My word that's heavy. It's Johnny here and we are going to be unboxing the fall of Amiga 7 the Fantastic new two-player starter set from Deadzone So let's get straight into it Shrink wrap off Let's flip this huge box over and see what we get inside. So for Reason it's so heavy. Not only do you get all your miniatures in here? You also get a colossal amount of terrain to be able to play this game. You get your two rule books You get a gaming mat as well. This is a double-sided paper mat One side is the full Deadzone board and if you flip it round you will see there is also Quick play quick start rules as well as a little scenario You also get punch boards with your counters you get all your dice And of course as I said you get a plague force and an asterian force as well. Let's crack this open and Show you what we're talking about. Look at that amount of plastic We are talking about a huge amount of plastic. Let's count out. This is all the Terrain on the top of here at the moment. So let's count this out. We've got one two Eleven twelve if we count the connectors that is twelve bags of terrain. This is all modular terrain I'm going to show you there. You can see these little square holes here You can use these connectors and lots of different options and you can clip those in here and then you build modular Buildings d8s Deadzone is played with d8s because everybody loves an exploding eight And a set of command dice as well. So these have or these you roll these at the start of each turn in this little Bubble bag we have the which ones this this is the plague general So this is a beautiful resin model. So it will be In different sections and see there The the detail of this resin is really really nice And to one side and then this is the matsudan Otisora So he's a really nice big chunky model And then he's got his gun and his gun arm there as well Bases lots of bases and then we have two sprues of esterians here is the marionettes You can see that you get one two three four five Marionettes in here you see the main bodies are in this separate little bag I'm going to take these out because Plastic is glaring on the screen And you want to have a proper look at them There you go. So that is the bodies in there Try and pop this open as well really nice Models there and then you've got your heads and your Down there you've got your heads and your weapons and your arms and things and also this Really cool looking droid as well in the middle there. So you get two of those because you've also got Another one here and then one two three packs here of what we've got We've got two packs of the plague zombies and one pack of one pack of the third gens Again, open these up for you Do make sure when you are opening these larger bags that they do have smaller bags inside So you don't want to be throwing those away Again really nice Models lots of detail on these these got really big brutish Weaponry and things like that and not forgetting of course the best of all little plague dog there Really really cool little model and there's the rest of the bodies there and then similarly with these Zombies in here as well You can see there's one two three four five sets of legs there different bodies A few different head options Okay, so that's all the miniatures out the way This is the paper mat I was talking about and as you can see on this side we have all these different How to play rules you see that's a really nice Nice mat there of all the grids that you need for playing dead zone That's how the movement works in this game and then you can see there's the stats and Quick play guides in here and just fit it on the screen. Here's quite a big map and then the other side is simply the gaming arena Or battlefield but without those quick start guides around the outside So this is really good for if you're just learning you can play this quick scenario on this side And then you can flip it over when you're more Oh fey with the rules and go full scale Here's the punch board that I was talking about Nothing more satisfying than getting a new game and being able to punch counters out of a punch board So I won't punch these I'll let somebody else do that And as I say you have your force list book this has all the different Stat lines for all the different factions Lots of nice imagery as well some of the artwork And everything you need is in there and then separately you have the rulebook This goes through all the rules you need to know for playing weapon stats How to move out to attack? Everything you can imagine in a rulebook all nice and laid out in simple format And then because it's a two player starter set You have a nice handy little getting started guide in here as well. This is How to assemble the models how to assemble the scenery so you can see there what I was talking about with the connectors This is really handy if you're particularly new not just to to mantic or to dead zone But to the hobby in general just makes it all much more accessible for you So there we go. That is the fall of omega 7. This is a fantastic set if you're wanting to get into dead zone or if you are thinking of starting a plague or a starion force and You have maybe a friend also wants to get involved. You could be able to split it and fight over the rulebook and that sort of thing Don't forget guys to like and subscribe these videos We're going to be doing much more of these short little unboxing videos in the future And if you wish to win, yes win this exact box that I have unboxed today Stick yourself a nice complimentary comment in the comment section down below And you could be in a chance of winning this box Until next time guys. I'll see you again soon


Thank you all very much as I think you know it has been reported that we have won Wyoming by a pretty good vote and I want to take this opportunity to thank the people of Wyoming for their support. It is a beautiful beautiful state and we just appreciate having won that Democratic caucus there today. It's fair to say that when we began this campaign we were considered to be a fringe candidate. We were 60, 70 points behind Secretary Clinton. In the last week or two the three last national polls that I have seen in two of them we are actually winning now by a small margin but actually ahead of Secretary Clinton and I think on the third poll she was one point ahead of me. In terms of the matchups with Republicans like Donald Trump in virtually every one of these matchups whether it is national whether it is state our margin against Trump is almost always much better than is Secretary Clinton. In terms of state victories and other territories etc we now have won 17 and she has won 20 and I think that it is very fair to say that we were way way behind at during the first half of this contest but we are having to say the least a very strong second half and we are closing very fast and now that Wyoming is behind us we are here in New York State and I've been pleased to sense a great deal of momentum we have had a number of rallies in Brooklyn in Queens where we are now in Manhattan in the Bronx we'll be going to Staten Island we'll be heading upstate no question in my mind that we have the momentum some of the polls out there are reflecting that momentum a few weeks ago we're 20 30 points behind last significant poll that I saw had us 10 points behind three weeks ago we were 326 pledge delegates behind Secretary Clinton we are now 214 delegates behind we have cut her lead by one-third and we expect and intend to do very well here in New York State and pick up a lot of delegates here and in some of the other states and then we're gonna head out west where I think we have an excellent chance to do very well out there so let me just say that I think it is beyond debate that the momentum in this campaign is with us that we are seeing in state after state large voter turnouts that we are seeing especially high turnouts among younger people there was a mythology I think that was widely believed before we got involved in this race that young people were apathetic we're not concerned about politics we're not going to come out to vote it looks like that has significantly changed and I am delighted to see so many young people while the future of their country wanting to play an active role in shaping the future that they will have to live with so you know during the first half of this campaign we have to deal with the deep south the most conservative part of our country we did very poorly there no question but now that we're in the second half of this campaign we are going to state after state which I think has a more progressive outlook we have won eight out of nine last contest we're looking forward to New York and other states as well we are in this race to win we have a path to victory and our intention is to win the Democratic nomination and then win the general election thank you yeah I do and I'll tell you why is I think all of you know Secretary Clinton has been very clear that she supports an increase in the minimum wage to $12 an hour I have from day one supported a $15 an hour minimum wage and what has happened all over this country and something that is really extraordinary and makes me very optimistic for the future of our country is that people who worked in the fast food industry they went out on strike they stood up and they fought back and they said seven and a quarter is not a living wage we can't make it on seven and a quarter an hour and then you had cities like Seattle and San Francisco and Los Angeles and then Oregon then California then New York raised the minimum wage to 15 bucks an hour I have been talking about $15 an hour for a long time I was out on the picket line with workers in Washington DC who are fighting for $15 an hour Secretary Clinton has said all we need is 12 bucks an hour well history has outpaced Secretary Clinton 12 miles an hour is not the issue now it is $15 an hour nationally and a elected president that's what I intend to do so it seems to me to be a little bit strange for somebody who advocates $12 an hour to be standing there at the signing of a piece of legislation providing 15 bucks an hour anybody else all right thank you all very much


Yo what's poppin' people, welcome back to another video. If you guys are new to the channel, hit that subscribe button, hit the notification bell. Also hit the like button if you guys have been enjoying the content. I'm actually gonna run another giveaway in today's video. Let me show you guys exactly what I got for you. So you guys know one of the last episodes I gave away a Mach 1 baitcaster. Well in today's video we're gonna be giving away a Mach 1 spinning reel. So if you guys wanna enter for this giveaway all you have to do is be subscribed to your boy's channel. Hit the notification bell right next to the subscribe button. Hit the like button on today's video. And also drop a comment down below on your favorite video or favorite content that I post on the Kickin' The Bass TV channel. Once you do all these steps, you guys will be entered to win this reel. I'm actually gonna announce the winner from the baitcaster reel sometime in the upcoming, I gotta say two to three uploads, I'll have the winner in the description. So make sure you come back to the videos and check them out and I will keep you guys posted on the winners for the giveaways. So today's video is a little different than usual. The last couple of days here in Georgia it's just been raining a lot. And we haven't been able to go out and get a ton of content. And today I was like, I had a ton of people ask me, like, Noah, what's your PB? Like, Noah, where's your PB videos? So today we're gonna be dropping down on the channel. And you guys know my boy, Adubfishing, his PB was actually caught in this video as well. So that's really cool. This video was filmed like three years ago. The editing and everything done to it is a lot different than the videos now. But I think you guys are really gonna enjoy it. It's very entertaining. And the fish that we caught were so freaking large. But thank you guys so much for the support. Make sure you enter the giveaway. If you could also text this video to a friend or text my channel to a friend and be like, hey man, go subscribe to your boy over at Kicking Their Bass TV. And I really appreciate it. We're on the road to one million subscribers this year. I know with the help of you guys, we can make it happen. But let's go ahead and hop into today's video. I got some fire content dropping in the next few uploads. We're actually about to head out to Florida in a few hours and we're gonna be filming some banging content. So I love you guys so much. Hope you enjoy the video. This is what you've all been waiting for. Part three, fishing huge swim baits for giant bass.  Because we caught a couple of enormous bass in this video. And notice what I said there, a couple. Now Isaac just caught a 10 pounder. Bob, come down here, dude. It's a 10 pounder, dude. How big is he? Wait, I flipped him for one of them. That's a 10 pounder. I'm getting started with the jiggy, jiggy piggy. I kind of want to get the monkey on the back. He slammed me. I mean, just, I got felt it through my rod. I was like reaching to get something out of my pocket and I doop. There, man, he's not as big as I thought. He about pulled me in, dude. I couldn't even move him. Dude, I thought he was huge. How big are you thinking that one is? Two and a half? First fish today. Just got it started. I'm already starting off with the jig. And that is a pretty fish to start the day. Nothing giant, but that's a solid two and a half, two and three quarters of this fat tummy. Adam's got like a freaking eight, nine pounder on it.  Is that a PB? Oh, you got him? Oh. Bro, that's every bit of nine. Oh my God. That's every bit of nine. That's every bit of nine, bro. Let's go. Dude. And guess what? We don't have a scale. We never have a scale. Oh my gosh. We were running late, guys. We didn't have time to go buy a scale. Oh my God. The donkey ran. Dude, what if you caught two that big? He has two flukes. He's got two. Oh my God. I'm shaking for you, dude. Like, I'm literally shaking. I can't even hold my camera. That's your PB. Yeah, this is my biggest one ever. Oh my God. Definitely a PB. First fish today is your PB. I feel like that's a good start, right? Not bad. Not bad. Just a little one. Just a one pounder? Yeah, just a little. He's every bit of eight and a half. Oh yeah. Every bit. Bro, I think that's a nine. Yeah, he's pushing it. He's up there. I gotta put this one on my Instagram. You gotta get it on the Insta. Go follow my boy, by the way. He's about to start making some videos, as you guys could tell. Got the GoPro. We hooked him up with that. Thank you. Adam Whitefishing, Instagram and YouTube. Check me out. PB action. Yes, sir. Oh my gosh. That's a man. Dude, why does it look so small on the camera? Like, if I could put my eyes through the lens, oh my, dude, that's a mammoth. What do you gotta say? All I gotta say is that needs to happen a little bit more than it happens, because I'm shaking right now. Dude, I can't even hold the camera. Let's get back out there. I got one, bro. Dude, he's very big, yeah. He ain't that big. Dude, he threw my trailer over there.  Okay. Okay. Okay. Oh no, wait a minute, what's going on? I don't mind catching that. Not too bad. That's three and three quarters right there, pushing that four number. He's pushing it. He's fat. Crazy, guys. Jig action. I can't get enough of it. I'm kind of addicted, but I don't have any trailers.  Still a very beautiful bass. We've caught three already, all being super quality. Adam got a very quality. That's great. That's great right there. Oh, I did not mean to do the script on the month. Bit on to you. Oh my God, I see a dig on there here. Yo, Adam, Adam. Bro, he's huge. Adam, I don't know how I'm gonna, I don't know how I'm gonna get him.  Like maybe seven, eight pounds. I saw him swimming and I flipped in front of him. You got him? How big is he? There's no way I flipped in front of him. That's a 10 pounder. Grab him, son. That's a 10 pounder, dude. I didn't know he was that big. I didn't know he was that big. Oh my, dude, that might be over 10. That's a, dude, that's over 10. That is over 10. I saw him swim by.  What? Dude, look at this. The sad part is the camera can't ever look. That's might be 11, dude. Oh my God. Dude, I didn't know he was that big. I tried to flip him. I thought he was like seven, eight pounds. That's a 10. Easy double digit. Yeah. All right, guys. Got this one. Gotta get him back in. Guys, let's have a bit of 10 to 11. I think he's well over. I can't even, guys, I work out and I can't even hold him up. Look at that. Look at that bass. See him. There you go. All right. Do you wanna put him up next to a rod so we can measure and see how long he is? Yeah. Yeah. Dude, you're fricking brilliant. Here, lay him next to the rod and then you can figure out a spot like on this label that'll tell you. So he- Hold on, he's longer than that. Move your hand. Okay, so he's past this. He's about right here. So he's past this by like two inches. He's- Those lips are right here, yeah. And it kind of, the reel pushes it back so it's probably... Long story short, I wasn't even going to film this video. We had like 30 minutes left of daylight. Adam wanted to go fishing. I wanted to go fishing. We're gonna go out there. I happened to bring my GoPro and that's the reason we didn't have a scale. So let me explain myself real quick. Adam had a brilliant idea about laying the bass up against the rod and marking the rod and coming back to my house and measuring it. So that's exactly what we did. You know, we laid the bass down, we put them next to the rod, we marked a little spot, came back to my house, got a ruler or a measuring tape. We laid it out, measured the whole length and it came to be 27 to 28 inches. And what exactly does that mean? So you guys know in kayak tournaments they don't weigh the fish. They measure them and then they predict the weight off the measurement. So I actually ended up going online on my smartphone and looking up what a 27 to 28 inch bass actually weighs. So I went on Google, I typed in largemouth bass length to weight a 27 inch bass. Prepare for this. 11.95 pounds. So pretty much a 12 pounder. A 28 inch bass. 13.42. So he was between 27 and 28 inches. So between 12 pounds and 13 and a half pounds. I decided to leave it since we didn't have a scale to leave it right at 12 to be fair with the whole thing and just call that fish a 12 pounder. I've never seen a fish like that in my life. It was, it was definitely a memory I will never forget. Biggest fish I've ever caught.  It was just overall an amazing fish clip. Thought I would add that in the video. I have a new series coming out and we have a scale. We weighed all the fish just to clarify, but hope you guys enjoy the rest of the video. All right guys, we're getting them back in. Always release these fish. You know, these are beautiful creatures. Very blessed to even catch them. And I believe in catch and release, especially on these bass set. I mean, this fish is old. Give me some on that one. Adam, I'm, oh shoot. Dude, damn. Guys, if you're not subscribed to the channel, I don't know what the heck you're doing, man. We just caught a nine and I'm like an 11. Or I'm speechless. I'm not speechless because I'm talking. Let's go fishing. Like what's going through your brain right now? I'm kind of curious. And I'm sure a lot of other people are. I'm not really sure. My brain's kind of like in a million different places, but I'm thinking that we just caught two huge fish and that they're in there. They're definitely in there. We got two fish for 20 pounds, dude. Can you believe that? And 30, man. Like we haven't even been out here. We just got out here. That's like unbelievable. I mean, there's only one word I can say and that's wow. That's it. Just wow? Just wow. Wow. Wow. Go subscribe to Bomb Boy now. We both caught our PBs, man. Hey, give me some fist bump for that. There we go. We heading back because it's getting dark. It don't look like it's dark on the camera. It looks light, but. Yeah, it's getting dark. It's late. It's getting there. We had about 30 minutes of fun time and amazing time.  No other channel is putting out content like this. And I can talk to you. There it is. I don't go, yeah. And now I'm done with all you said.


Okay folks, Larry Pesevino doing the mid-afternoon update. I've been gone for about six or seven days. I've had COVID starting to get over it a little bit. This is the first day I've been able to talk without any pain, so I'm beginning to believe that we're getting close to something that's going to be okay. Basically what I'm going to be talking about today is the reaction that we've seen here in the markets, given the fact that we have war going on in the Middle East and it's going to get a lot worse before it gets better, as you probably already know, whenever the press comes out there and tells you about the atrocities, you can imagine the feedback that you get. I mean, sometimes it's positive, sometimes it's negative, but it brings a lot of emotional out. I think it's terrible, the fact that some of these sites like TikTok and Instagram were showing some of the horrific things and some little kids were able to get in and see some of that, which I don't want to see that, that gives you nightmares for a long time. Anyway, what we're going to try to do today is to look at this from a technical standpoint because I don't trust the fundamentals, haven't believed in them for a very long time, but I do believe in the charts and they've told us a nice story here and I'd like to go over that over the next half hour or so. Our guest today will be Mike Moore of Moore Analytics. On Friday we're going to have, for the whole time, Joe DiNapoli will be talking no politics, just Joe with his little fib, a calculator, and he'll be our guest on Friday. I'm working on a guest for tomorrow, unfortunately haven't been able to solidify it as of yet, but I did want to give a hats off to Stan Harley, who was our guest a couple of weeks ago, and he said to watch for October the 6th as a possible bottom date, and by golly there was just absolute spot on on that Friday, and then of course we had the big ABCD down there at the 4360, we went to 4335, and we've had a 140 point rally here in three days in the midst of some really bad news, and boy that's one thing you want to remember, if the market doesn't go down on bad news folks, it's only got one place to go, and that's up, I tried to cover that in the newsletter and also in the one video that I was able to send out, I should be able to start sending videos out by tomorrow. The program they've given me has been broken, and I'm trying to get a new one fixed, so that's where I stand. Stay tuned, we'll be right back,<PHONE_NUMBER>.


It's crazy when you think about all the different kinds of foods we eat. We just swallow and hope it all works out for the best. Well, it turns out there are better ways to think about keeping our bodies humming healthfully along. Welcome to Nutrition Facts. I'm your host, Dr. Michael Greger. Today we've got more from our series on the best diet for thyroid functions, starting with research on plant-based foods and thyroid health. There are several autoimmune diseases that affect the thyroid gland, the most common being Grave's disease and Hashimoto's thyroiditis. Grave's disease results in hyperthyroidism and overactive thyroid gland, though slaughterhouses are supposed to remove thyroid glands. Should some neck meat slip in, you can suffer a similar syndrome called hamburger thyroid toxicosis. But that's not from your body making too much thyroid hormone. That's from your body eating too much thyroid hormone. Grave's disease is much more common, and meat-free diets may be able to help with both, as plant-based diets may be associated with a low prevalence of autoimmune disease in general, as observed, for example, in rural Sub-Saharan Africa. Maybe it's because plants are packed with antioxidants, which are possible protective factors against autoimmune diseases. Maybe it's because plants are packed with anti-inflammatory compounds. After all, a whole-food plant-based diet is basically synonymous with an anti-inflammatory diet, but you don't know until you put it to the test. It turns out the exclusion of all animal foods was associated with half the prevalence of hyperthyroidism compared with omnivorous diets. Lactovovegetarian and fish-only diets were associated with intermediate protection, but a 52% lower odds of hyperthyroidism among those eating strictly plant-based diets. This apparent protection may be due to the exclusion of animal foods, the benefits of plant foods, or both. Animal foods, like meat-eggs and dairy products, may contain high estrogen concentrations, for example, which have been linked to autoimmunity in preclinical studies, or the decrease in animal protein may downregulate IGF1, which is not just a cancer-promoting growth hormone, but may play a role in autoimmune diseases as well, or it could be the good stuff in plants that may protect cells, like the polyphenol phytochemicals, such as flavonoids found in plant foods. Maybe it's the environmental toxins that build up the food chain, for example, that fish contaminated with industrial pollutants like PCBs are associated with increased frequency of thyroid disorders. Okay, what about the other autoimmune thyroid disease Hashimoto's thyroiditis, which, assuming you're good enough iodine, is the primary cause of hypothyroidism in underactive thyroid gland. Grave's disease wasn't the only autoimmune disorder that was rare or virtually unknown among those living in rural Sub-Saharan Africa eating near-vegan diets. They also appeared to have less Hashimoto's. There's evidence that those with Hashimoto's have compromised antioxidant status, but we don't know if it's cause or effect. But if you look at the dietary factors associated with blood levels of autoimmune anti-thyroid antibodies, animal fats seem to be associated with higher levels, whereas vegetables and other plant foods are associated with lower levels. So again, anti-inflammatory diets may be useful. No surprise, this Hashimoto's is an inflammatory disease. That's what thyroiditis means, inflammation of the thyroid gland. Another possibility is the reduction in methionine intake. An amino acid concentrated in animal protein is thought to be one reason why the consumption of whole plant foods is likely to have a favorable influence on longevity through decreasing the risk of cancer, heart disease, and diabetes. Amethionine restriction improves thyroid function in mice, but has yet to be put to the test for Hashimoto's in humans. If you compare the poop of patients with Hashimoto's to controls, the condition appears to be related to a clear reduction in the concentration of prevetella species. Prevetella are good fiber-eating bugs known to enhance anti-inflammatory activities. Decreased prevetella levels are also something you see in other autoimmune conditions, such as multiple sclerosis and type 1 diabetes. How do you get more prevetella? Eat more plants. But put a vegetarian on diet of meat, eggs, and dairy, and within as few as four days you can drive down levels. So one would expect those eating plant-based diets to have less Hashimoto's, but I express concern about insufficient iodine intake, which could also lead to hypothyroidism. So, which is it? Let's find out. Vegan diets tended to be associated with lower, not higher, risk of hypothyroid disease. Why the word tended? Because the associated protection against hypothyroidism incidents and prevalent studies did not reach statistical significance. It wasn't just because they were slimmer, the lower risk existed, even after controlling for body weight. So, they think maybe it's because animal products may induce inflammation.  That's exactly what I'll explore next. Finally today, we look at the results of a randomized, double-blind placebo-controlled trial of a half teaspoon of powdered black cumin, a day in Hashimoto's patients. Autoimmune thyroiditis, also known as Hashimoto's disease, is an organ-specific autoimmune disorder, where your body attacks your own thyroid gland, often leading to hypothyroidism, due to destruction and scarring of the gland itself. We know there's a genetic component, since identical twins are more likely to share the disease than fraternal twins. However, even with identical twins, the concordance rate was only about 50%, meaning even if your identical twin with basically the exact same DNA as you has the disease, that's only like a flip of a coin's chance you'll get it, emphasizing that other important factors, other than your genes, play a role in the development of the disease. Genes load the gun, but environment may pull the trigger. More than 90 chemicals have been noted disrupting hormonal balance or thyroid function. However, only a few such pollutants show evidence that they contribute to autoimmune thyroid disease. These include polyaromatic hydrocarbons, which smokers get a lot from their cigarettes. But in non-smokers, exposure comes almost entirely from food. Polycyclic aromatic hydrocarbons are primarily formed when muscle meats, such as beef and pork, fish or chicken, are cooked by high-temperature methods, such as grilling. PBBs are a type of flame retardant chemical, no longer manufactured in the US, but still found in the aquatic food chain. And PCBs are used in a number of industrial processes and end up in people's bodies, largely through the consumption of fish as well, but also other meats and eggs. So one might suspect those eating plant-based diets would have lower rates of hypothyroidism, and indeed, despite their lower iodine and take vegan diets, tended to be protective. But they've never been put to the test in an interventional trial. Modification of the Paleolithic diet has been tried in Hashimoto's patients, but didn't appear to improve thyroid function. What did, though, was Nigella sativa? That name should sound familiar to anyone who's read my latest book, How Not to Diet, or watched my latest live presentation, Evidence-Based Weight Loss. Nigella sativa is the science he named for Black Cumin, which is just a simple spice, but it's also used for a variety of medicinal purposes. In this study, a randomized double-blind placebo-controlled trial of eight weeks of a half teaspoon of powdered black cumin a day in Hashimoto's patients not only was there a significant reduction in body weight, which is why I profiled it in the book, it also significantly reduced thyroid-stimulating hormone, a sign that thyroid function was improving, and even lowered the level of autoimmune anti-thyroid antibodies, as well as increasing blood levels of thyroid hormone T3 in these Hashimoto's patients. In addition, there was a significant drop in interleukin-23, a pro-inflammatory cell signal thought to help promote the autoimmune inflammation of the thyroid, so further confirming the anti-inflammatory nature of the plant. And what were the side effects? 17% drop in LDL-Bad cholesterol. Given the fact that patients with Hashimoto's may be at particularly high risk of developing heart disease, this is exactly the kind of side effect we'd want. Considering these health promoting effects of black cumin, it can be considered as a therapeutic approach in the management of Hashimoto's-related metabolic and abnormalities. A similar trial failed to find a benefit, though, same dose, same timeframe, but no significant changes in thyroid function. In contrast with the last study, though, there were not all Hashimoto's patients who would rather hype both thyroid for any reason, and that may have diluted the results. And it's possible that telling patients to take the black cumin doses with their thyroid hormone replacement therapy may have interfered with its absorption, similar to other foods and drugs, which is why patients are normally told to take it on an empty stomach. Since there are no downsides, and it's just a simple spice, I figure, hey, why not give it a try?  We would love it if you could share with us your stories about reinventing your health through evidence-based nutrition. Go to nutritionfacts.org slash testimonials. We may share it on our social media to help inspire others. To see any graphs, charts, graphics, images, or studies mentioned here, please go to the Nutrition Facts podcast landing page. There you'll find all the detailed information you need, plus links to all the sources we cite for each of these topics. For a timely text on the pathogens that cause pandemics, you can order the e-book out of your book or hard copy of my latest book, How to Survive a Pandemic. For recipes, check out my new How Not to Diet Cookbook. It's beautifully designed with more than 100 recipes for delicious and nutritious meals. And all the proceeds I receive from the sales of all my books goes to charity. NutritionFacts.org itself is a nonprofit, science-based public service where you can sign up for free daily updates on the latest in nutrition research via bite-sized videos and articles. Everything on the website is free. There's no ads, no corporate sponsorship. It's strictly non-commercial. I'm not selling anything. I just put it up as a public service as the labor of love as a tribute to my grandmother, whose own life was saved with evidence.


Hello, welcome to NEMO's second webinar in 2018. If you haven't heard of NEMO, NEMO is the network of European museum organizations connecting national museums associations as well as individual museums and interest groups from 40 countries. Being an ever-growing network, so far we count over 90 members. NEMO represents European museums towards policymakers on national and EU level, and furthermore, we share knowledge and train museum professionals in Europe through our training courses, learning exchanges and webinars. Usually, we hold speeches for webinars per year facilitated by different museums experts in Europe about diverse topics in the museum field. Today, we are very glad to hear a webinar of Michel Taylor. Michel has more than 25 years experience in arts and heritage, focusing on disability issues. Michel set up her own business in 1992, conducting trainings and advising organizations on making their practices, policies and premises inclusive of disabled people. Today's webinar, Museums for All, going beyond ramps and toilets to increase access to deaf and disabled people represent the social model of disability as the basis for a practical approach to welcoming deaf and disabled people to our institutions. Michel will show us examples from across the world which demonstrate how disabled people are excluded, but also how barriers can be removed. After the webinar, you have a better understanding of how you can improve the experience that disabled visitors have in the museum and get some tools for planning more major and inexpensive changes. Soon after the webinar, you will find a video on Nemo's YouTube channel where you can also find previous Nemo webinar videos. Before I give the word to Michel, I would like to announce that our next webinar will be held at the 25th of June, conducted by Jonathan Eaton. Jonathan Eaton will speak about museum planning at sites associated with a difficult path. But now I give the word to Michel and wish you all an inspiring webinar session. Thank you. OK, great stuff. Thank you. Thank you for that introduction Fabienne.  I'm sitting here in Nottingham and it's a real pleasure and a privilege to have these next hour, 55 minutes or so, to spend with you talking about disability and equality and inclusion in museums. Now, you have got the opportunity to type questions in the main chat. I will take a few moments every now and then just to check on the questions to see whether there's anything coming through that I need to be addressing. But I won't be looking all the time, so hopefully Fabienne is going to go through the questions for me and just check if there are any themes and any particular issues that seem to be arising for people. So let's go. As Fabienne said, I'm Michel, Michel Taylor. I'm a disabled person and part of what we're actually going to look at today is what that means. So enjoy the presentation. Ask questions. If you want to type a comment and not just a question, then that's great too. That will work. So let's look at what I see as the purpose of this webinar. I have three main things that I would like to do. And the first one is to give you a theoretical framework within which to approach access and inclusion at your museum. And that is the social model that Fabienne has already mentioned. We will be looking at the social model. If you're not familiar with that phrase, I know that some of you are. If you're not, then we're going to show how that is a really useful and kind of demystifying way to look at... using examples from around the world. I've got lots of pictures that I'm going to show you. We're going to look at what that means in practice. So by the end of this hour together, you should have practical steps that you know you can take, a practical basis for planning. And then thirdly, I want to resource you, as I started off to say, to... Oh, I've got a message. Is there an audio? Yes. Me? I'm hoping you're hearing me. To resource you to improve. So the next thing that I want us to look at is to look at why. Oh, there's a problem with the audio apparently. Are you not hearing me? Okay, so some people seem... Ah, it's okay now. So what we just looked at was the purpose of the webinar. I'm going to carry on because I'm hoping that that is familiar. Fabienne covered it. So let's move on. I want to base this on what a museum actually is. A museum, according to Nemo, is something that an institution that changes people's lives. And that's really crucial to this whole notion of access and inclusion. I've taken this from the Nemo website. Museums can change people's lives. They contribute to cohesive communities and reflect the history and identity of all citizens. In turn, museums live and develop by the skills and the creativity of their public, and they must show their value to society. One of the major tasks, says Nemo, of museums is the development of their audiences, be it the reaching out for new groups underrepresented in museums or the creative engagement with visitors in and outside the museum. Now that is really important because what that gives us is a basis for ensuring not only that we welcome disabled and deaf people into the museums and into our exhibitions. I'm just getting a little bit closer to the microphone because I'm seeing that some people are having problems with the volume. I do apologise for that. Lots of people are hearing me fine. Some are not hearing me too well. So I'm not sure what that's about. Paolo, if you want me to do anything differently, then please tell me so. Otherwise I'm just going to keep going. So it tells us about inclusion, making sure that we welcome disabled and deaf people into our museums. It also tells us, though, that what is really, really crucial is that we make sure we're telling disabled people stories because, after all, I'm a disabled person. If I don't see my story when I come to your museum, I'm not going to come back again. So this is not just about the way we welcome visitors. It's about the stories we tell and how we display our exhibitions, our artefacts, how we interpret them to make sure that we're telling disabled people stories. And to go to a different basis, this is really all about what the UN Convention says are the rights of disabled people to take part on an equal basis with others in cultural life. And that includes in the US Convention of 2007 is really, really clear that that includes access to cultural materials in accessible formats, access to places for cultural performances or services, such as theatres, museums, cinemas, libraries and tourism services, and as far as possible enjoying access to monuments and sites of national cultural importance. And thirdly, recognition and support of their specific cultural and linguistic identity, including sign language and deaf culture. So it's really important to recognise that we are not talking here about something that is an added extra, the icing on the cake, as we would say in English. We're talking about something that is actually recognising the rights of disabled and deaf people. And I'm guessing that you're all with me so far because you wouldn't be here at this webinar if you didn't believe that and want to take steps to improve your institution's services for deaf and disabled people still further. Okay, so let's go on to the notion of stereotypes because for me, the notion of stereotypes is absolutely crucial when we're thinking about welcoming deaf and disabled people into our museums and telling disabled people stories because stereotypes get in the way of interacting meaningfully with individuals. And my thinking around this has been very much informed by a TED talk which is entitled The Danger of a Single Story. And that's a TED talk by Chimamanda Adichie and if you go to the TED website and simply Google Chimamanda Adichie or even The Danger of a Single Story, you will arrive at that TED talk. It's about 18 minutes long and I really would thoroughly recommend it as a really important basis for thinking about these issues. Not only is it in a sense a word of warning about how we interact with disabled and deaf people when they're in our institutions, but it's also really useful to bear in mind when we're thinking about how we tell stories within our museum because fundamentally that's what we do in museums. We tell stories. And Chimamanda Adichie argues fundamentally that the danger of stereotypes is not that they're incorrect or false. What she argues is that a stereotype is unhelpful because it becomes the only story that gets told about a group of people. And moreover, it doesn't come from within that group of people. It's told by other people outside of that group about that group of people. So we get a whole series of assumptions and presuppositions and beliefs and prejudices about a group of people that affect the way we interact with individuals. Some of those stories around disabled people, for example, are disabled people can't be independent. What that means is that when you interact with somebody who is disabled, visibly disabled, and we'll talk a little bit more about that in a moment, when you interact with someone who is disabled who comes into your institution, you might assume that they've come with someone who's their carer, and that might not actually be the case. And that starts to get quite significant in terms of how you provide services for that person and for disabled people generally, for example. And another key stereotype is that disabled people are always visibly disabled. In other words, you can always tell by looking at somebody whether they're disabled or not. And that, of course, I'm sure most of you realize, that isn't true, but it becomes a very easy stereotype to kind of fall into. It becomes an easy assumption to make. Sometimes we don't even realize we're making it, and that's where unconscious bias can be a really important mechanism. And I just want to share with you this quotation by someone called Dr. Pete Jones. Pete Jones is an occupational psychologist, and he's done a great deal of work on stigma and on bullying in the workforce. And Pete Jones says, it's an annoying fact that you don't have to believe in a particular stereotype to be influenced by it. So even those of us who are sitting at our computers and thinking, yes, I understand about assumptions, yes, I understand about stereotypes, but I don't believe any of that stuff. Nonetheless, we may still be affected and influenced by those stereotypes, and we need to be checking our institutional policies and practices constantly to make sure that our practices are not themselves falling into those stereotypes. So a second quotation that I want to share with you is by someone called Ian Loven, who used to be director of GCHQ here in the UK, which is kind of related to the Secret Service bizarrely. The point is he said this, and I think it's very, very helpful, he said, an agency requires the widest range of skills possible if it is to be successful. And to deny itself talent just because the person with the talent doesn't conform to a social stereotype is to starve itself of what it needs to thrown. So this isn't just about making sure that we don't exclude anybody. This is about making sure we don't exclude anybody because we need them. We need everybody. We need everybody's input. And if we don't have disabled and deaf people visiting our museums, making objects to exhibit in our museums, working in our museums, then what will happen is that our museums will become impoverished. I think that's a really strong argument for inclusion and for making sure that disabled and deaf people are part of the culture and the infrastructure of our museums and of the whole museum sector. So that's the basis. That's the thinking. So let's move on a little bit. I think it's important to look at some key statistics and key statistics. I've just got four here and I think these are really significant for a number of different reasons. Firstly, it's important to recognise that the EU estimates that one in six people across Europe is disabled. That's the equivalent. This is quite significant. That's the equivalent to the entire population of Belgium, the Czech Republic, Greece, Hungary and the Netherlands all added together. So if you are not welcoming disabled and deaf people into your museums, then that's the kind of volume of visitors, volume of people that we're talking about. This is a lot of people. Secondly, around 25% of people in Europe have a family member who is disabled. Now, obviously, we like to welcome people to museums in all sorts of groups and on their own. We welcome solitary individual visitors. We welcome people in social groups. We welcome people in family groups. Because that's the case, it becomes significant to recognise that 25% of people have a family member who is disabled. So the chances are, when a group comes through the doors of your museum, there may well be someone who's disabled within that group. This is really important stuff. Now, only around, it's estimated, only around 6% of disabled people use wheelchairs. That's a really important statistic because very often when we think about disabled people, when you say the phrase disabled people, very often the image that's brought to mind is of someone who's using a wheelchair. And of course, it's really, really important to recognise that we need to make provision for people who use wheelchairs. But it's equally important to recognise that there are lots of other people who are disabled who don't use wheelchairs. And for me, that's about two key reasons. Two key arguments. The first is, if we just focus on people who use wheelchairs, we might do a lot of things. We might take a lot of action to make sure we're including people who use wheelchairs. But then we might not be doing anything for other people who are not wheelchair users. But for example, require sign language or require large print. The other reason is that if we are focusing on people who use wheelchairs, we may think that our museum is not appropriate for disabled people. We may even say, oh, our museum is not accessible. When actually what we mean is that someone who uses a wheelchair may not be able to get into our building and may not be able to get around our building. But the reality is that there will be lots of disabled people, potentially 94% of disabled people who will be able to use our museum and will be able to use it even more effectively if we make a few changes. So it's really important that we don't allow ourselves to get sidetracked into thinking only about people who use wheelchairs. And of course, the universal symbol for disability access is that picture of a person in a wheelchair. And that's not going to change. We just need to learn to live with that. That's not going to change. But in some ways it's not helpful because it reinforces this fixation with people who use wheelchairs who are important, but who do not make up the entirety or even the majority of disabled and deaf people. So the final statistic is that around 18% of disabled people are born disabled. And that's important because that's another stereotype that disabled people are born disabled and actually most are not. And that means that you may be welcoming people into your museum who haven't necessarily been disabled for very long. Or they may not actually have developed their own strategies for managing their own access requirements. I'm going to explain that phrase that I just used, access requirements in a moment. The other thing about that statistic is that it just highlights the fact that any of your visitors who are not disabled may at some point in the future become disabled. And if they have a pre-existing relationship with your museum, they're going to want to continue to come. So making sure that your museum is as usable as possible for disabled people becomes important for that reason too. Okay, I'm going to move on. So we're now going to talk about the social model of disability. And this is a phrase that Fabienne used. It's a really, really important foundation for thinking about and for taking action to make sure that your museum is as accessible as possible for disabled and deaf people. So the social model of disability is simply a way of thinking about disability, a way of thinking about the issue, a way of thinking about disabled people. That is a really, really useful tool. It really works. And I hope that what you will find, those of you who are not familiar with the social model of disability, that over the next few minutes as we talk about it, that it will simplify the whole issue of disability for you. That's my hope. So the social model of disability was formulated. It was first articulated by disabled people in the late 1970s. And it was formulated by them in reaction against what they saw as the prevalent way, the dominant way of thinking about disability issues, which they characterised as the medical model of disability. And to understand how helpful the social model is, it's useful to look at the medical model and what the medical model is. Because that way we can see how different the social model is, and hopefully that will reveal how helpful the social model is. So the medical model is probably quite familiar to you. The medical model is a way of thinking about disability that tethers, that connects very, very closely someone's disability, so-called, and I'm going to explain why I have slight difficulties with that phrase, but it closely connects someone's disability with their medical condition. And it says that your disability and the medical condition are exactly the same thing. So for example, my medical conditions are that I have spina bifida and curvature of the spine. The medical model says those are my disabilities. So it says I have them, I am a person with disabilities, and those disabilities are the things that limit my participation in society. So for example, let's imagine that I want to go to the British Museum in London, and I turn up to the British Museum in London, and the reality is that with the increased security procedures that the British Museum has to go through, there is a really long queue to get into the British Museum all the time. Now that for me is problematic. The medical model understands that by saying that I've got spina bifida and curvature of the spine, those are my medical conditions, those are my disabilities, those are the things that cause me problems. Okay, so within the medical model of disability, which focuses, as you'll see from this slide, it focuses on the individual, within the medical model of disability, these are the things that cause disability. Things like, for example, these are just examples. Things like cerebral palsy cause disability. Deafness causes disability. The fact that I can't walk far causes disability, that I can't concentrate, that I'm blind, that I can't walk, or that I can't sit still. Those are the things that cause disability. So the medical model, like its name suggests, focuses on the fact that my medical conditions cause me problems. Now that should be quite a familiar way of thinking about disability. The fact that my medical conditions are the things that get in the way. So the social model, on the other hand, focuses on the environment. So the social model says, for example with myself, it's true that I had spina bifida and curvature of the spine. Those are indeed my medical conditions. However, I am not disabled until I try and function, until I try and participate in an environment that is designed for people who are not like me. An environment that is designed for people who don't have the medical conditions that I have. And that environment presents me with obstacles and barriers. And those obstacles and barriers are the things that disable me. So within the social model of disability, the sorts of things that cause disability are not medical conditions. They're things like steps, poor seats, poorly designed seats, poor seating arrangements, heavy doors, high display cabinets, too many words, no seating at all, no sign language. Those are the things that disable me. So within the social model of disability, it's a very different set of causes of disability. Within the medical model, the causes of disability are blindness, deafness, paralysis, accidents, violence, genetic disorders, illness, for example. But within the social model, the things that cause disability are things like steps, cobbles, heavy doors, people's attitudes, employment practices, and poor customer care practices. Now what I'm hoping is that you're starting to see perhaps why the social model makes this so much easier and so much more straightforward. Because you can summarise the social model by saying like the left-hand picture on this slide, that it's about stairs, S-T-A-R-S, physically, flights of stairs, which represent the built environment, the sensory environment. It's also, though, about this right-hand picture, because it's about stairs, S-T-A-R-E-S. The words sound the same in English. They're different words. It's about stairs, S-T-A-R-E-S, because it's about attitude. I can be equally disabled by a flight of steps on the one hand, or by someone's attitude to me on the other hand. What that means in terms of the language that we use is that within the social model, I'm a disabled person. I'm not a person with disabilities. And that's important because it's a verb. It's done to me, so it's what a museum does to people, not an inherent characteristic of the individual. So let's look at the practical implications. What that means is that the social model of disability is all about shifting our focus from the individual and the medical conditions that they have and focusing instead on the environment and the barriers and the obstacles that are a part of the environment. So it means looking for obstacles, training ourselves to be able to recognise things that cause obstacles for people and then seeking creative solutions. It also means recognising that obstacles can be attitudes, they can be expectations, they can be stereotypes and assumptions. They don't need to be tangible. So we have to look at ways we can design them out. Let's look at this table which summarises three key differences between the medical model and the social model, and we can start to tease out what some of those implications, the implications of those differences are for our everyday practice as museums professionals because where the medical model focuses on the individual and says that the individual has the problem, the social model instead, as you can see from this table, focuses on the environment and says it's the environment that has the problem. Now, if that's true, then our job in making sure that we are making our museums accessible for disabled people becomes much easier because the environment is the thing that we know about. It's the thing we have influence over. We don't actually have influence over individuals and we certainly don't have any influence over their medical conditions. So the social model brings this whole area of practice within our sphere of influence. That's really good news. Let's move to the second line of this table. Where the medical model asks, and sometimes it does literally ask, I've been asked this, what's wrong with you? What have you got? What's it called? What's your disability? The social model instead just says, where are the obstacles? What do I need to change? What's not working for you? So it's much more matter of fact. It's a much easier conversation to have. It's a much better question and a much more common sense based conversation to have and question to ask. Moving on to the third row of the table, where the medical model deals in personal information, how long have you had it? What's it called? What percentage of sight loss have you got? The social model only asks for practical information. What do I need to do differently? What do we need to offer in a different way so that you can really enjoy your visit to the museum? So the social model invites us to ask meaningful questions because you could tell me what percentage of sight loss you've got. You could tell me very accurately and in a great deal of detail. For example, you might say I have 83% sight loss in that eye and I have 28% sight loss in that eye and actually that's not useful information because I still don't know how you like to have your information. So the better question is how do you like to access your information? It's a practical question so we don't need to get involved in those conversations that we all feel slightly uncomfortable with because we know that we're dealing in personal information. Within the social model personal information has no currency. The only information that's relevant is practical information. Let's just look at a few more implications and then we'll start to look at some real examples. So the social model is based on what you already know.  It also, as I've said, is based on the things you have influence over. Thirdly, really importantly you do not require anyone to accept a label. What I mean by that is that the medical model requires that people identify as quotes having disability in order to be entitled to you providing what they need. The social model understands that not everyone who's enrolled actually wants to accept that label and that's fine, that's the individual's privilege. So the social model in asking does anything need to change about this environment to make it easier for you to working, to operating, to enjoy yourself in. In asking that question it's just good visitor services or employment practices. So it becomes a much more straightforward conversation to have. If you adopt social model principles and get in the habit of scanning your environment to check for obstacles and find creative solutions your environment will be improved for lots of people whether they call themselves disabled or not, whether they are disabled or not. And then finally, as I've already said, it avoids inappropriate or embarrassing conversations about people's personal information. So let's look at some examples and the first thing that I want to do is to look at some examples of barriers and obstacles. Oh, there's a question here. How can we make more people aware of the social model of disability and use it? Great question. Thank you. Well it seems to me that one way we can do that is to put it into practice and we can do it. It's very often it's a great question Stephanie because very often even disabled people are not familiar with the social model of disability and sometimes a disabled person will try and give you lots of medical information because they think that's what you need to know and it can be really powerful if in that conversation you actually gently steered them away from that medical information and focus on the information you do need. So you ask questions like or you might say, okay, thank you. So what is it you need to do so that you can have a better experience of this museum? I hope that as we go through these examples then you'll get a fuller answer to your question. Let's look at some examples of barriers and obstacles. I should say by the way that the purpose of sharing these examples with you is not to criticize any individual or any institution. It's to get you used to that notion of scanning your environment and recognizing obstacles. I genuinely believe and you can challenge me on this if you like but I genuinely believe that there is not a single museum or theater or gallery or supermarket or any building that I could go into where I wouldn't find barriers. There are barriers and obstacles all over the place. So this is not about criticizing this is about learning to recognize barriers. So our first barrier is a picture. I'm sure some of you recognize this. This is from the British Museum in London. I'm not going to tell you where all of these come from but this particular one is from the British Museum. Now it's a beautiful space. There's no getting away from it. It's a very, very beautiful space but it's really problematic because everything in this space is white or cream at least. So the floors are cream, the steps are cream, the walls are cream, the handrails are cream everything is cream. What that means is that this environment is not offering any color contrast. If you imagine for a moment that you are someone who relies on color contrast to navigate your way around the space this is really tricky. So can you see that it's not just the really obvious stuff some of this is quite subtle. So this is not great. This is a barrier. Okay moving on. One of my favorites I've actually picked out lots of my favorites to share with you today so I hope they do the job for you but this is an example of where we've got some text. It's white. It's quite large text. You can't necessarily see that from this photograph. It is quite large which is great. It's what we call a sans serif font. It's a clear typeface which is great but it's white on a very kind of very agated stripy wooden background and it's very very difficult to read. Please be careful about where you place text because it can be very difficult to read. So be careful about where you place your text. Another favorite this is a so-called accessible toilet cubicle. It's being used as a storage space and that is very very common. This is a bit extreme because that's actually a chest freezer that's being stored in this accessible toilet which is a bit extreme. That's the only time that I've seen it but having said that I do very often see buckets and other cleaning equipment and so on being stored in an accessible toilet space. To be able to use an accessible toilet cubicle it needs to be kept clear. Accessible toilet cubicles are not storage cupboards for chest freezers or ladders or even lots and buckets. Here we go. Here's another one. This is the front entrance of an art gallery here in the UK. It's rather beautiful. I imagine that the designers were very happy with this design but it's almost impossible to actually see where the entrance is and I'm noticing that more and more it can be very difficult as we use more and more glass. It can be really difficult to identify the front entrance of buildings. So can you see that as you start to get practice you start to see ah yes okay that actually might be an obstacle. This is a blue badge parking bay just outside a museum in Sweden and as you can see this blue badge parking bay has been used as the place to clear all the snow too. That means it's impossible for a disabled person to park in this bay. I hope it's obvious why that isn't acceptable practice. It is very common practice here in the UK but all over the world. It's very common practice that blue badge parking bays are the places where people park to make deliveries, put the skip if they're clearing or refurbishing something. Blue badge parking bays must be kept clear. And then this next and final picture in this section is more subtle because yes there is a flight of steps it's important to recognize that there actually is lift access into this building and that's sign posted but I want you to think for a moment about that second aspect of stairs that I started to introduce you the notion of attitude and my point in including this photograph is that if I arrive at this museum I see a sign that says welcome but I can't actually get into the door that's under the sign that says welcome I have to go and find a different entrance so frankly I don't feel very welcome and it's really important to think not just in terms of can people get in and around but to think in terms of how do people feel they arrive at our museum do they feel welcome do they feel that they're accessing the museum on the same basis as everybody else that's a bit more subtle it's really really important okay so now the good news I'm going to look at examples and I've got a few more of these I'm going to look at examples of where barriers and obstacles either have been removed or haven't been designed in the first place and the first one comes from British Museum again I wanted to give you a good example from the British Museum so the British Museum has a flight of steps up to its main entrance I'm sure most of you know that there are also platform lifts these are platform lifts there's one either side of the main entrance which is really really good practice not only are there platform lifts there's this great sign that advertises that there are platform lifts and it doesn't say that it's a disabled lift which it isn't by the way the lift is not disabled it doesn't even say that it's a lift for wheelchair users this sign implies that this is a lift for anyone who needs it and that's great practice I really really like that it means that you are just welcome to use the lift if you need it here's an example of a museum's project where there are lots of objects that you can access in different ways you can see you can hear you can touch you can experience it in lots and lots of different ways and that is really very good practice to be able to offer people choice and layers as to how they get involved with an artifact or with an exhibition not only that but this particular example is portable so this example can be taken out of the museum and taken into other communities and taken into other contexts where people may spend a great deal of time so they don't even have to come into your museum they don't even have to have the confidence hello sorry I didn't mean to do that I'm just going to go back up to that particular slide they don't even have to have the confidence to go into your museum and they can access some of the fantastic stories that you have available so there's stuff you can see here, stuff you can touch I believe there's also smell involved in this particular exhibition that's really good practice offer lots of different ways in this is a really nice example of how access and accessible piece of information has been designed into the very fabric of the building because what this carpet does is it gives you a very clear route through this particular exhibition it's simple it's basic but it's really really helpful it's not black and white it's coloured but because it offers enough colour contrast then it's usable by all sorts of people so that's a great example here's another example and this I really love because this can easily be provided at very very little cost and that's one of the things I want you to take away from this webinar is that to provide access to your museums and your exhibitions and your artefacts does not necessarily involve spending a lot of money so what the museum has done here is it's taken some of the exhibition some of the objects and some of the interpretation panels and it included them in loose leaf A4 ring binders with really clear text really nice pictures which are the same as the pictures that are on the main display and that people can pick up if they can't get very close to the exhibition and the artefacts then they can access the information anyway this does not cost much money okay we've had a comment it's a pity that our webinar is not accessible for deaf people yes isn't it it may be that we can provide a transcript now whilst that's not perfect because not all deaf people will be able to read and understand the English if they are native sign language users that could be problematic for them nonetheless it would go quite a long way to making this webinar accessible for disabled people but I agree that is a pity if we were doing this in a way that was as inclusive as we possibly could then I would be accompanied by a sign language interpreter however to be honest that would be quite tricky because this is an international webinar so it would be really difficult to decide which language we needed to provide the sign language interpretation into so a better solution would probably be to provide local sign language interpretations of the recording once this goes live on the website good comment though that is a really important comment and is exactly the kind of thing that we need to be thinking about on our websites for example if you go on to their website they do have sign language videos just introductions to some of the information which is great practice and need not cost a great deal of money next example is signage signage is so crucial because way finding is absolutely fundamental to how people use museums especially big buildings but not only big buildings and actually this is also about people finding your museum so I wonder how many of you on your museum websites have really clear comprehensive information about how to find you from public transport that can be really important information for people now I love this signage because it's clear text the typeface is really really clear but also it uses pictures which is fantastic it becomes very clear if you want to see this exhibit then you have to go up the stairs it shows where there is an accessible toilet it shows you a picnic area it shows you the basic information somebody has commented maybe a good solution is having subtitles yes that would be great it's quite tricky to provide subtitles live so it may be that we might be able to provide subtitles on the version that goes on the website providing subtitles live is can be quite difficult it's not impossible it can be quite difficult yes absolutely captions maybe we can talk after the webinar about the possibility of providing a transcript of this presentation of this webinar on the website and that will support anyone for whom the fact that this is only in spoken English is a barrier and I do recognise that okay so signage is important here we go seating seating it can make such a huge difference to whether people can enjoy themselves at your museum or not and these portable seats are not expensive and if you have a supply of these portable seats that people can borrow take around the museum with them use whenever they want to and then return that can be a really good solution and remove a lot of barriers for people this photograph here illustrates one example of actually telling disabled people stories so this is an exhibition it's a display that set out to challenge some of the stereotypes about disabled people you can see Superman there because one of the stereotypes about disabled people can be that all disabled people are superheroes and we're inspiring and we manage adversity every day and that's a bit of a lazy stereotype and it can be really empowering and really enlightening and exciting and interesting to debunk some of those stereotypes important to remember too to tell disabled people stories not just as separate exhibitions or separate displays but as part of all the other stories that you tell if anybody is interested there's a document I'm sure you can find it on the web I will find a link and then include it in the version of this that goes on to the website there's a document entitled Buried in the Footnotes it was written well over 10 years ago but it is still relevant and it's about how disabled people stories are marginalized I'm going to move on because we're rapidly running out of time this photograph just illustrates how when you do things that allow people to get involved with objects to put them on to touch them to smell them to feel them then you are removing barriers not just for disabled people but for all sorts of people here's another example of that handle the shards says the invitation you can actually put your hands in the sand and handle those shards of pottery this is an example of a really nice clear interpretation panel there are some pictures there's some really lovely clear text good visual contrast a really nice typeface really nice example and here's an example of an access guide now the reason I've included this and I'm sorry that it's another example from the British Museum but it is the best example that I've come across the reason I've included this is not just because it's really good practice to have an access guide but one of the things that I love about this access guide is that it's beautiful it has the same production standards as all of the other literature that the British Museum produces so some museums may provide access information but it's on photocopied shoots of A4 paper fine it does the job but it might make me feel a little bit rubbish that everyone else is looking at beautifully produced full colour documents that are illustrated with lovely photographs and my information is on photocopied shoots of A4 that's just text so just an example of thinking about those sorts of details another photograph that emphasises the importance of seating you can easily incorporate seating into your galleries in a way that is consistent with the general aesthetic of your gallery they don't have to be ugly seats can fit with the overall visual language of your galleries here's an example that shows that you can actually use colour quite subtly but you can use colour to make sure that you're providing visual contrast so these sculptures are cream a kind of ivory colour fairly obviously put them against dark background and they become easier for lots of people to appreciate now this is clever okay this is an example of something that is quite expensive but this is an example of where we might be going in five or six years so this is an example of using projection mapping to allow people to gain information that they can read see really nice formats visually very clear these sculptures are not electronic tablets that people are holding they're just sheets of cardboard and yet the information from the particular place name on the map then is projected onto that individual piece of cardboard that you're holding so you can access it in a way that is convenient to you really exciting currently very expensive there's only a few examples in museums using this sorts of technology that we're headed so to sum up just in the last two minutes that I've got available to me to sum up really this is about removing barriers is about the three C's it's about offering as much choice as you possibly can to people for how they can access what it is your museum has to offer it's about consulting talk to people about what you're doing is actually giving them what they need don't make assumptions in other words and it's about creativity we're all creative otherwise we wouldn't be working in museums so it's about finding creative solutions and those creative solutions just to emphasise may not be expensive you might want to commission an access survey that's a really good place to start a good access survey where the barriers are in your museum and offer suggestions for how you can remove them don't be afraid of prioritising you don't have to do all of this stuff overnight prioritise do the things that you can do easily quickly and cheaply and that way you will get momentum going in your organisation use the visitor journey so start with the main entrance start with how people get into your museum and use existing opportunities so if you're refurbishing or redesigning a gallery or an exhibition then start right at the planning process so that you make sure that you are building out barriers and obstacles and building in an accessible environment so I just want to finish by sharing my email address feel free to contact me I'm really happy to deal with simple questions if a question starts to get more complicated and involves a more detailed answer then I might sign post you elsewhere but do get in touch if you've got any particular questions okay are there any more questions that anybody wants to ask because I made that an hour and I think we're out of time Paolo are we out of time if anyone has a question now is a really good time to ask it I'm just going to have a look somebody said the Royal Academy of Arts in London access programme um yeah we can continue if there are questions are there any more questions what about museums in open archaeological sites what barriers to access there are going to be a lot of physical barriers to access there's no question but there may be things you can do with laying down temporary pathways that are easy for people to access I mean I think this is a particularly interesting question because one of the things that that identifies is that health and safety considerations and risk assessments which all of you will do if you're working on open archaeological sites will also feed into considerations about access for disabled and deaf people because if something is dangerous across the board generally for people then it's not going to be very accessible for disabled and deaf people conversely if you actually think about the steps that you can take to remove barriers and obstacles to disabled people you will be doing a great deal to ensure that your sites are safer how do you promote inclusion without excluding others I quite know what you mean inclusion for me is about as I've tried to emphasise it's about ensuring that you offer as much choice as possible so really good inclusive practice shouldn't exclude anybody else in fact that you're providing lots of ways into the interpretation but it shouldn't mean excluding anybody else including disabled people in the designing of such actions absolutely yes the earlier you can involve disabled people in everything that you do if you can find disabled and deaf web designers disabled and deaf graphic designers disabled and deaf exhibition designers then absolutely that's fantastic what I would say is just make sure as well that you consult more widely because it's really important to get a breath of responses who did the exhibition about stories of disabled people is it still up? sadly no that particular display was part of the opening exhibition in Gothenburg in Sweden and sadly no, it's no longer up I'm just going to see if I can find any more interesting, relevant questions that we haven't is there a world database of good practices about good museology not the time aware of there's certainly examples of good practice on the internet the museum's association in the UK has lots of really useful information the Balkan Museum's network and you can find their website has a disability toolkit that I contributed to now we're currently in the process of updating that but that is already and will continue to be even better as a resource with lots of signposting and lots of useful information so there's information there and we've got just looking through the questions people, if you look on the main chat people have actually posted lots of examples so that's brilliant yes, making sure that, thank you this is really, really important I mentioned it in the context of seating but it's really important that anything that you design in or anything that you put into your galleries and exhibitions and museum spaces that is designed for disabled and deaf people in mind please make it fit with the aesthetic of the space because otherwise it's going to be clunky it's going to be clumsy and it might be really tricky then for people actually to think about accessing it but part of the general ethos and aesthetic of your museum the more people will access it and the more people will actually find it useful okay, we've got loads of examples being helpfully posted in the main chat so do look there for other examples good case study on the research centre for museums and galleries, University of Leicester yeah, University of Leicester did some really important work buried in the footnotes document that I mentioned earlier they're doing some great work and they've recently collaborated with deaf and disabled artists to explore notions of disabled people's stories and how they're presented in collections yep, okay I can't immediately identify any other questions that can easily answer in this particular context YouTube does provide captions they're not necessarily very accurate but yes it does okay I think I'm going to wrap it up there just to emphasise, please get in touch with me look back on this webinar again because it will be on the website and I hope that you found it useful thank you very much, goodbye


not brinn's first time seeing it brinn was very actively engaged in reviewing this um just as a resident previously oh right yeah um then let's make this space for for questions for heather on this policy update brinn uh jim you're on this commission is that right yeah um is there anything that any updates beyond what heathers provided that you've thought about and as far as your work on this commission no the commission is very excited to see this moving ahead it's something that they've been kind of that they had kind of finished and there was that one minor change from opportunities that was discussed around the assets and that's been recommended back and I think they're just really excited to see this thing actually move forward excited that opportunities is still involved um so I think that both of those pieces that we've kind of been able to come back to this after two years is really good um so I don't think that there's any other uh points to raise from the commission's work at this point um and then heather I obviously yeah as has only been on the team a week um has she had a chance to review this at all she has not but she is on my radar to review this um prior to bringing back a final um for approval yes and and certainly there have been a lot of discussions around implicit bias and around equity and accessing this one piece that I will say about the housing trust fund that has not been resolved at this point um is issues um with people who are prohibited by religion by Islam from um incurring interest um so that is that is an inequity that continues to persist in this we do have um some examples of ways that people that communities have overcome that but we have not implemented anything in this it's been a difficult conversation um that we've had for quite some time so I would flag that as one issue that remains unequitable in this process for certain okay thank you any more questions from council any questions from the public all right I will take the relative quiet as um affirmation that these changes are acceptable so we can move on to item k the opportunities credit union mo you yeah and this is the last of my batch for tonight um this again is on for discussion and um as I had mentioned you know it's been a long process of back and forth and um opportunities is currently working on putting together a fee structure that can be included in this document they have provided initial fees but we want them right in the mo you so that we're clear about um what those payments will be and this is um a pot of money that has been sitting with opportunities credit union for I mean at least a decade I think maybe more than that um as the home improvement program so we are shifting from um one program to an entirely different set of kind of three programs under one umbrella um so it does require some significant alterations to what the roles and responsibilities are on each side as well as what the fee structure is and so they have not yet developed for us what the down payment assistance fee structure would be but that should be coming to us I think in the next week so that we can review that and then bring it back to you for formal approval things Heather are there questions from council on this agreement oh I can I just add that I have had Angela review this as well just because she has had experience with the home improvement program in the past so that we could add to it anything that we required that would make administering this a little bit easier so there have been additions made um and Angela was the one who requested that we have the fees directly in this document so we will have those thank you but any questions for members of the public right so look forward to seeing the updated version in the future um legal review and all that in place you will be seeing this full slate again at the June 7th meeting so be prepared for that thank you Heather so we will move to item I financial policies and accounting systems update from Angela it's very exciting updates here um so we currently have a financial policy manual that was adopted between 2011 and 2017 with some minor updates in between um it's very outdated and references positions that the city no longer has and we have put in place some new technologies that are not covered none of our policies currently cover credit cards or um some of the other new systems that have been put into place so this is an effort to rewrite to incorporate the city as it exists today including my position the staff accountant and the clerk's office as it currently exists as well as all the technology that we've changed with um these drafts integrate all of the previously approved policy information as well as vlct model policies and the government finance officers association best practices all of them have been reviewed and commented on by the finance commission and ultimately approved by the commission to bring forward to the council um for final approval there's lots of pieces here these five policies represent the general accounting system for the city including budgeting revenues purchasing uh the reserves and just the general accounting system and financial reporting happy to answer any questions you have about them thanks angela and i'll just add having sat in on those finance finance commission discussions um changes and suggestions were primarily to add clarity um to the language nothing really substantial nothing controversial came off or any like major concerns and we did incorporate a lot of their feedback regarding how we can get public input on the budget process how the community would like to receive information about city finances one of their suggestions was actually the treasurer's report containing visuals which you all saw reason so questions from council on any of these policies brian i just want to say thanks i i know it's kind of dry material but it's really important and valuable to have and um certainly you know getting a packet of updates together can can be a little uh a long time coming but once you have it done it feels really good so thank you any questions from members of the public we are not currently going to accept bitcoin there was a question in the comments field we'll save that for a future we are not currently equipped to set accept cryptocurrency all right hearing no other concerns from council last call for council questions um this is on for discussion but we can bring it back i think for approval in our consensus agenda next time seeing as there's been no no questions raised thank you angela we'll move to item m the community services job descriptions ray hey um so just two more additional teen employee positions here um in the context of the big slate that we brought last week we had a couple positions that we were anticipating filling that were not defined as yet so these are two more um defined positions that we were planning to try to run this summer so um there was no additional fees or costs beyond what was discussed at the last meeting again these are just fleshing out two of the positions that we talked about last last meeting thanks ray questions from council just a quick question i i'm a little concerned about um just one of the city's one of the step positions being employed by the snack bar and uh just is that technically a third party um you know who what how's the oversight going to work i guess yeah yeah so the position would be employed by the city and we so when we were in our teen employee program a number of years ago we had a similar arrangement with from artworks for women where we had a city a city employee teen employee who was our employee we were managing we had a defined supervisor on the city team and then they were being um sort of i guess co-supervised if you will in the work site space by a staff from from artworks for women so it's a pretty similar model to what we did a few years back so it would be a city position they would have a defined staff person within our team that would be their direct supervisor but they would be available to support the work happening in that snack bar at the pool um and i think the other piece that similar to the way it was at the community center with vermont works will always have staff on-site to be available as a support for those kids if need be so it's not like we're sending them to a location that doesn't have um you know city staff person in the same building is it a little different with vermont works for women being a nonprofit um it's a good question and i i might look to phoebe and or angela here on the hr side but it's a it's a good question um so is the question just how the reporting relationship works if if the teen employee is is at the pool working in the snack bar so that was one question um which ray seemed to address for the most part i think there still could be some confusion there um the closest thing i can relate this to is americor and thinking about um americor being host host sites being eligible if they're nonprofit or municipal i don't recall for profit having being eligible for city employment work so that's the element that i'm that i'm wondering yeah it's a great question brendan we can definitely dig a little deeper on that um i will be be honest i that sort of discrepancy between the for-profit nonprofit had not come to my mind so i will definitely look into that a little bit more and see um and i think if it does become problematic it's not it's not a deal breaker if we need to shelf this position for the year and fill that out in a different way but i know the folks are working with through um through little city we're very excited about being part of it and we wanted to try to harness that enthusiasm and create another opportunity for a kiddo so but we'll we'll take a deeper dive on that yeah maybe um one just the kind of the legal point um and then if there's any financial element that angela might need to look at as well but i'll leave that to john and phoebe to decide there are other questions any questions for members of the public staff how how would you feel about approving these descriptions with this needing to do more research on the financial legal side i would feel fine with that and i think if we with the agreement if we find anything troubling there we'll again we'll sort of back off from the the snack bar position i think that's fine um if council agrees with that then i would entertain the motion to approve these job descriptions moved second motion by jim second by mike all those in favor please say aye aye hi i'm here as opposed you would like to have seen yeah all right motion carries and this is a chicken permit for 26 hall street which jim is going to recuse himself from so thank you very yeah yep i'll present this one quickly um yeah so the reason this is uh this is on your regular agenda and not on your consent agenda as with other permits of this nature is because of who the applicant is in this case it is counselor duncan who's the applicant so we wanted to put this on the agenda specifically so that he could recuse himself from the discussion but there's nothing out of the ordinary about this it's a permit to keep keep chickens at the property at 26 hall street there's also a zoning permit included with as part of this which is currently under the or it's currently in the 15 day appeal period um i don't anticipate any issues with that but as with all chicken permits it requires uh council approval so i'll just leave it with that unless there's any questions any questions concerns we're in i was just uh interested why we had one chicken permit in the consent um agenda but not this one right so the primary reason is because of the applicant um because it's because it's counselor duncan he would have we most likely would have had to pull this from the consent agenda so he could recuse himself okay thank you for clarifying sorry it's getting late any questions from members of the public i i do see a question from mr irrick lind we'll hook paul bring it over yeah so i'm sorry to chime in again um as i've seen a lot of chicken uh home chicken people pop up uh throughout the community and uh there actually has been a rise in uh infections regarding campelbacter and salmonella uh in these uh communities um i don't know if you're aware of that i would like you to uh assign the city health officer to evaluate all of the chicken and turkey and other types of animal raising that's going on in non-professional um agricultural settings i do know personally people who have had infections with these organisms and only know that because i'm a microbiologist so uh i just like you guys to consider that before you start proving more and more chicken farms and such around the community i'm sorry please to be clear are you're asking us to have our town health officer inspect the poultry what are you asking for yeah that's correct uh just just so much as um there were rats running out of a decayed building and um they needed to be cleaned up maybe there should be some local ordinance regarding how people raise and handle the chickens and their products even if it's for home consumption i can have a conversation with staff about this and come back to council at some point with whatever our well i don't think it's an odd ball request that's all i'm saying uh right what i'm saying is that we don't we haven't discussed this before and don't so right no so so if someone starts selling eggs out on their front lawn and the community starts buying the eggs and they turn out to be you know contaminated in some way what is your liability you should consider that i think thank you we will have a different conversation about this thank you are there other questions or concerns here all right if someone wants to make a motion to approve this permit now would be the time so second motion by house second by mic all those in favor please say aye hi hi mic i didn't hear you i'm sorry i motion carries thank you so we are on to the item o the goal updates john pb or would like to leave that so we provided the update number eight to our 2020 2021 policy priorities priorities and strategies sorry i'm tired too um so all the updates were in red on the document that we attached to the agenda and just it should be noted that this will be the last one of these updates that we will provide for this year because we'll have a new set of goals starting in the new fiscal year in july after our retreat does the council have any questions about these all looks predictable to me from what we've seen in past updates any questions or concerns from the public this is a discussion item so we will move on this brings us to the end of our regular agenda um we do have an executive session warned about the negotiation of real estate purchase and lease related to lot 7d on abinac way so pursuant to vsa section 3132 doing this negotiation in public would put the city at a disadvantage so i'm looking for a motion to find that we need to have this discussion in executive session so second motion by mic second by brin all those in favor please say aye hi hi motion carries so i would like to enter into executive session inviting john rousher phoebe townsen heather kerrington bob depalma bill necate doug netty liam murphy and ian davis am i missing anyone staff um can i have a motion to move to executive session so oh second motion by mic second by how all those in favor please say aye hi hi motion carries so we are going to move to another zoom line for this executive session we will return to this after the executive session to this zoom line um simply to adjourn we will not discuss anything else during executive session beyond negotiations related to lot 7d um so i will see you all over at the other zoom line