 50. Nice ET. I know it's not ET, Mike. I know it's definitely not ET. Base there. We'll get that in a mag after the break as well, Dan. I want to take a picture of that. That was sick. Base. Yeah, Dan rips a lot with us over here on Leighton sports cards and he does a lot with Caleb and Brad on Leighton gaming too. Boba Fett blue. Yeah, I'll buy retail sometimes. If I see retail in the store, if I don't want to just stash it, then I'll rip it. So I ripped like, I don't know, prism draft football recently probably and haven't really gotten anything. So I try to stay away from retail though. Nice. Green Han Solo to 150. Nice one there, Dan. Nice Han. Base, base, base and base on the back. All right, that'll do it for bounty hunters. Let's do revolution next. Go revolution. We'll go inception and then we'll go with absolute. I'll buy a hobby box every now and then too. Like I might buy one of these absolute baseball. These have been really nice. Macintyre. Bobby Lashley. We've got Dexter Lemus on the Cosmic to 149. That's 10 of 149. Nice one there. And Shockwave of Edge. Surrey. Ms. Bailey. Got Fractal of Two Dudes with Attitudes. That's Shawn Michaels and Diesel. Nice one there. And Stone Cold Steve Austin on the back. Oh yeah. Finding retail prism is like finding a unicorn at this point. Like it's gone before it's even on the shelves. Corbin, Lopez, Dexter Lemus, Bobby Lashley and Shockwave, AJ Styles. Sunburst to 99. Nice one there. Congrats on that one. Yeah, I think it's a really good price point for baseball. Plus you have a shot at Kabooms. Like you get a booklet every single one. Wanders in there. You get like five or six hits per box. It's pretty awesome. Rookie of Xeon Quinn. Bella Twins. Astral. And The Shield. Roman Reigns. Seth Rollins. Yeah, it's ridiculous at this point, Joshua.  Reggie Shotzi. Roderick Strong. Guts. Carmella on the angular to 199. Nice one there. Vortex, Dominic Mysterio. If you got somebody offering you double what it's worth and you're at it and you've got like, I don't know, it's a moral dilemma for sure. But like, Zach Gibson, Groove of Awesome Theory and X-Pack. Yeah, absolutely, there's license to be so far. So far, Brennan. But I like, I wouldn't do it myself, but I see why people backthor it. I see it. Seth Rican Rollins. Dominic Priest. We got redemption. Come on, baby. Got Roman Reigns, Supernova. And Sarai. We've got WWE Revolution. Autographs. Card number 26. AJ Styles. Nice hit there, Dan. On the redemption, not guaranteed in auto in every box. You hit one. Congrats, buddy. That's sick. Oops. Roman Pats now. My bad. Sorry, Dan. Got Rick Boogs, Mahal, Becky Lynch, Fractal Liv Morgan, and Imperium, Marcel Barthel, and Fabian Eichner. Yeah, I completely agree on that one, Luca.  First redemption. Yeah, there's a couple guys who are redemptions, guys and gals, and WWE that we generally see empty. Here we go. Yeah, see a big auto here. Big auto. Got Tyler McGill rookie, John Carlos Stanton Green, Garrett Cole base, and Boba Shat base. Got Ozzie Alves. We've got Byron Buxton and Pink Auto is Yanni Hernandez to 99 for the Rangers. Nice one there, Dan. Grats on the Rangers hit. That's pretty sick. And now let's do absolute to end it. See a kaboom, Dan. Like I said, I've not pulled a kaboom out of absolute baseball yet this year. And I want to use my soundbite. I use my soundbite for other things, but I want to use it for a kaboom, because that's fun. And it's like kind of what we, why we put it on the soundboard. All right. Yeah, Clayton Kershaw to 149 on the blue. Nice one there. Kersh. Yeah, Mookie Betts. Clayton Kershaw again, Paul Goldschmidt, Al Kaline, Rafi Devers, Xander Bogarts, and Mike Trout to 99. Nice one there. Never bad hitting a trout. Cool. Tools of the trade. Jose Reyes, 77 of 99. Nice one there. Not a guy you see in a lot of products. And then we've got Colton Welker, 19 of 35 for the Rockies. Nice autograph and three-collar, three-collar. That's sick. Nice hit there, Dan. Heck yeah, man. That's a cool card. And last box of your mixer here, Dan. It's been a lot of fun ripping it. Thanks again for your order. Always like ripping your Star Wars. Your Star Wars bounty hunter. And then now we're throwing some baseball in there too. Best of both worlds. We've got Cool Papa Bell to 199. Nice one there on the foil. We've got Jordans, statistically speaking. Mantle, Goldschmidt, Adola Garcia, Ryan Sandberg, and Chain Boss to 99. Pull one of these earlier. We've got Dylan Carlson on the Jumbo Jersey autograph. Nice one there. Second year Dylan Carlson. That's sick. Tools of the trade. Cardinals. Got John Hesley on the Jersey Auto to 75 for the Royals. Nice little color match there. And lastly, we've got Anthony Alford on the Jersey, Jersey, Jersey, Triple Jersey to 199 for the Pirates. Nice one there. That blue is when he was on the Blue Jays as well, Jersey. That'll do it for your break there, Dan. Thanks again for your order. Get all those cards right out to you. Congrats.


Kia ora koutou. I think we'll get started. It's wonderful to see you all here. My name's Fiona Fields End, I'm the Digital New Zealand Services Manager based at National Library, which is part of the Department of Internal Affairs. So this is a panel today, clearly, with all these great people on stage, and we're looking at the progress and perspectives on opening up rights and licensing for cultural sector collections, which is a bit of a long title, but really one of my passions is making sure that people can easily understand how they can use digital content. And over the last several National Digital Forums, we've been talking about opening up our collection content and data and the barriers and the issues and all of those things that make it harder. And one of my goals in work, and to be brutally honest in my life because I'm really passionate about my job, which is kind of sad, but is to make New Zealand digital content easier to find, share and use. And one way that we do this at Digital New Zealand is to encourage our 150 or so content partners to be clear about how their content can be used. If it's all rights reserved, then make it really clear that that's the case, but preferably that content will be open or Creative Commons licensed or so forth. So we really encourage clear and open licensing so that people can use our search services to easily find New Zealand content that they can use in their art projects and in their work. So here in New Zealand, we have various things that are trying to encourage openness on its way. So we've got an easy goal. The government open access and licensing framework to help guide the way. And more recently, the declaration on open and transparent government to show what shows the commitment the government has for actively releasing high value data. And in the cultural sector, there have been some really great inroads that have been made and that's what I want to show you today with some of the panellists that we have. So to date, in Digital New Zealand, we have about 300,000 items from our various content partners that are licensed as what we call modifiable. They will have a Creative Commons or an open license in Digital New Zealand and that doesn't include also the wonderful behemoth that is Papers Passed which expands that number actually to over 20 million items because Papers Passed is so massive. But a lot of Papers Passed is in the public domain because it's pre-1916. And we've also, in Digital New Zealand, opened up a chunk of metadata for commercial reuse so that vendors and library vendors and so forth can use that data or developers can use that data to sell apps in an app store, for example. But copyright and licensing issues are hard work. There's donor agreements, there's cultural and ethical issues, these things are bound in. But there is content out there that it could be and should be in the public domain or there's content out there that and data out there that our organisations hold the copyright to and could open for reuse. And licensing issues are tricky and scary to traverse. And copyright and licensing requires backbravering. We've seen some examples of that here at NDF with the Rikes Museum and Museums Victoria being really brave in opening up their collection and content and data for others to use and just seeing what happens and building up the structures around it and starting the journey, starting the leap. So the aim of this panel is to explore that journey and the progress and the results from a range of organisations and initiatives have actually taken the leap to opening up data. So I've got some great examples of people to tell you about great examples. Importantly, we've also got a couple of perspectives from two key audiences, the publishing sector and the education sectors to find out what difference and indeed what impact access to open cultural content and data is made for them. So we hope to show you some options for opening up licensing and access and inspire you to take that first leap or to take a longer leap towards opening up your content and data. So today I've got six very talented and dedicated people, four have made significant progress in opening up their collection content for reuse or starting a journey to do that as well and two want to tell you why it's so important to them and their sectors and I think we can learn a lot from them. So I'm going to let them introduce themselves. So I'll start off with Victoria. Hi everybody, my name is Victoria Leachman, I'm the rights adviser here at Te Papa and I thought the first thing I'd do is tell you our latest step. Te Papa's latest statement of intent commits Te Papa to releasing for open reuse, 10,000 high resolution images per year for the next three years, so 30,000. Really that's been a result of the revisioning process led by our CEO, Michael Hurlehan, over the past two years. We've had the opportunity to look again at open reuse of collection images and during the revisioning there was a whole lot of discussion about Te Papa's mission. Our revisioning process determined a number of strategic priorities for Te Papa including doing more to share our collections and knowledge and to share authority over those collections with individuals, communities and iwi. Open access obviously provides a key way we can do this to share the collections and empower individuals and communities to use those collections in their own ways and we certainly want our digital collections to be the start of something more. So what that means for us is that the result of that is that Te Papa's new executive put this statement of intent and really wants to include some of those measures to reflect this shift and that's one way of doing it and providing evidence that audiences were engaging with our collections in a meaningful way. How we're on the ground, people underneath the executive, we're seeing it as a stake in the ground and a mandate towards change towards making open reuse businesses usual in our working process and building it into our website. There's obviously some technical challenges with our site to overcome but it's due around March 2014. Now when I say open reuse, at the moment that's the public domain images at high resolution, we have other material obviously, the stuff we own copyright in which will be available under Creative Commons non-commercial licenses and then of course there's the stuff where there are other copyright or relationship issues which will stay all rights reserved. So that's a position at the moment. My name's Fiona Moorhead and I'm Assistant Registrar at Auckland Art Gallery. It's interesting, I think you're going to get a whole spectrum of different responses here. I think Auckland Art Gallery is sort of somewhere along the road of that journey of opening up content. Currently we have a collection of just over 15,000 artworks. Of that we've got just over 50% of our collection which is out of copyright, so copyright has expired. We've actually found it really easy to identify items that we can release out as copyright expired. We just go on the copyright laws, so 50 to 70 years after the death of the artist depending on the country of origin. Of the remaining artworks in our collection, just over 5,500 we have copyright permission from the artist or copyright holder. And obviously reproductions occur through a reproduction service so a request is made indicating how they'll use it and then they are able to use that content. We do have a number of artworks that we do not have any copyright permission on. Those are the ones that when you visit our website you don't see an image at all. They may be ones where the artist has stated that they don't want their artworks reproduced online or it may be artworks, for example, orphan works where we know that it's in copyright but we're unable to find the copyright holder. I think in summary for Auckland Art Gallery we find it easy to determine whether something is out of copyright. It's just a simple bit of maths and every year we release more artworks when they go out of copyright. I think the harder thing for us is what to do with orphan works and I definitely agree with Allie's statement. Allie from Museums Victoria where she sort of said that that's really the difficult thing but I'll pass on now. So that's a brief intro. I've got two mikes. That's too many. Hi, I'm Reid. I'm the coordinator of the Upper Hutt City Library Heritage Collections of which we have a slide. Basically we're like what you call community archives. We serve as the main repository for collecting and preserving items that document the history of Upper Hutt and its people. We actually have a fairly substantial and varied collection of heritage resources that would be of interest to a far broader group of people than just our local community. However, the problem we've traditionally had like a lot of small out-of-the-way under-resourced archives of our kind is that we've tended to be very underutilised. And so, second slide, it has been as a way of getting around that problem that a couple of years ago we decided to make the move towards using a web 2.0 kind of model for getting our collections out there. We've managed to do this with the help of New Zealand micrographics and their online interactive database platform Recolect of which we've been one of the pioneer users and this is the landing page of our Recolect site that you can see here. Chris Dempsey, I believe, spoke yesterday about the new version that's about to come out soon. It has a lot more features. But anyway, Recolect, as an interactive site, it's got a lot of features that are designed to invite user participation, crowd sourcing, that sort of thing. But it also has tools aimed at making our content more readily available for use. And, for example, the vast majority of the over 15,000 photographs we currently have on our site and that's soon to go up to 19,000 are available under a Creative Commons 3.0 licence and you can see a little detail in the corner there that shows you what that looks like on an item page and people just have to click the actions tab and there'll be a download tool and so they can easily download a high resolution image of that. Move on to the final slide. OK. Here are some examples from one of our largest and most popular photograph collections. Rebel Jackson was a local photographer who documented upper hut life during the 60s and 70s. We have over 8,000 of his often wonderful and striking images available for download on our Recolect site. And Rebel Jackson is still alive. He's in his 90s, but this is done with his full permission. The kinds of common uses to which people put images like these seem to include things like framing prints for decorative use around their house or workplace or using them as illustrations for books and other publications including websites. We've also recently had some Rebel Jackson images acquired for use in a feature film. Some of these uses are obviously might be deemed commercial, which places them outside the terms of our Creative Commons license. However, we generally waive this restriction when requested because most of the projects don't involve significant profits and don't seem commercially exploitative, but the license means that people have to actually ask us for permission. We previously charged for permission to use our prints, but this represented a very minor income stream for us and involved administrative costs and we feel that the very small loss of income here has been more than offset by the goodwill and publicity that taking an open content approach has generated. Also, of course, it's gratifying for us to see our collections being put to use, which is, after all, the whole point of preserving them in the first place. Thanks. Good afternoon, everyone. My name is Fiona Grex and I'm the third of the Fiona's in the session this afternoon. I work in the media policy team of the Ministry for Culture and Heritage here in Wellington. In the media team, questions around copyright are really important in relation to media convergence and this balancing act between the public wanting to access the content they want when they want it and the more traditional business models that still operate, particularly in the screen industry. But one of my other tasks at the Ministry is thinking about how we might provide input to the review of the Copyright Act when that happens. And that led me to convening a group of people in the cultural sector who are really dealing with issues around the operation of the Act on a daily basis. Agencies such as Archives New Zealand, Alexander Turnbull Library Film Archive to Papa. And one of the main things this group has ended up doing is a best practice project around attributing consistent and accurate right statements to digitised material online. And this came about, we started looking at photographs. That might be the same photograph on different agencies' websites where we found there was different rights information in relation to that photograph. Or it wasn't clear that the photograph might be copyright might have expired but the person still had to contact the institution to find out how they could use it. And we felt this could be made much more consistent. So we've started a project looking at some World War I material taken by a man called Henry Armitage Sanders Government's official photographer and he took some film footage on the western front. And this material is held in several of the agencies around the working group. And what we're doing is we've got a deadline of Anzac Day next year for getting all of the negatives digitised online, the ones that aren't already, and the same rights statement attributed to each of those wherever they're found. Tom Rennie, I'm the Associate Publisher at Bridget Williams Books, an independent publisher based in Wellington. As I explained in my brief talk yesterday, we publish complex non-fiction works, particularly a lot of history that are often heavily illustrated. Typically these illustrations are central to the intellectual structure of these works. At times they're even indispensable, particularly with Judith Binney's histories. One recent example is Claudia Orange's new edition of Story of a Treaty, which had over 120 separate permissions clearances for this work and a lot of Iwi permissions. But we also have a number of works that have far more permissions for that for an individual work. BWB has always been scrupulous with its permissions clearance. Over 30 years of publishing, I'm not aware that Bridget's ever encountered a permissions issue, which I think given the complexity of this space is quite an achievement. It also reflects the deep respect that BWB has for the glam sector and their expertise as collectors, curators, and rights holders. We are, however, still facing some significant challenges with permissions, notably with clearances for our retro-conversion work. This work involves taking over 100 titles, stretching back over 30 years of publishing into a digital space, and we're having to clear over 3,000 items for this. As I mentioned yesterday, we are committed to re-releasing these titles fully illustrated. We don't want to devalue these works by having to redact images. But this means a number of our e-book releases are delayed until we can reach this stage. And a number of the... a couple of the issues that we're facing with these firstly revolves around the terms that were being offered or not offered by some institutions for digital usage. I started on this work back in 2011, and I started by preparing a broad spectrum permissions request. This was shaped around how the industry is going to be evolving over time, and we took this approach simply because we felt it's the most honest declaration of where digital publishing is going to evolve, and we saw it as a way that would potentially save costs across all parties. Really, a number of New Zealand institutions have agreed to these terms, and we're extremely grateful for that. But we're still having some issues, and these are largely revolving around being granted only one e-book instance for a permission, which is not clear to me as to whether or not that permits books and browsers, whether or not it permits database products, and whether or not it even permits different formats across different vendors. I mentioned yesterday that we're having to prepare actually one e-book for each vendor now. We're often only being offered New Zealand rights only, or alternatively world rights, but with a huge, sometimes unfeasible increase in the cost, which for me simply defeats the point of publishing digitally in the first place. We're often being granted a fixed term, which can be as short as five years for a permission, and again, that makes little sense to me because there's no meaningful way that we in good faith can police that, to say, us having to license material a complete work back to libraries who are requesting perpetual access for a work. And then at times, not often, but at times we're also having unachievable or idiosyncratic requests around DRM, such as having to reassure rights holders that we can't, that the user won't be able to right-click an image out of an e-book. A few institutions have also seen the range of this initial request is extravagant. Some of them are quoting as high as $500 per image, which in terms of our retroconversion work, these are titles where often we expect they'll sell a handful of copies a year, many of them. We're doing this for scholarly reasons, not for commercial reasons. And those sorts of costs are plainly unfeasible for publishers in New Zealand or abroad. So in these few, and I would emphasise few, notable instances, we remain stuck between either agreeing to these disingenuous terms in terms of single-instance usage or fixed usage or not being able to include these items at all, and neither of those are acceptable for us, but I'm confident we're going to be able to reach agreement in these instances and we hope this session might make some small contribution to advancing that. Thanks. Brilliant. So my name is Matt from Creative Commons Aotearoa, New Zealand. I'm not actually from the education sector but I'm going to talk a wee bit about some of the work that Creative Commons has been doing in the education sector to encourage the development of open educational resources, utilising some of the open materials that people on this panel have been opening up but also many other institutions in New Zealand. Creative Commons provides free licences to enable people to share works according to a range of restrictions and we have the rather lofty goal, you can see it on our website, of universal access to education and participation in culture and we actually take that quite seriously and the good news is that it's happening, we're making progress and by when I say we, I mean the international Creative Commons movement is making progress towards these aims. We're making really fast progress in the last 18 months actually towards open education, open access to research, open government and also open glam and I see from my perspective in between all those different open movements a real potential for different kinds of open material to be used together especially for schools. I really see a potential for teachers to be reusing some of these open materials and making open educational resources using some of these high quality, high resolution images, but not just images, all kinds of open materials that you guys are releasing. On a day to day basis I work in schools quite a lot. The big copyright issue that I'm trying to address is that teachers don't hold copyright to their teaching resources and they share any resources online, they're technically infringing the copyright of their board of trustees which is a ludicrous default but we're doing our best to get schools one by one to adopt Creative Commons policies to ensure that teachers can legally share resources online and also for schools themselves to give an active statement that they encourage the teachers sharing educational resources. But the real message I want to send is that there's a massive, massive potential for schools to be using much, much, much more stuff, much more of the glam sector stuff than they currently do. And I think that potential will be realised in the next five or so years and some of the steps that these institutions have been taking are getting us much closer to that goal. We're going to kick off with a set of questions that I'd come up with and then, so that'll take I don't know, 20 minutes or so and then we'll open up to the audience for questions. And whoever wants to start can start, but why did you choose the open licence approach that you did choose and what were the decision factors? Go. From Te Papa's perspective it's been it wasn't really a choose it was what I think is an idea that whose time has arrived and been here a while. But just to say also in preparing notes for this I looked back at Te Papa's progress and I wrote up the notes and thought jeez this looks really organised and planned and it wasn't. There's a lot of trying and a lot of failure and a lot of trying again and it really hasn't been easy especially for a large organisation with a lot of competing teachings and priorities and that continues. The way I've looked at it and the way we've sort of brought it forward is by pruning our ring fencing and parking anything that looks hard and just focusing on the really low easy fruit to deal with and luckily with a collection of our size that means we can be in a position of being able to commit to what seems sometimes seems quite a small amount of 10,000 images a year for 3 years but from my perspective I see that as a stake in the ground practices and I see that as a bit of a trial and embedding it into work practices so that we can grow from there rather than we've reached the finish line I don't think that's the case at all I think we need to continue on with it. I'll just say once we decided to go the open content route and that for us flowed on from the decision to do the Web 2.0 thing taking the actual choice of license was pretty straightforward for us the creative commons 3.0 attribution non-commercial license covered what we needed we needed two things one what was basically important for us was some kind of acknowledgement and recognition for both our institution and our donors for having made this material available but the other thing was the non-commercial aspect which as I said before we do wave depending on the circumstances but it was deemed necessary for us to retain some control over use and prevent inappropriate wholesale appropriation of work and in the name of some kind of profit making enterprise so somebody could take the entire rebel Jackson collection and put it in a book so this stops that but the 3.0 seem to cover the two main concerns that we have these are the two responses I think for Auckland Art Gallery as I alluded to before we're kind of at the start of that road currently if you look at any out of copyright content on our website it just says copyright expired we don't currently use any creative commons licences similarly if an artwork is in copyright it does say copy and restrictions apply and people do need to go through a slightly convoluted route on our website to figure out how to request permission to reproduce those artworks so I think we're really keen to move towards ideas about creative commons licences my colleagues that I have spoken to do seem really keen so I think it is just continuing on that project I think our main difficulty is that currently we don't have anyone working on copyright full time it's part of several people's jobs and so because it's split between people like that it is slightly disjointed I deal with copyright at the point of acquisition we have a reproductions coordinator who looks after the requests and we do have marketing staff and other people within the institution who do all sorts of bits and pieces plus our research librarians who in the past have managed copyright and have done an amazing job of research so we're kind of in a bit of a tricky place and as I say hopefully in time to come you'll sort of see better content on our website and more clear instructions on how people can reuse content in relation to our World War One project we couldn't use a creative commons licence because that material is already in the public domain but in terms of what's been helpful in that process was getting a legal opinion that said black and white that it was in the public domain that Crown Copyright had expired and then we could then take that to the agencies and talk about what's the right statement and we're looking at the moment at no-no and copyright restrictions So what has the biggest hurdle been and how did you overcome it? Well I'll start that one I don't know about hurdle but far and away the biggest issue for us is orphan works the works where it's not clear what the copyright status of we, as I said the Rebel Jackson collection doesn't fall on that another major collection we have relating to photos from the Upper Hut Leader doesn't fall on that either but we still have a substantial amount of works that we we just simply don't know the copyright status of and we kind of a small institution like our own we just simply don't have the time and resources to go through and check and go through the very lengthy exhaustive process of making sure copyright is clear on items that are passed a certain date so basically and I really want to stress here I don't want to give the impression that we've taken a cavalier kind of like whatever approach to copyright we have identified the most problematic-ish ones and anything that looked like it's could be a problem we haven't put a Creative Commons license on but the vast majority of our collection we just made the judgement call that these are items that even though we weren't sure local photograph collections that sort of thing we didn't think people were bothered by it we didn't think copyright claims were going to be made and so the decision was made to make these available and otherwise this content's just locked up and so yeah that's so that's not exactly a hurdle that we've overcome but that's the way we've dealt with the problem and as I said it's not we're not being cavalier and I appreciate the differences with other institutions and larger institutions and reputations and that sort of thing and the reason for the extremely cautious risk averse kind of approach that tends to predominate whereby it's very hard to find images that you could use post-1916 or something but yeah we've made this decision kind of to you know make stuff available as long as we felt pretty confident that there were no claims against it I would say at the very start of this back when we 2005-2006 when I think we first started looking at rights in the collection was making sure that we had good tools we do a lot of rights research at Te Papa and the worst thing that can happen is for somebody to have to go and do that rights research all over again six months later so from my perspective emu has been an absolute godsend we have a really great rights module associated with our collection information and it allows us not just me but also other researchers as well to track copyright research and to record proof when we've found it of when something is definitely out of copyright we also have a large orphaned works problem and as soon as it has orphaned works it gets parked as soon as there's ewe relationship issues it gets parked as soon as there's nudity issues it gets parked as soon as there's any kind of images of dead people parked if it's a problem park it move onto the stuff that's going to be easy to release I'm looking at that and thinking we'll release what we can right now to the best of our ability and then once that's done and we've got it embedded in our work process for the easy stuff we can go back and look at the hard problems later I'm going to say what we've challenged is what we do in an institution wants to withhold some work that is in the public domain but for other reasons of sensitivity such as ewe or dead people being portrayed in the images and for us it's been around not allowing those sensitivities to stop the whole collection being withheld so thinking about perhaps a statement that the institution can attribute to that material saying why it's not being released but then releasing the remainder so we're still getting the material most material released kind of a sideways response not so much about releasing content with an open licence but what I'd like to comment on is the differences with art collections from other types of collection and I think for us one of the interesting things that has come through dealing with copyright is talking with artists about copyright and not only artists but also copyright holders and it can be a really great opportunity as an institution to talk with people and to kind of educate them about what it means to release content and what there is what the possibilities are and why it's good to release content from an authoritative source as one example we have two artists who are now deceased and their family manages the copyright and they have actually the family has given us permission to open out reproductions I think to A1 or A0 size because they're really happy about how we've managed reproduction requests and how we sort of look after that for them and I think that's a really successful example of how you can work with copyright holders to kind of get a more open result so have you achieved what you wanted to has anything surprised you or is there anything that you would do differently well just to be bold I'd really love it if we all shared our copyright holder information that would make my life significantly easier one of the things I find is that in doing this job for five or six years is the community I've built up and all the people who I know hold the information to the addresses and contact details for artists, artists states artists granddaughters artists nieces and nephews and various there are times when things have been bound up regarding copyright I mean this hasn't got anything to do with open this is the stuff that's actually in copyright where it's been a real battle to try and find somebody to get permission and take it from being an orphaned work into something that we're actually allowed to reproduce online at all you know like you say with the art collections and artist's choice not to have their work up online that's an artistic, you know, they're the rights holder, you have to respect that but for the most part it's making sure you do the due diligence and because the last thing you want is to be in a position where you're upsetting people without knowing I think adding to your comment about that we at Auckland Art Gallery we're often in touch with other institutions around New Zealand sharing copyright information and that as Victoria sort of said it's a really positive relationship, you know that you can email a colleague at Te Papa or at Christchurch Art Gallery or other institutions to go help do you know who the copyright holder is for such and such and that's super useful and another thing that I ought to slightly plug is that recently the Auckland Art Gallery has worked together with Christchurch Art Gallery and I think also Te Papa on the New Zealand Artists Names database which is a pretty amazing resource basically it's a list of all of the known New Zealand artists their place of birth date of birth, place of death date of death and also who holds a bit more information about that artist so if any of you are doing research into copyright of artists that can be a really great starting point I don't recall the website off the top of my head but I'm sure you can google it someone will tweet it find New Zealand artists find NZArtists.org.NZ they're all going to be asking some questions soon yeah just picking Victoria's Victoria's point I totally agree that the worst thing is to offend people or upset people without meaning to and certainly I'll be honest that when we launched the site and which was over a year ago I had a lot of sleepless nights and I actually worried about do people know about this open content thing are we going to get in trouble for something are people going to be upset it's been over a year now I'm a bit surprised but we haven't had a single issue and we've had a lot of publicity our collection available has been out there I've had three requests during that whole time to remove material those requests were none of them involved copyright they were people they were all involved photos from the newspaper that had been publicly available but because of something that had happened I won't go into detail in these people's lives these photos being made available online and I removed them immediately apologized for any upset that caused them and they were more than happy with that situation without wanting to jinx things if you say what I've been surprised by I've been surprised by how smoothly things have gone so far because we realized we were taking a bit of a risk here and we just didn't want to be put in an embarrassing situation of having to take lots of material down I'd just like to comment one more thing about orphaned works after Te Papa does due diligence and gives it its best shot at trying to find a copyright holder if we have tried and failed we do actually put the work up in collections online the reason we do that is to try and usher out of the woodwork the copyright holder there has been since 2006 there's been three instances where that has happened on two occasions they didn't even know they were the copyright holder they came back to us and said I'm so glad to see Greendad's whatever and we negotiated a license retrospectively and the one occasion that the rights holder was a little bit upset about it an apology, a takedown and negotiations afterwards solved the problem it actually built the relationship so for those of you with worries about orphaned works do some due diligence if you can, when you can and put them up and this question is especially for Fiona G Fiona Gregson so you're trying to work with multiple organisations to come to basically consensus about copyright statements or licensing statements that must be a little bit of a challenge how's that going it has been quite slow progress I have to say and I think part of that is that what we're trying to do is something of a first among a sector trying to agree a statement that everyone will use so it's sort of slow steps but I have to say we're on track in terms of our deadline of Anzac Day next year and I feel confident that we'll get there and that we thought we'd start with public domain material because that would be the low hanging through like you talked about before Victoria as a first go and then perhaps it will lead on to looking at material that's within copyright term and so and this is for everyone at the table because you two might haven't answered it this question as well and I've got more questions for Tom and Matt don't worry is there an inspiring institution here or internationally that you've regularly gone to as a successful model or open content or just an organisation that you admire that has helped I'd like to say Digital New Zealand and the reason I say that is by golly if they pushed us they have been really great advocates and great people to bring ideas off essentially we wouldn't have probably gone to the three tiers of all rights reserved Creative Commons licence and no-no copyright restriction statements had they not pushed us with the opening of Digital New Zealand and the coming home memory maker project that was our first trial in terms of using three statements and for me that was while it was only 100 objects and it took us a while to get the memory maker stuff working with the statements on collections online it was actually the start of prompting us towards that we were thinking about it but it was taking a while and that gave us a really great impetus to just get on and do it and we're still working we're basically very grateful for any institutions that's met our digital usage but one in particular that stood out for us is ATL and we submitted a huge permissions request it was a couple of thousand images I think and I know they've teamed a huge amount of work on that and for me it's interesting because I'm not an expert on where they are but my understanding is they're not necessarily an open institution in terms of where they are present but they met all our requirements and did a huge job for us so I know the team would be really grateful for that I know that and I think Mark might be in the audience but National Library and Alex Under Turnbull Library are working on their reuse policy at the moment and it's imminent we're nearly there so look out for that and I think it'll be a policy for organisations to look at and maybe copy and use or re-bix themselves I mean it's actually been to Papa and things like the goal around 10,000 images for high resolution download and the risk management approach to all from works we're actually putting material out there and as well as that I really like New Zealand on screen website and the processes they go through to clear the rights to New Zealand content is quite admirable as well as that they release their own clips interview clips under Creative Commons licences which is great sucking up to people on the panel but Te Papa and Digital New Zealand have been Digital New Zealand is extremely supportive of Creative Commons, always has been and I learnt most of what I know about what goes on in the glam sector from the conversation I had with Victoria Leachman when I wrote a case study for Creative Commons way back when so definitely to Papa and Digital New Zealand as well internationally the Open Knowledge Foundation are pretty good on some of the stuff, they're getting better they've launched an Open Glam project which is a way of coordinating some of the information around Open Glam in Europe and North America specifically though it's intended to be an international project so if you're looking for news about Open Glam institutions internationally there's a public domain discussion list and there's a lot of information that they put out including the public domain review which is an excellent public domain publication that you guys should all check out Questions for Tom and Matt now put them in the hot seat so has access to Open Cultural content made a difference to your industry yet has it saved time has it saved money frustration, any other factor Open Access having quite a bit of impact on scholarly publishing generally but that's a separate issue for us the short answer is no I spoke to my team earlier today on the number of permissions we've cleared over the last years two years it's been under a CC license and there was one and that was from Stats New Zealand that was a graph for an equality book so there's an issue there for me perhaps about if stuff moving to this open space is understandably the low hanging fruit where perhaps higher up the tree I guess and we've otherwise found that as I said before ATL fantastic with our digital permissions usage so for us it's not always an issue of whether or not something is open the immediate issue for us is the terms, the license and the cost so in that respect it hasn't had a significant impact thus far for BWB just with the proviso that I'm not from the education sector necessarily so I don't want to make too many overarching claims but I will anyway I think with the glam sector and the education sector are both in a pretty early stage of development in terms of open and we should always keep in mind that we're talking about a pretty fundamental shift in how people access and reuse cultural objects it's a pretty major thing that's happening so again I point to the massive potential in the education sector I think there's a lot of students out there reusing stuff from digital New Zealand in other places and there's a lot of teachers that are starting to incorporate it in teaching resources I think some copyright issues are still pretty difficult and some of the usage statements on glam institutions websites are still a little bit vague for some teachers you can't expect every teacher in New Zealand the 50,000 plus teachers in New Zealand to have the same expertise and copyright as someone like Tom who works in this day to day that kind of copyright knowledge is never going to happen so you really need to make it trivially easy for people to access stuff, reuse stuff and know that they're doing it legally because if there are any issues around the legality of reuse most teachers are going to do absolutely nothing because most teachers are really interested obviously in staying ensuring that what they do is legal but also passing on that kind of legal practice to their students and so and you've kind of started answering this matter so what do you really wish would happen in this area and what would really make a difference in your industry and area I mean I want to stress again that already you know we're very happy with the relationship we have with the glam sector in terms of our image licensing and I think for us the question again really is just we'd love to see a bit more sophistication around the nature of the terms being issued so that is looking at things like finer distinctions between an independent New Zealand publisher and a commercial entity that's larger or from offshore perhaps in terms of the terms being issued more of an emphasis on whether or not an image has been licensed for a backlist conversion work or for a frontlist title we'd like to see more sophistication around the nature of the usage being granted in terms of how it's being represented online whether or not it's this idea of a single instance of an e-book whether or not it's a more distributed online presence and we'd also you know we'd like to see more of a discussion and engagement about what is achievable on DRM if a rights holder actually wants us to apply DRM because at the moment is to some extent a disconnect between some of the requirements on DRM versus what we as a publisher are able to apply in the supply chain but what I have been struck by and again I'm not an expert in terms of where those are evolving but the the Hargraves report in the UK 2010 led to the development of the copyright hub over there and what was striking for me in that development was that there was a specific focus on scale and volume of usage and small and medium sized enterprises and for me that focus particularly on medium sized enterprises matches the realities of what we meet and what we're able to achieve is an independent publisher now again I don't know all the details on that and I know it's a the copyright hub is something that's an ongoing process and I think it's still subject to review but it's that sort of degree of granularity and sophistication I'd like to see coming through in the terms being offered to us more so really than issues around openness at this stage it's more about reaching a midpoint that allows us to reuse these works than our digital titles is it just to expand on what I said before I think it really does need to be trivially easy and I think the intended audience the kind of base level intended audience should be a 7 year old should be able to access and reuse the stuff and reference it properly which sounds ridiculous but we've just run Digital New Zealand have run Mix and Mash and we've had 7 year olds do that Creative Commons is a bit guilty of this as well and we are developing tools to make it trivially easy to provide attribution on images that we don't do it properly and that's presumably because it's a little bit too difficult but I think if it can become trivially easy to access, reuse and reference properly works in culture inherited institutions you're much more likely to see uptake in the education sector where again you can't expect people to go through the kinds of processes or even read the right statements like Tom obviously does quite a lot and so if there's one particular piece of content or group of content that could be opened up and make a real difference for your areas of interest what would it be? Images of course but I don't really feel qualified to say that it should be opened up per se if the institution is happy to open it up then that's great I know that there are financial imperatives for some of these institutions and I don't feel like I'm in a position to sit here and say that this material should be opened up without a finer understanding of those commercial imperatives it seems to me that there's perhaps a tension here between this desire for openness and whether or not some of these institutions are having financial imperatives placed on them from higher up, I don't know so I'd love to see these images opened up that would allow us to bring all these 3000 rights through for our backlist but I'm very cautious in saying that that's something that can be done simply and I know that there's great complexity throughout all of this process I don't have one image of one piece of content I would say it would be really good to see more of film and TV opened up though I know that the rights issues around film and TV are super complicated but that would be really useful and interesting for people in schools to be able to reuse especially stuff from kind of there's kind of a bit of a black hole in the middle of the 20th century for a lot of this stuff and if it's too hard some of that stuff if I'd be really keen in ensuring that we don't reproduce that problem for the 21st century as well so maybe putting in place policies within cultural funding institutions to ensure that publicly funded cultural works don't get dropped into that black hole where you can't really access it you can't really reuse it even though it was publicly funded in the first place just try and ensure that that doesn't happen again for the next century that would be my hope Regent OK, time for audience questions hopefully we've got some we've got some questions out there great I just wanted the museum panellist to comment about what do you do when you loan to each other with regard to intellectual property and the sorts of rights and requirements that you place upon each other or have experience from other museums placing on you loan agreement of items the loan agreement from te Papa says no photography of the item if you want to use a photograph of that particular item you have to go back to our picture library and negotiate a licence and possibly pay for it at Auckland Art Gallery in our loan agreement it generally states that the public can photograph collection items as long as it's not for commercial purposes and again if people want to use if the other institution wants to use an image of that collection item for publicity purposes that just goes through reproductions side of things Thanks the issue of artists not wanting their images used online is that because they're worried about unauthorised reuse in some cases yes, in some cases no in some cases it's a a wish of the artist for the work to be experienced in the flesh as opposed to in an online environment so it's a philosophical standpoint it's one that I happen to disagree with violently I come from Australia but it's their work so that's the whole point it's their work so we don't have any rights to reproduce it without their permission I know it's their work but you hang their work in the gallery don't you and it's physically accessible but not I think it's come to I'm not arguing with you at all I personally think that if you're not online you're invisible but that's not the perception of some of our artists and we collect from a lot of them I think as an institution that collects art you have to really respect your relationship with artists even if you don't personally agree with that opinion you've really got to you're working with these artists so you've got to do what they really feel I think one example that a colleague of mine told me about was an artist who had not given permission for any of their artworks to be reproduced online and one of my colleagues met with this artist and just talking to them did a google search on their name and then did an image search and showed them all of the images of their artworks that were online and managed to convince the artist that well you know why not have the authoritative image you know a really nice high quality image with really good information about that artwork why not allow that and as a result of that conversation the artist changed and did allow the images to be reproduced so you know it's something that does change over time with artists as well and I think certainly given where we are now with the web and images and content I think there is a greater understanding from artists about what it means to have their images of their artworks reproduced online and how it can be a really positive thing I think that's a really good question I will feed that back to those in the research library whose project that is thanks for that and just more generally on that topic of intellectual property of the organizations around metadata if the panel got any comments on that and why metadata created by cultural and heritage organizations can't all be open metadata or creative copyright creative commons licensed from to Papa's perspective we were focusing on images we haven't got and it is on the list because it would make a big difference for digital New Zealand and what one last question so I just really quick question we've been talking about copyright and these kind of issues and I wondered we've described what is quite a complex situation we find ourselves in and it's difficult and hard work now that we've seen at least a draft of the TPPA I wondered if you organizationally or individually have any comments around what that may or may not do if it's going to make your life easier or worse is there any comments you have about that given that we've at least seen a draft of it in the last few weeks I can comment on it personally I'm not speaking for my organization when I say this but it's going to make my life harder really quickly creative commons HQ just released this is not specific to the TPPA but they released a statement in support of copyright reform quite broad quite obvious reforms that creative commons HQ thought were necessary such as don't extend the copyright term that kind of thing and broader fair use provisions internationally it's not a very controversial statement but that is a statement that it has some relevance to the TPPA I think we'd better wrap up there because there's hordes of people coming in thank you all for your time and your interesting perspectives and experiences and I hope some of you in the audience have been inspired to take a deeper leap or start a journey or at least come and talk to one of us about our experiences and thank you and if you could all thank our wonderful panellists that would be great


Welcome to Toffy TV, this is the Star and Eleven show, Huddersfield Town vs Everton in the Calabal couplet getting into it. In goal, I am going for Esmere Begavitch, obviously he came in in the summer and I think this is a good opportunity to play him, isn't it? He played a lot of games last season in the championship so we'll be ready to play and against a team he'll be familiar with so I'll start with Begavitch in goal. At the back, at right back I'm going to go for John Joe Kenny, I think obviously Seamus Coleman can't play every single game and John Joe obviously will come in at right back and give Seamus Coleman a rest ahead of the game at Brighton at the weekend. It makes sense, John Joe's the back up right back, he's been on the bench for both games so obviously for me he comes in at right back. At left back I'm going to continue with Luca Dean, I think I didn't want to change the team completely, I think Huddersfield Town is a potential banana skin so I think you need a little bit of leadership, a bit of familiarity and a bit of class in there so I'm keeping Luca Dean as my left back for this game captain the side as well I imagine so I will keep him at left back. At centre back I'm going to go for Mason Holgate and Ben Goffrey, Mason Holgate obviously started the first game, missed the game at the weekend so I think for him to come in makes sense and alongside Ben Goffrey who hasn't started this season has been isolating. We won him back in the start in 11, we won him back in the Premier League team so hopefully he starts this game and then is ready for the game at the weekend and then head of the international break so makes complete sense to put Ben Goffrey in for this one and alongside Mason Holgate gives Jeremy a break and takes Michael Keane out of the team as well which is important. In midfield I am going to go for the two holders again like we've got, well just two centre of fielders like we've read in the first two games. I'm hoping this is a chance to give John Philippe Gabammon an opportunity and obviously I don't know the absolute state of his fitness but he was on the bench at the weekend, he has had a good pre-season, he went out of training due to being in isolation so I think this is a great opportunity to get him into the evidence side. His first start for two years when he pulled on the Evans Shades against Wathford at Gullison Park riding this is a fantastic opportunity. After waiting to see whether he does own out what his level of fitness is but if he was fit enough to be at the bench at the weekend in the Premier League game then hopefully he is fit enough to be on the start for this one. I always thought that would be the plan anyway, leave him out for a couple of games and then bring him into the evidence side for the League Cup games so hopefully that happens. Alongside them I'll play Fabian Delth, I think he's fit at the moment, he came on at the weekend at Leeds and I thought he did well and I thought that experience at the back sitting in front of the back four alongside John Philippe Gabammon will be crucial. I did think about Tom Davis but I don't know, I just think Tom Davis hasn't started the first two games and Delth has come on in games so I'd start with Fabian Delth. Into midfield, I'd have Townsend on the right, again experience, he didn't start the game with the weekend and don't know whether he'll start the game at Brighton but I'd certainly start him in this game for that experience. Right foot, left foot can put crosses in either way, it's just a good all round experience play to start for us. On the other side I'd have Anthony Gordon, again the flip side of that, hasn't got that experience but still could go on loan but you need to be testing himself against the players from the championship where he could end up on loan and obviously this is a player who has played bits and bobs for everything. I would start him in this game, an opportunity to give other players a rest but also an opportunity to see Anthony Gordon and see what he's all about and see whether he has got what it needs to stay at the club or whether he needs to go on loan. And in the middle of those three I'd play Awobi, has done well so far this season, nice cameo, first game of the season, come off the bench and did well and I thought I sat against Leeds, he did well. So I'd start him again in this game, as I said, keeping a couple of plays in there who've played already this season. And ahead of them Moise Keane, I think with Charleston this game has a chance to leave with Charleston out after his busy summer and obviously we know Dominic Arvillan has been carrying a tow injury as well so an opportunity to get Moise Keane on the pitch and give him a start. And when he started games he's looked alright for everything. So this is an opportunity for him to start games. He obviously played a lot of times last season for Paris Saint-Germain and did it in the Champions League so can he do it on a cold Tuesday? I mean it won't be cold. Can he do it on a Tuesday night at Huddersfield in the Carabaugh Cup? We'll wait and find out but it's a good opportunity for him as well so the manager will see what he's all about, see what his attitude is about. Maybe you have a Charleston on the bench, maybe not, I don't know but it's a good opportunity to see Moise Keane. So there you go, let me know your thoughts on my start on 11. Who would you have in instead? With it being the Carabaugh Cup there's a lot of opportunity out there isn't it to change it up a little bit. So let me know who you'd have in the event side to face Huddersfield on. Make sure to give this video a like, subscribe if you haven't already, if you want daily live videos join us over on page and the link is in the description. See you later.


Hi everyone, I'm Joe for Jasperjasecasebreaks.com coming at you with 2020 Panini Donner's Optic Baseball Choice Edition, five box random division break number one. All cards shipped, it's just one pack I think and then 10 bucks, 10 cards per pack, few autographs per box. The choice exclusive prisms are pretty nice so I don't know, let's see what happens out of it. It's been a minute or two since we've done this. Big thanks to these folks for getting their divisions. There are the divisions right there. Let's roll it, let's randomize it. Each list hard 10, five out of five, 10 times. One, two, three, four, five, six, seven, eight, nine, and 10th and final time. Got Brad N down to Josh K. Brad L is asking, have you ever watched what we do in the shadows? No, what is that about five out of five, 10 times? Sounds like something about the Cold War. Nine and 10th and final time. After 10, it's NL East down to the AL West. All right, so Brad with the NL East, Matt with the AL East, Corey with the NL Central, Alex with the AL Central, each of the East Central and Wester group together. Alex with the NL West, where my Dodgers reside and Josh with the AL West with your last bottom mojo. Let's sort by column B. And while you're considering trades, let's actually grab that, it's a fresh case. Let me grab that case, make some room for it. And let's select, we're gonna make stacks of five and select, do the randomizer, roll some dice, something. It's about vampires. One of them is an emotional vampire, lives off the energy of others rather than blood. Okay, that's kind of a funny premise. The character goes online, can drain energy by making comments online. I'll at least have to see that bit. All right, one, two, three, four, five. Here's a stack of five right there. There's a stack of five right here. Here's a stack of five right there. And here's another stack of five right here. So on the dice roll, here's how I'll do it. So you can see, one, two, three, four stacks.  We'll select that nice Dodger blue die right there. And we'll just go one, two, three, and four. You can see it on the top camera too. One, two, three, and four. If I roll a five or six, I'll just roll again. It's five, we'll just roll again. It's a five, we'll just roll again. It's a four, one, two, three, four. So these we'll save for next time. Mark these with a marker. We'll put X's on the O of optic right here. So we all know that this is from the same case. Although there's no real case hits or anything like that. So we're really just gonna grab just the random five boxes next time we do one of these. I don't know if I could grab three stacks at the same time, let's grab two. Keep those on the back table here just in case we run this back. Any trades? No, no trades. I heard that the stand is based off the Stephen King books. Book, book, books, book. One big book. Is it a series? Stephen King? I like Stephen King. I'm surprised how much the industry is still mining vampire content. That's still going strong. People still love vampires, huh? All right, there we go. Good luck everybody. Yeah, I hear you. I wish Panini had the full baseball license too. But the flip side of that, though, is that what we lose in the license, I think we gain more, especially in products that have, this doesn't have relics in it, but in products that have relics in it, I think we tend to, are able to get nicer relics. And I think more of the bigger names we can see more often. I think that's the flip side of it. All right, let's actually use this box right here. Those should be the autographs in the middle. Remember, all cards shipped. There's Zach Collins to 45, Tanaka to 45. I like the different skin patterns here. There's Jeff McNeil to 84. Eloy Jimenez should be numbered right here to 88. And Bobby Bradley to 88. There's gonna be a lot of cards. I may just leave all of these at the end of the break. First off, there's Javier Baez, first box here. Eson Diaz reveals the auto. It's gonna be Brock Burke. See the cards are a little bent here, but I'm not sure why that happened, but that'll be straightened out in this Invisalign for cards. Top loader basically, 99 out of 99. AL West, that'll be for Josh K. And the behind, Eson Diaz is, oh, we got three autographs here. First, Yannathan Daza, Rated Rookie, Autograph, Rockies, that will be NL West. It's gonna be for Alex, 60 out of 99. And your third autograph, Rated Rookie, Auto, Jake Rogers for the AL Central, that'll be for Alex B. 57 out of 99. And there's Eson Diaz, Rated Rookie, Hollow for the NL East. All right, second box. So the new stand is closer. This one's based on the book a little bit more. Yeah, I've been told to, that that would be a good book to read, but I just have not had the time to do so. There's Alex Bregman to 45. Madison Bumgarner to 45. Justin Verlander to 84. Marco Gonzalez, 61 out of 88. And Hyunjin Roo for the AL East, that's out of 84. The Yann Jose Abreu is gonna be Zach Gallin, Rated Rookie, Hollow. And then behind Jose Abreu are three autographs. There's Danny Mendic, Rated Rookie, Autograph. AL Central, White Sox, Alex. That green is 30 out of 99. We've got TJ Zook, Rated Rookie, Autograph for Toronto. AL East, Matt Lever, 89 out of 99. And then we've got Eson Diaz, Rated Rookie, Autograph for the fish. That's gonna go to the NLE to Brad N. Nice lot of autographs for these five box breaks. Three in each box. Pretty good deal. In a division, you get a good chunk of teams. Another five boxes up right now. Zach Collins to 88, AL Central. Joey Gallo, AL West to 45. Paul Golchman, AL West to 84. Jose Altuve, AL West to 84. And Austin Meadows to 88, AL East, Matt Lever. There's Peter Lonzo, Diamond Kings, NLE East. And your three autographs behind Francisco Lindore. One of them's Alex Kirloff. Supposed to be a big prospect for the twins. That's gonna be AL Central, Alex. 64 out of 99. It's ironic because it's about, the stand is about a virus that gets out of a lab and kills over 95% of the population. They made the series again right before COVID. It's as if they knew. Viral marketing campaign. Oh, that's good, Joe. Viral marketing campaign. Rated rookie autograph Logan Allen. 24 out of 99, AL Central, Alex. With that one, careful out there, folks. It's a real thing. Zach Allen, NLE West, Alex. The Rated rookie autograph. Five out of 99. And the Francisco Lindore, AL Central. I feel like there was another situation like that, Rex, where there was a, where someone had written a book about like, I think it was released last summer and this person had wrote a book and it was something that he had been working on for years. Forget what it was, but it was about potential, it's a fictional book, but it was about like the potential governmental failures that would have to happen. There's Danny Mendic. And for us to get impacted by like a pandemic, there's Anthony Kay, Ronald Bolanos to 88, Charlie Morton to 84, and Austin Meadows to 88. And it was like, and he'd been interviewed a number of times that I've caught him on like some national public radio interviews. And he was a couple of times I've heard him be like, yeah, people thought I was like profiteering off of this. And he's like, no, I just, I wrote this, and I've been working on this for years. And then the publishers just published it three months before all these lockdowns and just happened to be at that time period. And there's Gavin Lux, NL West. It's crazy how that worked out. Michael Baez raided rookie autograph for the Padres, also NL West, also for Alex, 13 out of 99. There is Aaron Saval, Cleveland Indians, AL Central, also for Alex. And we've got Nico Horner, raided rookie autograph. He should get a lot of playing time this year. AL Central, NL Central, Corey, with the Big Cubs prospect. One more box to go, good luck. All right, there's Danny Mendic to 84. Ronald Bolanos, Blue Stars to 45. Brian Anderson, Green Snakeskin to 84. Joey Votto, Red Snakeskin to 88. Nelson Cruz, Green Snakeskin to 84. Behind Lorenzo Cain is your raided rookie, Randy Arroz-Irania and a Chris Sale, you got a bonus right here. Ray's raided rookie, AL East, Matt Lieber. Chris Sale, Red and White to 45. And behind Lorenzo Cain are three autographs. We've got Nick Solak, raided rookie auto, Green raided rookie auto for the AL West, Josh, Joshua K. 15 out of 99. There's Willie Castro, raided rookie Detroit. That'll be for the NL East, AL Central that is, Alex. And the last one here, another Nico Horner, there you go, NL Central, Corey, with that one. 37 out of 99 and then there's Lorenzo Cain. And there you have it, ladies and gentlemen. I'm Joe for jashbyscasebrakes.com. Thanks for watching, thanks for breaking with us. That was five box, random division break number one of 2020, Panini, Donner's, Optic Baseball. Three autographs a box, 15 autographs a break. Not too bad, check it out. We'll see you next time on jashbyscasebrakes.com. Bye-bye.