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Previous Episode:No. 055 How (and Why) to Teach a Mini Course via Your Podcast More Episodes Next Episode:No. 057 How to Decide What Your Podcast Should Be About
There is one way that stands above all others as the simplest way to build an audience of responsive and loyal listeners.
A path that removes the burden of constant content creation, places you at the forefront of a brand, and harnesses the power of experts and their audiences.
This path is an interview-based podcast. But how can you get started finding and booking guests for your podcast?
In this episode of The Showrunner, Jerod and Jonny go into depth on the essential steps necessary to book engaging interview guests for your podcast.
From tips to finding guests, to crafting your pitch to increase the odds of getting a yes, and all the way to tools you can use to make the process simple and effective.
Podcast recommendations:
For this week's podcast recommendation, Jonny brings a great show for us Showrunners.
MegaMaker: A Punch in the Face
Jerod gets recommendation happy and brings us two great shows on originality:
TED Radio Hour: What is Original?
Unemployable: Brian Clark and Austin Kleon — Steal Like an Entrepreneur
Jon's interview request email template
Hack the Entrepreneur interview format page
ScheduleOnce.com
Jerod on Twitter
Listen, learn, enjoy …
No. 056 How to Book Engaging Podcast InterviewsJerod Morris and Jon Nastor
How to Book Engaging Podcast Interviews
Jerod Morris: This is Rainmaker.FM, the digital marketing podcast network. It's built on the Rainmaker Platform, which empowers you to build your own digital marketing and sales platform. Start your free 14-day trial at RainmakerPlatform.com.
Welcome to another episode of The Showrunner. This is episode No. 56 of The Showrunner. I am your host, Jerod Morris, VP of marketing for Rainmaker Digital, and I am joined today as always by my co-host, Jonny Nastor, the host of Hack the Entrepreneur and the bestselling author of the book of the same name, Hack the Entrepreneur.
There's a whole long list of other things that Jonny Nastor does that we won't get into now because we want to get out of here before the episode drags on to 50 minutes. Mr. Nastor, how are you doing today? Are you feeling better?
Jonny Nastor: I'm doing better then I was. We're recording three days after our regular slotted time. Three days and about four hours after our regular slotted time because I came down with a terrible cold this week or flu. I'm not sure what you call it. It hit me really hard.
It's hard, obviously, as a showrunner to do that. I had to cancel, I think it was, nine interviews over the course for my show, for other people's shows, and then with this. It's been a tough week for me in that way. I think I'm on the mend.
Jerod Morris: You sound better, and you know what? It happens. None of us ever want to have to cancel things, and you don't like having to shift up your schedule like that, especially last minute. But sometimes it does happen. I'm curious, from your perspective, obviously for us, to just shift up a recording it's not that difficult. As soon as you said you weren't feeling well, it's like, "Okay, let's just do this later."
We do a show every week. Was it more difficult for you to change it with folks that you were getting ready to interview? Those are folks you don't have longstanding relationships with. How did you make that decision that, "Okay, this is too bad for me to keep these interviews. This isn't going to be a good experience for the audience."
How Jonny Handled the Decision to Cancel Interviews
Jonny Nastor: I made the decision each day as it came. On Tuesday, right after we canceled … we do a 10 am, you and I, and at 12:30, I had my first interview. That's my big interview day. I had four interviews booked that day. I waited until about 11 o'clock. I thought I could maybe take some Dayquil, and I'd feel better. Nothing was working. I felt worse and worse, and I just knew I'd do a terrible job. That's when I canceled all the shows for that day.
Every single person within half an hour of my email going out to each of them, they had canceled the interview and rescheduled it for the following week, for the following Tuesday. All I said in my email was, "Absolutely sorry for the short notice, but I am deathly sick. I cannot do it. It'll be a terrible experience for you and my audience. Can you please reschedule for next Tuesday?" They all did, just instantly.
I had three for the following day, and I had to be on somebody else's show. I didn't want to cancel those on Tuesday because I thought, "I'll be better tomorrow. I'll rest up all day. I'll rest up all night." Then the next morning, I got up for about an hour. Then I was just like, "There's no way I can do it again."
I didn't right at the moment, 10 am on Tuesday, just be like, "Canceling the week out." I am a showrunner. I want to do the interviews. I want to push them ahead as far as I can. But also, it needs to be good, and I need to not feel terrible. I won't enjoy it, and the person won't enjoy it. I did wait until sort of the last minute, but everybody was super understanding. We all know people get sick. It's just what happens. Yeah.
We're going to get into today how to make that easier for people and why you should do that.
Why Creating Your Own Mini Course Live, On Air, May or May Not Be A Good Option for Your Show
Jerod Morris: Let's jump into today. Obviously, in our last episode, in episode No. 55, we talked about why teaching a mini course with your podcast is such a good idea. We got into a little bit of the how to do it and the benefits that you can get from this. We let you know that, over the next six episodes, we are actually going to show you how to do this.
Basically, during the main topic sections of these shows, we are going to record the lessons for mini courses that we're doing. We're each designing a mini course, Jonny, you and I. Each one's going to have three parts. The next six episodes, we're going to record these parts here, so you can hear how we do it and see, get a peek behind the curtain a little bit at how we do this.
As you and I were talking about before we started, this may not be the way that everybody does it. If you were going to do a mini course for Hack the Entrepreneur, you might not record those episodes as podcasts and take them directly into the mini course like we're doing.
We're not saying you necessarily have to follow this model, but we're doing it for you because this is part of what we do on The Showrunner. We try to really let you inside on what we're doing, show you our work as much as possible. The format of our show actually lends itself for us to be able to do this.
We're going to start it today with the first lesson from Jonny's mini course on How to Book, Plan, and Execute Engaging Podcast Interviews. Jonny, before we jump into it and start recording, any other thoughts for folks just about the project in general?
Jonny Nastor: To be clear, with Hack the Entrepreneur, I am creating a mini course. What Jerod means is, I wouldn't do it as in I wouldn't do it live on the air, like we are for you guys, but I would do it in the exact same way. I would just be doing it only to myself, recording it, and then editing it down and using it as a mini course. We're just showing you the live recording of it to show you.
It wouldn't make sense for me to go from an interview, and it probably wouldn't make sense for a lot of you out there who do an interview-based show to all of a sudden just randomly, "Episode 216 of mine is me making a mini course." Wouldn't make sense.
The 3-3-3 Process Behind The Showrunner Mini Courses
Jonny Nastor: We are totally showing you how the sausage is made, as they say, to show you how we're going to do it. Then you're going to also see the final product to see and get your head around the simplicity that we're going to cover in creating a mini course. It shouldn't be overwhelming to you. It should be a very simple process.
We're following a 3-3-3 process, I believe. It makes it so it can't blow up into being this massive project. It really gets stuck by those 3, 3, and 3, which will make sense once we get to it. Other than that, it's going to be a lot of fun. Been getting some emails from some people and some excitement about it. People are really interested to know about how this is going to turn out. We should probably do it.
Jerod Morris: Yeah. Let's do it. Just so folks know about the preparation that we have before we start recording here is, Jon, since this is 'your course' because you're taking the lead on this one, and I'm taking the lead on the other one, you put together an outline. We've got this outline here with your three points. Then each of those three points has three points underneath it.
We haven't really flushed this out a lot together. We've obviously talked about these topics a lot on different episodes of The Showrunner and putting the course together, but we don't have a script for this or anything. You've got this outline. We're going to go from this outline and record, and that's our preparation for this.
Again, how you do it, you the listener, how you do this may be a little bit different, but that's how we're doing this. That's how we're approaching this. With that said, let's hop into it.
Why the 3-3-3 Process Helps Control the Scope of a Mini Course
Jonny Nastor: Yeah. The 3-3-3, I should say that just because this is how we contained the scope of it. Literally, we're going to cover three big ideas in each course. Each of those big ideas will be broken down into three ideas below it, which will make each recording. Then each of those three ideas get three sub-points. That will take us into this one big part of this mini course will have three points with three points under it.
It really contains the scope, and it makes it easy for you to map out on Trello or just on a piece of paper and know what you're going to cover. That being said, Jerod, now we should actually jump into it.
Jerod Morris: I should point out, I don't like your use of the metaphor "how the sausage is made," because it's such a disgusting metaphor.
Jonny Nastor: It is. I don't know what else to say, though.
Jerod Morris: We're not going to show people how the sausage is made. We're showing them how the mini course is made. With that said …
Jonny Nastor: Every time somebody says that, just ugh. Have you ever seen sausage made? It's terrible.
Jerod Morris: People are now starting to think that this podcast is devolving into sausage.
Jonny Nastor: Yeah, it is.
Lesson 1 of How to Book, Plan, and Execute Engaging Podcast Interviews
Jerod Morris: With that said, now we will hop into the recording of lesson one of How to Book, Plan, and Execute Engaging Podcast Interviews.
Welcome to lesson one of our mini course–how to book, plan, and execute engaging podcast interviews. Jonny, let's jump into this. Obviously, you are taking the lead on this mini course about creating engaging podcast interviews because that's what you've been doing for the last year plus at Hack the Entrepreneur. I think we're all excited to dive into your brain and learn from your experience on building great interviews. Let's hop into the first topic.
Part 1: How to Book Good Interviews
Jonny Nastor: Excellent. This is the first segment of How to Book, Plan, and Execute Engaging Podcast Interviews. For this lesson, we are going to cover how to book. This is really the mindset going into it and then also the how-to and a few things to really avoid when you are looking to book engaging podcast interviews.
Step 1: Just Get Rolling
Jonny Nastor: The first part of booking good interviews for your podcast is really just get rolling. Not in everything. You just have to do it. I mean as in try and start small. The first one or two guests that you ever have to book are going to be the hardest, by far. It's like when you end up on somebody else's show, or it's when you seem to get your first email subscriber.
Jonny Nastor: All of the first ones are always really, really hard. Getting your first interviews, mostly because we don't seem to have the confidence, it's really scary to send out those first emails to get somebody onto your show. Once you get somebody to say yes, you really do get a good confidence behind it.
Like most things that we try and teach you to do, start small. Obviously, don't try and book the biggest expert in your market. Start small. Sometimes you can even start with people that you've already dealt with in your business or in your market, and you have a connection to them. There's a warm network between the two of you.
Those are the best people to start with because they're most likely to say yes, and they're most likely to even join you on your show when you might not even be 100 percent comfortable doing the interview already.
Get Small Wins
Jonny Nastor: The next part of just getting rolling is to find guests that actually do interviews. The idea of getting the small win and using that momentum to move yourself forward is really valuable. Don't set yourself up to be let down. Meaning, don't ask people to join your show that really don't have a history of being on other shows.
Find people who are really, really into being interviewed. They're going to be an easier win, and they're going to be much more likely to want to be on a show. Plus, you can listen to them possibly on other shows. Even if maybe they haven't been on a podcast but they might be on a video, you can find them on YouTube being interviewed, or be on television, or on radio, or something. They're at least open to it.
Not everybody is open to that aspect of personal branding or else building their business or their platform through being interviewed. Lots and lots of people are, but don't try and convince somebody that being on an interview is a good thing because it's a hard way to really get those quick wins. Trust me, you really want those wins to push you through and get you going.
Jonny Nastor: The last part of just getting rolling is timing. To me, timing in booking an interview is everything. I didn't realize this nearly as much when I first started with Hack the Entrepreneur. I learned it a lot recently.
People, as you'll know when you listen to a lot of podcasts or TV shows or anywhere, that when somebody has a book coming out, or a new product, or whatever it happens to be–usually, it's a book or a TV show or a movie–those people, your experts just cover and saturate your market in as many places as they can. Meaning that they are very, very much more likely to want to say yes to you.
My example of this is Brian Tracy. I'm in the entrepreneurship space. Brian Tracy is a 70-something-year-old man. He's one of the most renowned people in my space–for interviews, for speaking, for starting businesses. I've asked so many times. I've sent emails to his website, and no recognition at all that it's even been sent or anything. Fine and great.
Then, all of a sudden, a book showed up in my mailbox a couple months ago. He had a brand new book coming out. It was just a form letter from his publisher and just said, "Here, we'd like you to have the new book." That was it, and an email address at the bottom. Sent that email right back to the exact same email I had sent to him four times prior and within like 30 minutes, he was booked for the next week on my show. I was like, "There it is. This is timing. He has something to promote."
We are all selfish with our time, and we're all told to be selfish. We know to become these experts that we want on our shows, that we have to value our time. We can do lots of promotion when we have something somewhat self-serving. It sounds bad like that, but it's absolutely true.
You can go on places–one way I've done it is with Barnes and Noble–you can go and look at the books coming out in the next year. You can look literally by any … by health, by fitness, by sports, by business. It doesn't matter what the market is, you can see the books coming out and when they're coming out. Then you can track down their publishers, and you can reach out to those publishers and PR agents.
If you pick out guest X and you want guest X on and you know that, in four months, there's a book coming out that she's putting out, you can reach out and get her. She's way more likely to say yes to you when she has that to promote. Again, get this to get you rolling and get it moving ahead quickly.
Jerod's Thoughts on Getting Rolling
Jerod Morris: This is such great advice, Jonny. It's very similar advice that we give to people about podcasting in general, which is that you have to just get rolling. You have to start. Just like those first couple of podcast episodes are going to be the hardest, your first two interviews are going to be the hardest ones. When you do get these quick, easy wins like Jonny's talking about, you get more comfortable.
I know when I was first starting to do interviews, I was so nervous. I still get nervous for some interviews, depending on who the guest is. I've obviously become more confident, become more comfortable because I've done them more. There's really no way to get passed that other than to just get the experience, to get going, to get your first few nos out of the way, because some people are going to tell you no to interviews.
Just get those out of the way so that you can get to your yeses. Get rolling. Then you start to build momentum. As you put interviews out, as your show starts to grow, now it's even easier for you to get yeses. The momentum continues to build, but it can't build if you don't get started. Great step one, Jon, to just get rolling.
Step 2: Crafting the Pitch
Jerod Morris: Let's talk a little bit now about, okay … so I know that I want to go out and I want to ask people to be on my show. But especially, when I'm early on and I don't have 100,000 downloads that I can point to, and I don't have a big show that I can point people to, how do I craft my pitch properly to get people to want to be on my show?
Even when I do have some of those big numbers and more social proof, how do I properly craft a pitch so that people will come on my show?
Jonny Nastor: It's a great question, Jerod. The second step to this how to book is crafting this pitch. The very first aspect of that is to do your research. Don't pretend that you know who this person is and why they will benefit from coming on your show. They're going to benefit by having access to your audience. Again, I don't care if your audience is five subscribers, 5,000 subscribers, or 50,000 subscribers.
If you know your audience well enough and you can craft your pitch so that it sells to this person, to her, when her book is coming out, why your audience is perfect for that book, then she will want to come on. That's going to take you doing research and finding out what it is, who her audience is, who she's directing this book at or this product or just her brand in general. Make sure that it's aligned. If it is, make sure you put that into the pitch.
Don't make somebody have to make the connection like, "Why is this going to be good for me? I don't care that it's going to help you. I know that it's going to help you, me coming on your show. But why is it going to help me?" If you can make that connection for somebody really simply in one sentence or two sentences, people are a lot more likely to say yes. You have to always make it easy for them to say yes.
Add an Interview Format Page to Your Website
Jonny Nastor: The second part of this is to add an interview format page to your website. I didn't do this until just after episode 80 or so of my show. It's helped so much in the fact that it is 100 percent cut down on questions or any sort of back and forth while booking this interview. I don't not want the back and forth. You don't not want the back and forth via email, just because of my inbox, you don't want it because every sort of barrier.
Every time there's a question where the person doesn't get it answered in your very simple short pitch, it just puts up another barrier to them ever saying yes. People are busy, and people have a lot to do. You need to make it as friction free as possible.
If somebody does have a question and they see my link that you can check out, "Learn about the interview right here," they go to it. It tells them, "Here are the questions you're going to be asked. We're looking for stories. We're looking for this. Here's what we're not looking for," and that's it. Everything is answered. Then they can literally go back to that original pitch email, and then they get to book it, which I will get into in the next section.
Do your research. Then add this interview page. Not only is it going to help your guests, actually. This really helped me. It's not like an elevator pitch so much for your show, but it really made me put into words, it really made me think about, go for long walks and think about, "When I get a response from my audience, what is it always that they're responding to? What is it that's really helping my audience the most make that transformation that I'm trying to help them make from not being an entrepreneur to being an entrepreneur?" I needed to put that into words for my guests.
It makes my guests really confident. Now, once they book and they come on, we don't even need to do a pre-warmup. They're just like, "No, man. I'm totally ready to go. I read it. I know what we need." It's excellent. People know how to answer. They'll provide the most benefit to my audience, which then, in turn, provides the most value back to my guests by helping my audience take that journey.
Make the Pitch Email Super, Super Short
Jonny Nastor: The last part of crafting your pitch is to really make the email super, super short. I will actually link to an email template that I use in this for you. It's really simple as in the fact where you start personal. This is where the research comes in. It shows that you've actually looked into this person, that you truly do want them, and why they will be good on your show.
Then, a quick one sentence about your show. Sell it. What is it about? What is something good that's happened from it, or what is a market that you serve? Some way to describe your show. It might not be as easy when you're just getting started. I get to say how many people I have listening to my show every month, and that really helps sell the show. I didn't always have that.
If you followed our launch sequence, you've ended up on New and Noteworthy at some point. You can say, "a New and Noteworthy show on iTunes." That sounds great. Everybody within podcasting is like, "Well, lots of people get on New and Noteworthy." But your guests probably just looks at that and says, "Wow, that's really cool. I'm going to go on this show." Do that quick about your show.
Then, I like to include the few potential questions along with the link to my interview format page and then the scheduling link. After the scheduling link, this leads us into the third main point of how to book.
Jerod's Thoughts on How to Sell the Benefits of Being on Your Show
Jerod Morris: I do want to jump in real quick, Jon, and just say it's so important here when we talk about crafting your pitch, remember, this is moment when you are selling your show and selling the opportunity to be on your show to someone else. I don't mean that you have to put the hard sell on them. But just remember that, when you're selling something to anybody, you want to stress the benefits of that thing.
Again, you want to do that with your show. You do it in subtle ways, and you don't brow beat people with it. You let them know what would be the benefit of that person being on your show. Make sure that that's clear. Do your research so that you know what would be important to that person. Then be clear about what the expectations are.
I know, probably, you'll get into some of this in scheduling simplicity, too. You got into a little bit there with the interview format page. I've done a lot of interviews, so I've been on both sides of this. I know you have, too. Interviews I have done where the expectations were really clear and I knew exactly what to expect, I always went into those as the interviewee much more confident and much more prepared than when I didn't really know what was going on.
Part of that, of course, is on me as the interviewee to try and look at the show I'm going to be on and be prepared, but we don't always have that time. Whatever you can give someone succinctly to explain that and get them as prepared as possible is really going to help you have a better experience interviewing them, which is going to translate to a better experience for your audience.
Jonny Nastor: Exactly. Very well said about keeping so that it's the benefit to your guests, not that you have to brow beat them. Don't focus on bragging about your show. Once sentence about your show, but focus on why your audience will benefit from what your guests can provide. That's what people want. They really do. They want to help an audience. If that's your audience, they need to know that so that they know what they're getting into and why it will help them and their business or whatever it is they're trying to promote.
Step 3: Scheduling Simplicity
Jonny Nastor: That leads us then to scheduling simplicity. As you know probably from listening to 56 episodes of this, sometimes I get kind of frustrated with people's use of apps in any way to distract them from the main cause of running a show and what you should really be doing. This is the exact opposite.
Use Scheduling Software
Jonny Nastor: When I see somebody not using scheduling software, it frustrates the heck out of me to the point now where I actually have scheduling software set up twice. When somebody emails me and asks me to be on their show, and then they say, "Can you send me some available times?" I do not want to do that.
By the time I send them three available times, and then they get back to me in a couple of days, then those times probably aren't all available anymore. And then I have to tell them. It's frustrating. I've actually created another scheduling link where I just reply now, "Yeah, I'd love to be on your show. Can you schedule a time here?" I actually send them my own scheduling software hoping that they'll get that. Now, I'll just actually send them to this course. This will help them.
Scheduling software, there's a ton of it out there. There's Calendly, I use MeetMe, which is ScheduleOnce.com, and then it gives you a MeetMe/MyName. You literally just click on it. It syncs with my Google Calendar. I can choose what times I ever want to be available or what specific times I want to be available. As things get booked, it just removes those times. You can leave as much time as you want in between different appointments, all those kinds of things. It removes the friction.
As I said, it's frustrating when somebody's busy, you're busy, and you want them to send you times. I don't want to go to my Google Calendar and try and figure out times that might work for you. I don't know what time zone you're in. You need to use scheduling software.
Calendly, I believe, is 100 percent free. ScheduleOnce isn't. I believe I pay $5 a month for it. If you look up scheduling software, there's even just add-ons to your Gmail account now that are completely free. There's very, very simple ways to do this, but please do not try and book somebody onto your show without sending them a link that they can just click and chose whatever time's available to you and to them at the same time.
Make Time Available
Jonny Nastor: Also, with reducing friction and making it easy for them to say yes, please make as much time available for them when you're getting started. Meaning, make it on your clock if necessary.
For my first 50 episodes, I was open, I believe it was Monday to Saturday. I opened up all day, and then in the email at the P.S. was even, "If there's a time on here that isn't available for you and you need 2 AM on a Sunday night, let me know, and I'll make it work for you because I really, really want you to come on my show." Two people actually took me up on that and I ended up doing crazy hours, but it was worth it. I needed to.
I don't have to do that anymore. Now, I literally do Tuesdays and sometimes on Wednesdays, but even then, I don't actually always leave it open. People will just cram right into Tuesday for me because people want to be on my show more than I need them to be on my show, which is flipped from when I started.
But when I started, I had to make as much time available because you just don't want somebody to go and be like, "Yeah, okay. I'll give them a shot. I'll be on their show." Then go look and be like, "Wow. They have a time in three weeks for half an hour." They're just going to leave. "Oh, I just got to go do something else." It's what happens.
Try and make as much time. You might not have all days available like I did, but you could have a few evenings available or a weekend. Just try and make that time available to your guests to make it easy for them to say yes and find a time that is convenient for them.
Send Confirmations (Appropriately)
Jonny Nastor: The final part of scheduling simplicity is set up your scheduling software, and then send an immediate confirmation. You can set it up so that immediately after they book, it just confirms them and adds it to their whatever calendar system they use, usually Google Calendar or Apple. Then set it to send one reminder email 24 hours before.
In my reminder email, it sends them back to my format page for the interview format, so they can check that over again if they want to get a feel for it. Other than that, it's just like, "I'll see you tomorrow on Skype," and it has my Skype name again, so there's no confusion.
The reason why I'm saying this is because, again, being booked onto other people's shows sometimes, I've been absolutely flooded with reminder emails all the way leading up to it where I've got as many as seven emails in four days before I'm supposed to be on somebody's show. It's the most frustrating thing. It shows that you've now stopped thinking about me and my priorities.
Remember, we need to stay focused on our guest, not on ourselves. Our guests are smart. Our scheduling software is really smart. It is on their calendar, and they've set their calendar however they set their calendar to remind them via email, via pop-ups, or via just a text message on their phone. We can set up our own calendar systems how we want.
Don't impose yours on them because it gets really frustrating. I've been on calls where it's like, "Do you have anything you'd want to change about the way I book this?" "Yeah. I would stop sending an email every single day and three the day of. It's really kind of frustrating actually." Don't do that. You don't need to impose. Always think of the guest and from their perspective. Stay on that. Make it easy for them and go for the easy wins, and you will book very engaging interviews.
Jerod's Thoughts on Scheduling
Jerod Morris: Yes, you will. What you said there about making as much time available when you're getting started especially is so important. It doesn't mean that you are going to be doing interviews from 8 to 5 on Saturday and 8 to 5 on Sunday. It does mean that, especially early on, you may have to go the extra mile, and you may have to do something a little but inconvenient.
Part of being a showrunner and creating a great experience for an audience is taking that burden on yourself sometimes to go the extra mile and maybe do something that's not always that convenient for you because it's going to be good for a guest and for an audience where there's a good match. You need to bring that to them. You've got to be the conduit however you can be. That's just what it's going to take. Sometimes as a showrunner, you have to make some little sacrifices like that.
Jonny, I think because you were willing to do that, you were willing to do what maybe other people might not have been willing to do, now your podcast is succeeding in ways that other podcasts aren't. I think your example there is a great example why. It's a great lesson for everybody who is listening to this right now.
Jonny Nastor: Right. We weren't trying to explain the easy way to book. We're just trying to tell you the right way to book engaging interviews if you want to stand out as a showrunner. Follow those three steps and you will be on your way.
A Quick Review of Lesson 1
Jerod Morris: You will. Real quick, just in review here for lesson one of How to Book, Plan, and Execute Engaging Podcast Interviews. Step one is to just get rolling. Understand that the first one or two are going to be the hardest. You want to find guests that do interviews so that you can go for the easy, quick win. Then, remember that timing is everything. Target people who have book or product launches coming out because they're going to have a real reason to want to be interviewed.
Step two is to craft your pitch. This means doing your research, adding an interview format page to your website, and then starting out personal. Making sure that you let them understand quickly what the benefits are of coming on your show, letting them know maybe a few potential questions, and then giving them a scheduling link, which sends us into step number three, which is scheduling simplicity.
Make it simple. Always use scheduling software, make as much time available when you get started. Make it very easy to say yes, and then send an immediate confirmation and one, just one, reminder 24 hours before. If you send more than one, somewhere, some way, some how, Jonny will know about it, and he will think bad thoughts about you. Don't let that happen.
Jonny Nastor: Well done.
Jerod Morris: Yeah. Now we'll talk to everybody on lesson two of How to Book, Plan, Execute Engaging Podcast Interviews where we talk about how to plan engaging podcast interviews. That'll be a good one.
Jonny and Jerod's Self-Assessment of the Delivery of Lesson 1
Jerod Morris: All right, there we go. How do you think that went? Our first live recording of a mini course lesson?
Jonny Nastor: In my Dayquil sort of stupor, I think it went quite well. I love the 3-3-3 because there were so many times there I wanted to go off on a tangent, but it's like, "No, I got to go back to this." I think that's what makes it doable. That's why I really like it.
Otherwise, as you know, every time you try and put together a simple outline for something, it grows into this giant mind map of ideas. Then it's all of a sudden like you're rebuilding the ark or something rather than just, "No, we're just trying to teach people literally how to book an interview." It's really good. I like that. Then I like how you do the wrap-up at the end. It feels like we have a flow. It's good.
Jerod Morris: I think we do. A couple of critiques I have of us just having listened to this. Number one, we had that awkward moment there in the beginning after I introduced it and then you got into it. We never really had planned on, "Okay, how am I going to jump back in? Are you going to do the whole thing?" That's why I made that note on our note sheet that I'll hop in after section one, just so you knew. That just became our rhythm.
Maybe that would have been good for us just to break out for a minute or two before we started. I think most people listening probably will be doing this on their own, so they wouldn't have to worry about that, but probably just something to think about in the future.
Then there was one time where you said, "We've done 56 episodes of these." That was one thing we probably wanted to get away from, since this is going to be a lesson in a course, is not making it time specific. We can think about that for the future.
Then doing the wrap-up at the end, no matter who does it, I think it's interesting since there's two of us, for the person who's not leading it to do the wrap-up. I don't know why. Just seems like a good little contrast at the end there.
Jonny Nastor: Yeah. Right when you were introducing it at the very beginning, I was almost thinking of going through all the points just in point form like you did at the end, at the beginning, to give people to know what's coming. But then it worked really well with you doing it at the end. That whole idea of tell people what you're going to tell them, tell them, then tell them what you told them does really help people understand and comprehend it better.
It might not be terrible to do. Let's do that in the future. Definitely keeping it at the end really helps. Like, "What did Jon just talk about that whole time? Oh, here it is. Oh, yeah, yeah, yeah." Totally.
Jerod Morris: Let's do it at the beginning, too, and when we put this lesson into the mini course, we should probably record a quick bit doing that, just add it in, and edit it in.
Jonny Nastor: Cool. We could totally do that. When Jerod said that, how we just added a note, because there's two of us, we work in Google Docs. Literally, we can type to each other live and just see it.
He just added a note in there as I was reading off the post. He just said, "I'll hop in after the first section." Then I didn't have to wait after each subsection in that. It was a bit awkward. I wanted to leave just a bit of space to see if he was going to jump in, and he didn't. I think you sensed that, so you wrote that for me.
Jonny Nastor: We've done this a few times.
Jerod Morris: Yeah, exactly. You don't want that awkward moment. Um, Jerod? Jerod? Jerod?! Say something. Take a breath.
All right. Hey, you have a podcast recommendation. Sound the trumpets. This is exciting.
Jonny Nastor: Like that?
Jerod Morris: That was actually pretty good. That was good. Let's get into podcast recommendations, right now.
Podcast Recommendations of the Week
Jerod Morris: You can bat leadoff, Mr. Nastor. I have one, too, but everybody is going to be dying to hear what your next podcast recommendation is.
Jonny Nastor: Mine's from a fellow Canadian. I guess I like his accent. His name is Justin Jackson. He's from the west side of Canada, in the mountains, the British Colombia Rocky Mountains. He is a self-proclaimed maker. He makes things. He makes small things. He makes big things. He makes apps. He makes podcasts. He makes books. He makes a lot of weird websites and things. He's just an all-around cool kind of guy. I don't know him personally.
He has a new show out called MegaMaker–all one word, MegaMaker. It's kind of cool. He's got this challenge for himself where he says, "Justin is trying to make 100 things in 2016. Will he do it?" Then he also tries to encourage you to get motivated to make your own stuff. He goes over the idea of making small little things and just putting them out to the world. It's really cool.
He's got this band, this metal band–they sound like they're from the 1980s, but they're actually around right now. They're from somewhere else in Canada–that he's really into. They're his intro music and stuff. It's just fun. He's really good with a computer, obviously, because he's a coder and stuff. He cuts in quotes from people. He plays around. He really experiments with the style of his show. He's easy to listen to and fun.
I'd been sick all week, so I'd been consuming a lot of stuff rather than producing it because this is the first thing I've produced all week. So I've been listening to it. He actually uses something we've talked about, I believe, before called Simplecast.FM. He publishes right through … it's a podcast player, so you can embed on your page. It's also the hosting. It's a neat thing. It's the first time I've ever actually listened to his show on it and then on his site from it. I will link to it in the show notes for it. It is MegaMaker, and his name is Justin Jackson.
Jerod Morris: MegaMaker. That's fun to say. I have a duel podcast recommendation. I listened to these two shows within about 24 hours of each other. They both dealt with similar topics, so I felt it would be appropriate to recommend them both. There is an episode of Ted Radio Hour called What Is Original?–which is very interesting.
Then there's an episode of Unemployable with Brian Clark where he interviews Austin Kleon, who wrote the book Steal Like an Artist. The episode is called Steal Like an Entrepreneur. It's all about what is originality, and when is it okay to 'steal' from others? How much of originality is really us taking all of our influences? All of our influences are a ball of clay, and then we shape them. That becomes our originality.
It's a very interesting discussion about that topic. Also, inspiring and will probably make you think about your own creativity. Some people feel like they're creative. Some people don't feel like they're creative. Really, we can all be creative. These episodes give you a good perspective on that. I recommend them both. We'll have links to all of this in the show notes, which you can find at Showrunner.FM.
How to Take Your Showrunning to the Next Level
Jerod Morris: There's something else you can find at Showrunner.FM, which is the ability to join The Showrunner, which allows you to get our weekly newsletter. This newsletter, which we've been really having fun doing, it includes announcements to free public events, a link and description to that week's episode, as well as a 'we highly recommend' section, which we highly recommend and that you won't want to miss.
Jonny and I find cool stuff that will take your showrunning to the next level, whether it's an article, a video, a tip, or whatever it may be, and we put it in this section. When you're on our email list, you get this every week. It will help make you a better showrunner. Jon …
Jonny Nastor: Totally recommend it. Sorry.
Jerod Morris: That's the awkward moment that can happen.
Jonny Nastor: It's not awkward. Man, that wasn't awkward at all, dude. We could be awkward if we want. That wasn't awkward. That was just me removing a cough candy from my mouth before I was talking because my throat was getting sore from talking so much.
Jerod Morris: I guess that's our sign that we should close this episode up.
Jonny Nastor: Yeah, we should. Totally. That was a good call to action. Three great podcast recommendations. Make sure to check it out. When you're done with all three of those, head over to Rainmaker.FM and listen to a show you haven't listened to before.
Check out the new site. A lot of shows seem to come. Sometimes I go back, and I'm like, "Oh, wow. I haven't even heard of this show." I listen to it and it's like, "Man, it's so good." There's a ton. We should probably start recommending one of those shows each time, too. I guess you did. You did Unemployable.
Jerod Morris: I did.
Jonny Nastor: Yeah. All right.
Jerod Morris: All right, everybody.
Jonny Nastor: I'm in a daze.
Jerod Morris: We're going to let Jonny go rest. We will talk to you all next week on another brand new episode of The Showrunner.
Jonny Nastor: Take care, everybody.
Trump, Apple, and Facebook Advertising: Content Marketing News for May, 2016
Is Authority Earned or Bestowed?
Darren Rowse on the Intersection of Blogging and Digital Commerce
6 Business Insights that Could Radically Increase Your Online Engagement in 2017
The Strategy Behind the Copyblogger Redesign
The 5 Things Your Customers Actually Want to Buy
Jeremy Myers says
You guys rock.
It always seems that just when I have questions about podcasting or course creation, you publish a podcast that answers my exact questions.
For the past month or so I have been slowly working toward creating a mini course AND booking some interviews for my podcast …. and what do you guys do? … you publish a podcast that answers BOTH questions!
Jerod Morris says
Awesome Jeremy! Thanks for sharing. And good luck with the course. 🙂
Matthew K. Loomis says
Thanks Jerod and Jonny for putting out such a remarkable podcast.
This particular episode I am listening to multiple times and even recommended it to my assistant. I've pretty much made all of these mistakes. Some of which I didn't even realize were mistakes. Thanks for telling us things like how annoying it is to potential guests to not use a scheduling software. :/
Who knew? LOL (Me.)
You guys are awesome,


Long Live the Kings–in partnership with the Hood Canal Coordinating Council, tribes, and state and federal agencies–is working to pinpoint the causes of high steelhead mortality at the Hood Canal Bridge, and to gauge the bridge's effect on water quality. Alison Morrow from King5 News recently tagged along as LLTK and our partners conducted research near the Bridge. This research is also related to our Survive the Sound campaign, which will launch March 15th! Watch Alison's report below and click here to learn more about our Hood Canal Bridge Ecosystem Project.
See the full report from King5 News here.


text:
Global: Kaggle Days events
Local: Kaggle Days meetups
Dubai, Mar 2020
Tokyo, Dec 2019
China, Oct 2019
Dubai, Apr 2019
San Francisco, Apr 2019
Paris, Jan 2019
Warsaw, May 2018
Meet speakers for San Francisco edition
François Chollet
François Chollet is the Creator of Keras (keras.io), a leading deep learning API, and author of the textbook "Deep Learning with Python". He is also a machine learning researcher at Google Brain and a contributor to the TensorFlow machine learning platform.
Vladimir Iglovikov
Kaggle Grandmaster
Kaggle profile
Vladimir got his Ph.D. in Theoretical Condensed Matter Physics at UC Davis. After graduation he was developing Energy Disaggregation algorithms that were a combination of the signal processing and machine learning techniques, working as a data scientist at Bidgely. After this, he moved to San Francisco to work in TrueAccord where he was mainly focussed on building recommender systems. Currently, Vladimir is applying Deep Learning techniques to the computer vision problems at the Lyft's Level5 Engineering Centre that is focussed on the development of the self-driving cars.
Dmitry Larko
Dmitry works as a Senior Data Scientist at H2O.ai. He's main area of interest is automatic discovering and building of machine learning pipelines (AutoML).
He started his Kaggle career 6 years ago and still enjoying each and every competition he joins.
Carlos Huertas (NxGTR)
Carlos Huertas, best known as "NxGTR" in Kaggle, is a computer engineer with a MS on NLP and a PhD in AI. He is currently a Senior Machine Learning Engineer for Instacart working on customer growth. On his free time he has competed in over a 100 competitions in Kaggle
Pavel Pleskov
Pavel graduated from Lomonosov Moscow State University (2010) and New Economic School (2012). For a year, he worked as a financial consultant at Oliver Wyman. Then he began to build algorithms in the high-frequency trading industry (HFT). For two years, he was a co-founder and CBDO of ThunderBid. After that, he found his calling in Data Science. In a year Pavel became the 2nd in Russia and the 4th in the world in the competition ranking at Kaggle. Since then, he was professionally participating and helping to organize online competitions and hackathons in DS / ML. He is currently working as a Research Data Scientist at PointAPI – Cambridge based NLP startup.
Pavel is a huge fan of travelling, motorcycles, and kitesurfing.
Bojan Tunguz
Bojan was born in Sarajevo, Bosnia & Herzegovina, which his family fled for Croatia during the war. He came to the US as a high school exchange student, and manage to realize his dream of studying Physics. He hold a Ph.D. in Physics from the University of Illinois, and a M.S. in Applied Physics and B.S. in Physics from Stanford University. He's worked in academia for a few years, but for various personal and professional reasons decided to leave it. A few years ago he stumbled upon the wonderful world of Data Science and Machine Learning, and feel like he has discovered his second vocation in life. He has been on Kaggle for three and a half years, and he believes it's the best platform that he's ever come across for learning new skills. It has been an invaluable tool in his ongoing development as a data scientist.
He is a a Data Scientist at H2O.ai, where he works on various internal and external projects. Highlights of the projects and problems that he has worked on include used cars sales price predictions, insurance claims predictions, credit underwriting models, and restaurant classification based on user-generated images. He is particularly passionate and interested in NLP problems.
Bojan has a wonderful wife and three amazing little boys that keep him constantly busy and amused. He is a voracious reader, is passionate about tinkering with all sorts of tools and gadgets, loves digital photography, and really enjoys hiking in the woods.
Jeremy Walthers
Jeremy is a Kaggle Grandmaster and winner of more than $500,000 in machine learning competitions. He lives with his wife in the Washington DC area and works at DataLab USA where he helps optimize the marketing efforts of some familiar names in insurance and finance.
Mike Kim
Michael Kim is a Kaggle Grandmaster who is currently working on
telematics to improve insurance technologies.
Bing Xu
Bing is currently an Applied Research Scientist at Facebook AI. He was a Kaggle Grandmaster (2012 – 2015). He was early contributor of XGBoost and creator of XGBoost.jl (2014), co-creator of CXXNet (2013), MXNet (2015), creator of MXNet-Mobile (2015) and MXNet.js (2015). In deep learning research, his major contribution includes: the original Generative Adversary Net (GAN) and some studies on neural network activations.
Valliappa Lakshmanan (Lak)
Lak is a Tech Lead for Data and Machine Learning at Google Cloud where he enables customers of Google Cloud to be successful with Big Data and Machine Learning products through courses, consulting, evangelism, and open-source examples. He is the author of Data Science on GCP (O'Reilly) and Machine Learning on GCP (Coursera). He founded Google's Advanced Solutions Lab ML Immersion program. Before Google, Lak was a Director of Data Science at Climate Corporation and a Research Scientist at NOAA. Follow him on Twitter at @lak_gcp, read articles by him on Medium, and see more details at www.vlakshman.com
Karthik Ramachandran
Karthik is a Product Manager on the Cloud AI team. He focuses on AI Factory Notebooks, Deep Learning VMs, and Kubeflow Fairing. Previously, he was a software engineer, engineering manager, and product manager at a number of different organizations including In-Q-Tel's Lab41, Premise Data, and Primer.ai. Karthik has a Master's degree from Georgetown University; and a bachelor's degree from Carnegie Mellon University.
Yun Lu
Yun Lu is a software engineer in the Cloud AI team at Google, where the group strives to deliver the best cloud machine learning platform to the data science community. Yun currently focuses on JupyterLab and Deep Learning virtual machines. Before joining Cloud AI, Yun used to work in CPU design and semiconductor photolithography industries. Outside of work, Yun is a marathon runner, he travels worldwide to participate in marathon matches.
Kiri Nichol
Kaggle Master
After a PhD in physics and postdoctoral work in medical imaging, Dr. Kiri Nichol got into machine learning by tackling problems on Kaggle, attaining master status on her 8th competition. Kiri has worked as a data scientist and machine learning engineer/researcher. Her current research interests involve using unsupervised methods to reduce the amount of labeled data needed for deep learning. In 2013 Kiri was a finalist in setup.nl's competition to create an algorithm to fake a Mondrian painting and a film clip about Kiri's algorithm has been exhibited in the Gemeentemuseum in the Hague.
Rand Xie
Rand Xie is a software engineer in Google Cloud AI and has been a Kaggler for more than 2 years. Currently, he mainly works on model serving infrastructure, AI hub and explainability.
Erica Brick
Erica recently joined Kaggle as their Lead User Experience researcher. Her focus is to ensure Kaggle is building user friendly features that meet the needs of Kagglers.
Myles O'Neill
Myles is Kaggle's Lead User Experience Designer. He is passionate about making Kaggle a fun and approachable place for everyone in the datascience community to work and learn together.
Jasjeet Thind
Jasjeet Thind is the vice president of artificial intelligence at Zillow. His group focuses on machine learning and platforms that power cross-company experiences such as recommendations, search, Zestimates, ads, natural language conversations, and relevance. Prior to Zillow, Jasjeet served as director of engineering at Yahoo, where he built personalization science and platforms that powered Yahoo homepage and verticals such as Yahoo News and Yahoo Sports. Jasjeet holds a BS and master's degree in computer science from Cornell University.
Andy Martin manages the Zillow AI Home Valuation research team since 2017. Along with the Zestimate, his group also produces the Rent Zestimate, and related predictive models that help folks in their search for a place to call home. He developed the non-traditional design for the Zillow Prize competition and had the great pleasure of being the main interface between Zillow and the Kaggle community that has developed around Zillow Prize. Prior to joining Zillow in 2014 he worked on the Obama for America digital team working to optimize fundraising and volunteering overall the campaigns digital channels. He has a BS in Informatics from the University of Washington and an MS in Statistics from Stanford.
James Cham is a venture capital investor with Bloomberg Beta, a firm focused on investing in the future of work. James invests in companies working on applying machine intelligence to businesses and society. He's currently invested in companies like Orbital Insight (satellite imaging), Primer (analyst tools), Domino Data Labs (AI model management), and AppZen (expense management). James speaks and writes on the implications of AI for companies, including a landscape of machine intelligence companies (https://t.co/jnBX6Wdr5R). In the past, he's been involved in investments with companies like LifeLock, LinkedIn, Twilio, DropCam (now Nest), and Skybox Imaging. James was a software developer and management consultant before he started investing. James lives in Palo Alto. He was previously an investor at Bessemer Venture Partners and Trinity, a management consultant at The Boston Consulting Group, and a software developer. He went to Harvard and MIT.
Quoc Le
Quoc Le is researcher in the Google Brain team. Quoc is currently interested in learning to learn and automated machine learning. Before that, Quoc worked on large scale deep learning, sequence to sequence learning, pretrained language models. He was recognized as a top innovator in 2014 by MIT Tech Review.
Copyright © 2019 LogicAI

redpajama_set_name: RedPajamaCommonCrawl


Research at the Chair of Applied Physics concentrates on electrical and optical properties of solids since its establishment – this is, in short, solid-state physics. In the year of establishment, this discipline was a cutting-edge topic in physics. The birthday of "Solid-state physics" (at least the wording) is dated approximately 1937; in this year, a major international conference on "Electrical conduction in solid materials" was held in Bristol.
Today, solid-state physics is cutting-edge as always; our whole modern world with all its electronics is based on investigations, results and inventions of this physics discipline. Moreover, there are new hot topics of solid-state physics in research such as low-dimensional materials like graphene or nanowires, molecular junctions and innovative semiconductor materials with properties beyond silicon. At the Chair of Applied Physics, we push forward the research on these topics with the goal to understand and establish the fundamentals for future electronics.
The Chair of Applied Physics was established in 1948 as the second physics chair in Erlangen. It was headed by the solid-state physicist Prof. Erich Mollwo until 1976. In the beginning, the chair was accommodated in the "Gründerzeitvilla" located in Glückstraße 10 in Erlangen. 10 years later, the chair moved into a new building just across the street (Glückstraße 9; today, the dental clinic is found at this place).
In 1978, Prof. Max Schulz became the new head. One year later, the Chair of Applied Physics was equipped with a second professorship, to which Prof. Reinhard Helbig was called. The Chair of Applied Physics moved a second time into a new building, the "Physikum", in 1990.
Since December 2004, the chair is headed by Prof. Heiko B. Weber. The second professorship was held by Prof. Tilman E. Schäffer from 2007 until 2011; his successor became Prof. Vojislav Krstić in 2013.


i got the coolest thing in the mail today. of course, i ordered it on etsy, from a shop called field and seal. it's tiny little delicate handmade paper beads--one set with a small story on them and the other blue with gold accents. not only are they fabulous in and of themselves, but the way they came packaged, in distressed brown paper and attached to a lovely card with a small story on it made even opening them a delight.
just what i needed on this day where i've been feeling a bit blah. beautiful things, even when they are small, do have the capacity to promote happiness.


text:
Q: Terraform AWS Elasticache Global Replication group Secondary Cluster setting Auto failover to True I am trying to provision AWS Elasitcache Global Replication group. This is being done in two stages. In the first stage Primary region aws_elasticache_replication_group and Global aws_elasticache_global_replication_group are provisioned. In the second stage secondary region aws_elasticache_replication_group is provisioned and attached to Global Datastore using global_replication_group_id attribute. The secondary region is provisoned and attached to global replication group. However the seconday cluster by default is setting the auto fail over to true. By default this should be false as per documentation. Terraform plan shows that the auto fail over is false, however when terraform apply is run auto fail over is set to true. So now if I rerun terraform apply, the secondary cluster tries to change the auto fail over to false which is the correct default value and this causes terraform apply to fail as this can not be modified.
number_of _cache_clusters is set to 2 in both primary and secondary. I tried with just one cluster in secondary with the same results.

module.elasticache_redis_global.aws_elasticache_replication_group.redis_cache_cluster_sec:
Modifying… [id=sp360commercial-pdx-dev-test4-redis]
231Error: error updating ElastiCache Replication Group
(sp360commercial-pdx-dev-test4-redis): error requesting modification:
InvalidParameterValue: Cluster [sp360commercial-pdx-dev-test4-redis]
is part of a global cluster
[ldgnf-sp360commercial-iad-dev-test4-global]. Request rejected.
232 status code: 400, request id: b15e578b-7906-412f-aef8-1d038c9fbb81
233 on …/…/…/modules/aws/elasticache-global/redis.tf line 1, in
resource "aws_elasticache_replication_group"
"redis_cache_cluster_sec":
234 1: resource "aws_elasticache_replication_group"
"redis_cache_cluster_sec" {
236Cleaning up file based variables

If I explicitly set auto fail over to true in secondary cluster provisioning, I get an error saying that the auto fail over attribute conflicts with global replication group ID attribute

Error: ConflictsWith
173 on …/…/…/modules/aws/elasticache-global/redis.tf line 4, in
resource "aws_elasticache_replication_group"
"redis_cache_cluster_sec":
174 4: global_replication_group_id =
"${local.globalstore_prefix}-global"
175"global_replication_group_id": conflicts with
automatic_failover_enabled
176Terraform apply is skipped because DISRUPTERRA_DRY_RUN was set to
true.

Terraform Version v0.12.24
AWS Provider Version 3.37.0
I also tried with Terraform Version v0.12.31 and AWS provider 3.58 but he issue exists.
I use a config.yml file as input for this code. Below is the the file content. This will be converted to a json file by a shell script before consumed by terraform resources
storage:
  elasticache:
    instances:
      test4:
        nodeType: cache.r5.large
        applyImmediately: true
        numShards: 1
        numReplicas: 2
        atRestEncryption: true
        transitEncryption: true
        multiAz: true
        globalDatastore:
          primaryRegion: us-east-1
          secondaryRegion: us-west-2

Primary and Global Cluster
resource "aws_elasticache_global_replication_group" "redis_global_datastore" {
  count = 1
  global_replication_group_id_suffix = "${local.cluster_prefix}-global"
  primary_replication_group_id       = aws_elasticache_replication_group.redis_cache_cluster.id
}

resource "aws_elasticache_replication_group" "redis_cache_cluster" {
  replication_group_id          = "${local.cluster_prefix}-redis"
  replication_group_description = "Provisioned using Terraform"
  number_cache_clusters         = 2
  node_type                     = lookup(local.config, "nodeType", "cache.t2.micro")
  port                          = 6379
  engine_version                = lookup(local.config, "engineVersion", "5.0.6")
  parameter_group_name          = contains(keys(local.config), "parameters") ? aws_elasticache_parameter_group.parameter_group[0].name : local.default_parameter_group
  subnet_group_name             = aws_elasticache_subnet_group.subnet_group.name
  security_group_ids            = [aws_security_group.redis_sg.id]
  maintenance_window            = lookup(local.config, "maintenanceWindow", "sun:02:00-sun:04:00")
  automatic_failover_enabled    = lookup(local.config, "numReplicas", 1) > 1 || lookup(local.config, "numShards", 1) > 1 ? true : false
  apply_immediately             = lookup(local.config, "applyImmediately", true)
  at_rest_encryption_enabled    = lookup(local.config, "atRestEncryption", false)
  transit_encryption_enabled    = lookup(local.config, "transitEncryption", false)
  auth_token                    = var.auth_token
  multi_az_enabled              = lookup(local.config, "multiAz", false)

  dynamic "cluster_mode" {
    for_each = lookup(local.config, "numShards", 1) > 1 ? [true] : []
    content {
      replicas_per_node_group = lookup(local.config, "numReplicas", 1)
      num_node_groups         = lookup(local.config, "numShards", 2)
    }
  }
  lifecycle {
    prevent_destroy = true
    ignore_changes = [parameter_group_name]
  }
}

Secondary Cluster
resource "aws_elasticache_replication_group" "redis_cache_cluster_sec" {
  replication_group_id          = "${local.cluster_prefix}-redis"
  replication_group_description = "Provisioned using Terraform"
  global_replication_group_id   = "${local.globalstore_prefix}-global"
  auth_token                    = var.auth_token
  subnet_group_name             = aws_elasticache_subnet_group.subnet_group.name
  security_group_ids            = [aws_security_group.redis_sg.id]
}

A: This is what worked for me (stealing what you had for my own implementation :P)
resource "aws_elasticache_replication_group" "redis_cache_cluster_sec" {
  count = var.existing_global_replication_group_id != "" ? 1 : 0
  replication_group_id          = var.cluster_name
  replication_group_description = "Secondary cluster provisioned by Terraform"
  global_replication_group_id   = var.existing_global_replication_group_id
  number_cache_clusters         = var.number_cache_clusters
  subnet_group_name             = aws_elasticache_subnet_group.subnet_group.name
  security_group_ids            = var.security_group_ids
  automatic_failover_enabled    = true
  dynamic "cluster_mode" {
    for_each = var.num_node_groups > 1 ? [true] : []
    content {
      replicas_per_node_group = var.replicas_per_node_group
      num_node_groups         = null
    }
  }
}

redpajama_set_name: RedPajamaStackExchange


In June 2016, HerMES published its fourth data release (DR4). The DR4 data supersedes some of the data presented here. Please visit the DR4 page to get the new data.
The HerMES project has released Herschel SPIRE maps and catalogues. There are two kinds of catalogues, blind extractions on the SPIRE maps (DR2) and flux extractions at Spitzer prior positions.
From this page, you can download on tarball per field and data release containing the catalogues and the main Herschel SPIRE maps. If you prefer to download individual files, or if you need specific maps (angular sub-maps, filtered maps,... see the readme) not included in the archives, please visit the individual files page.
Important: We have set up a mailing list to announce changes in HerMES public data. If you download and use HerMES data, we drive you on to subscribe to this list, please see the contact page.
You may also be interested in the release changelog.
The second Data Release (DR2) of HerMES data occurred in November 2013. It consists in Herschel SPIRE maps associated with blind extraction catalogues at each wavelength (plus band-merged catalogues extracted at SPIRE 250 µm positions).
You may want to read the readme for the catalogues, the readme for the maps and the document describing the nested fields.
The third Data Release (DR3) occurred in July 2015. It is composed of catalogues of SPIRE fluxes extracted at Spitzer prior positions with the methods developed by Roseboom et al. 2010.
The tarballs available below also contain the SPIRE maps on which the fluxes where extracted as they are older than the currant (DR2) HerMES SPIRE maps. You may also want to read the readme for the DR3 release.
Please, note that the DR3 also contains the SPIRE maps from the HerMES Large Mode Survey (HELMS). Readme for HELMS maps.
It's important to keep in mind that the DR3 does not replace the DR2 but comes in complement to it.
1 The L1-ECDFS replaces the fields L1-GOODS-S and L2-ECDFS as described in Oliver et al. (2013). The data catalogues extracted on maps combining the observations on CDFS-SWIRE (AOR sets #27 & #33), ECDFS (AOR set #15) and GOODS-S (AOR set #13). These maps, provided in the downloadable archive, are much larger than the actual catalogue coverage; a DS9 region file representing this coverage is included. Please, note that the Spitzer-prior data product was extracted on a previous version of the maps and that the L1-GOODS-South and L2-ECDFS catalogues and maps are provided separately in the archive.
2 The L2-COSMOS field is a combination of L2-COSMOS (AOR set #22) and L5-COSMOS-HerMES (AOR set #22B) as described in Oliver et al. (2013). Please, note that the Spitzer prior data product is limited to AOR set #22B data.
3 The L3-Groth-Strip catalogues were extracted on maps combining the observations on Groth-Strip (AOR set #17) and EGS-HerMES (AOR set #29). The maps provided are much larger than the actual catalogue coverage; a DS9 region file representing this coverage is included. Please note that the Spitzer prior data product is limited to AOR set #17 data.
4 The L3-Lockman-North and L3-Lockman-East-ROSAT catalogues were extracted on maps combining the observations on Lockman-SWIRE (AOR set #28B), Lockman-North (AOR set #19) and Lockman-East-ROSAT (AOR sets #18 & #18B). The maps provided are much larger than the actual catalogue coverage; a DS9 region file representing this coverage is included. Please note, that the Spitzer prior data product is limited to AOR set #19 data on Lockman-North and to AOR set #18 on Lockman-East-ROSAT.
5 The L4-UDS and L4-VVDS catalogues were extracted on maps combining the observations on UDS (AOR set #23), VVDS (AOR set #24) and XMM-LSS-SWIRE (AOR set #36). The maps provided are much larger than the actual catalogue coverage; a DS9 region file representing this coverage is included.
6 The L5-CDFS-SWIRE field is a combination of the AOR sets #27 and #33 as described in Oliver et al. (2013). Please note that the Spitzer prior data product is limited to AOR set #27 data.
7 The L5-Lockman-SWIRE field is a combination of the AOR sets #28 and #28B as described in Oliver et al. (2013). Please note that the Spitzer-prior data product is limited to AOR set #28 data.
8 The L5-Boötes-HerMES field is a combination of L5-Boötes-HerMES (AOR set #30) and L6-Boötes-NDWFS (AOR set #37) as described in Oliver et al. (2013).
9 The L7-HELMS maps are products from the Herschel guaranteed time (GT2) programme "HerMES Large Mode Survey" (HELMS, PI: Marco Viero).


This website is a record of the exhibit, as it appeared in the display cases of the William L. Clements Library. Each page features an image of a single display case and its contents, with details of the artifacts and the accompanying text below. Please click on the images to view enlargements and use the "back" button on your browser to return.
Copyrights to the contents of this exhibit, both text and images, are held by the Clements Library. Permission for use and reproduction must be obtained in advance from the director of the Clements Library.
George Washington was a fourth-generation Virginian, although his family name was a relative latecomer to the colony in comparison to those of many of its leading families. The immigrant, George's great-grandfather John Washington, arrived in 1657. Washington's ancestors on his mother's side of the family had been in Virginia earlier. In contrast, Thomas Jefferson was a descendant of not only Jamestown's pioneers but even Pocahontas! Washington's forebears in England were more affluent and better educated than the typical immigrant.
Robert Washington, George's great-great-great-great grandfather, signer of the 1602 document displayed here, owned Sulgrave Manor in Northhamptonshire. His great--great-grandfather was an Oxford graduate and Anglican clergyman. The family perpetuated its British connections well beyond most American families. The immigrant ancestor John and his son Lawrence (George's grandfather) continued to own land in both Virginia and England for half a century after coming to America. George's father and his two older half-brothers were both sent to a school in England for their education. Lawrence Washington (George's eldest brother) married Sally Fairfax. The Fairfaxes were the most aristocratic British family resident in the American colonies, well connected and familiar with the latest London fashions, manners, and ways of thinking. George Washington spent much of his time in their company, and he clearly admired and emulated their lifestyle in later years.
In a letter written near the end of his life to an English genealogist, Washington claimed that he knew little and cared little about his English ancestry. He may not have, but he had sufficient family pride to have a Washington coat of arms imprinted on his bookplate in 1771, displayed here next to a similar bookplate, of slightly earlier date, for a distant English cousin. He employed a seal bearing his family coat of arms on many of his personal letters, and he had a large wooden carving of the crest on the wall at Mount Vernon.
By the terms of this 1740 deed, made just as he was about to embark on the Cartegena expedition, Lawrence Washington sold to his father two tracts of land that later became part of Mount Vernon. One of the properties, approximately 200 acres, was on the Potomac, contiguous to Mount Vernon. It was a valuable piece of land, including the landing for a ferry to Maryland and the best fishing grounds in the area. The original 5,000 acre patent to Mount Vernon had been issued to John Washington the immigrant and to Nicholas Spencer, Speaker of the House of Burgesses. Spencer was a relative of the Culpepper family, and after an illustrious career in Virginia, he returned to England. The Washingtons and Spencer heirs divided the tract in 1690, and beginning in the 1730s, the Washingtons began buying the Spencer portions of the original tract. In 1738, Lawrence Washington purchased this property, or most of it, from the Spencers, and Augustine deeded his half of the original grant to Lawrence. Perhaps the expectation was that Lawrence would develop the larger estate and his father would build a neighboring home on the former Spencer land transferred by this deed. Whatever they had in mind, Augustine's death in 1743 changed their plans. Augustine left this property to his infant son Charles in his will, and it was sold to a Capt. John Posey. Capt. Posey, described by one of the Washington family historians as "an amiable, shiftless, irresolute man with a Micawber-like belief that his business troubles would soon take a favorable turn" was George Washington's nearest neighbor. They hunted together, and Washington lent him money that Posey was never able to pay back. At one point, Posey wrote Washington from Maryland, suggesting that a hope of solvency had materialized in the form of a possible marriage with an old woman. "She has Large sums cash by her and Prittey good Est[ate]. She is thick as she is high-and she gits drunk at least three or four a week.. . has a Valiant Sperritt when Drunk." The marriage seems to have taken place, and Washington conveyed his congratulations. It did not solve Posey's financial troubles. Washington finally acquired the tract at a bankruptcy sale in 1769 and called it Ferry Farm, part of the present Mount Vernon estate today.
In today's world, the teenage George Washington would be on file with the county Family Services Department as a child "at risk." His father died when he was age eleven. He apparently did not get along well with his mother (Augustine's second wife), who was a very demanding and difficult person. They were never close throughout their lives. George was sent to live with his older half-brother Augustine from ages eleven to sixteen, then to his oldest half-brother Lawrence. None of these conditions were unusual in the colonial period. Medicine remained a primitive science, and longevity was particularly short in the South and on the frontier, where malaria was commonplace, weakening immune systems and causing premature death. Washington's grandfather lived only to 36, his father to 49, his brother Lawrence to 36. A significant proportion of women in colonial times died in childbirth, and it was not unusual that children grew up with stepmothers or stepfathers, who often were not particularly affectionate. In the case of George Washington, the emotional damage that had been inflicted by these family dislocations seems to have matured him quickly beyond his years. By age sixteen he was very self-reliant and independent. His lifelong reserve, his tendency to keep his own counsel, his exceptional emphasis upon appearances and detail, all may have had their origins, at least in part, in the early loss of his father and the distant, unaffectionate relationship with his mother.
There is question regarding the authenticity of this likeness of George Washington's mother. No portrait exists of his father.


text:
Q: What is this "/\,$/"? Tried to search for /\,$/ online, but coudnt find anything.
I have:
coords = coords.replace(/\,$/, "");

Im guessing it returns coords string index number. What I have to search online for this, so I can learn more?

A: /\,$/ finds the comma character (,) at the end of a string (denoted by the $) and replaces it with empty (""). You sometimes see this in regex code aiming to clean up excerpts of text.

A: It's a regular expression to remove a trailing comma.

A: That thing is a Regular Expression, also known as regex or regexp. It is a way to "match" strings using some rules. If you want to learn how to use it in JavaScript, read the Mozilla Developer Network page about RegExp.
By the way, regular expressions are also available on most languages and in some tools. It is a very useful thing to learn.

A: That's a regular expression that finds a comma at the end of a string.  That code removes the comma.

A: // defines a JavaScript regular expression, used to match a pattern within a string.
\,$ is the pattern
In this case \, translates to ,.  A backslash is used to escape special characters, but in this case, it's not necessary.  An example where it would be necessary would be to remove trailing periods.  If you tried to do that with /.$/ the period here has a different meaning; it is used as a wildcard to match [almost] any character (aside for some newlines).  So in this case to match on "." (period character) you would have to escape the wildcard (/\.$/).
When $ is placed at the end of the pattern, it means only look at the end of the string.  This means that you can't mistakingly find a comma anywhere in the middle of the string (e.g., not after help in help, me,), only at the end (trailing).  It also speeds of the regular expression search considerably.  If you wanted to match on characters only at the beginning of the string, you would start off the pattern with a carat (^), for instance /^,/ would find a comma at the start of a string if one existed.
It's also important to note that you're only removing one comma, whereas if you use the plus (+) after the comma, you'd be replacing one or more: /,+$/.

*

*Without the +; trailing commas,, becomes trailing commas,

*With the +; no trailing comma,, becomes no trailing comma


Just in time for the Oscars.
They must have had a lot of free time back when Old Hollywood was still Young Hollywood. Because if you've ever attempted to create those iconic, vintage-inspired waves on your own, you know that it's not a style you can exactly rush through. Hair this polished requires patience, skill, or a hairstylist on-call. Which is why we're so pumped that celebrity hairstylist Adir Abergel, who tends to the hair of Rooney Mara, Kristen Stewart, and Anne Hathaway, put together this video tutorial showing off his easiest tricks for crafting Old Hollywood waves.
You'll still need patience (each curl need to completely cool—we mean it), but it's never been so easy to understand exactly how you need to part, section, curl, and brush your hair. Abergel's best takeaway tip? Spritz hairspray on the bristles of a paddle brush, then work it through each curl. Check out the video below to watch his expert technique from start-to-finish.


text:
NAB League > 2021 VFL Mens > Richmond > Richmond
Player Profile Other Players Angus Hicks Bailey Henderson Benjamin Miller Bigoa Nyuon Bradley Melville Callum Coleman-Jones Cameron Olden Daniel Rioli Derek Eggmolesse-Smith Dylan Cook Fraser Elliot Garrett Mcdonagh Hugo Ralphsmith Jack Ross Jack Scanlon Jack Sexton Jake Soligo Jess Mcgrath Joel Nathan Josh Caddy Lachlan Street Liam Wale-Buxton Mabior Chol Marlion Pickett Matthew Bartlett Matthew Parker Maurice Rioli Nathan Oakes Noah Cumberland Patrick Naish Rhyan Mansell Riley Collier-Dawkins Riley Loton Ryan Garthwaite Samson Ryan Samuel Durham Steven Morris Sydney Stack Thomson Dow William Bravo William Martyn
Samson Ryan
9 2021-08-01 17 4 Gabba 1
HIE
Fri 16/Apr Sandringham 0 3 0 0 0 0 0 0 0 0 0 0 0 0 0
Sat 24/Apr Casey Demons 0 1 1 0 0 0 0 0 0 0 0 0 0 0 0
Sat 1/May Werribee 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
Sat 15/May GWS Giants 0 2 2 0 0 0 0 0 0 0 0 0 0 0 0
Sat 22/May Brisbane Lions 0 4 0 0 0 0 0 0 0 0 0 0 0 0 0
Thu 27/May Frankston 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
Sun 20/Jun Williamstown 0 1 0 0 0 0 0 0 0 0 0 0 0 0 0
Sat 3/Jul Northern Bullants 0 1 0 0 0 0 0 0 0 0 0 0 0 0 0
Sun 11/Jul Collingwood 4 3 1 0 0 0 0 0 0 0 0 0 0 0 0
Sun 1/Aug Frankston 0 2 0 0 0 0 0 0 0 0 0 0 0 0 0
2021 VFL Mens 2021 9 2021-08-01 17 4 Gabba 1
Richmond 2021 9 2021-08-01 17 4 Gabba 1


text:
Béla BARTÓK (1881-1945)
Violin Sonata (1903) [27:19]
Richard STRAUSS (1864-1949)
Violin Sonata op.18 [28:37]
Levon Ambartsumian (Violin)
Anatoly Sheludyakov (Piano)
rec. Hugh Hodgson Hall, University of Georgia Performing Art Centre, Athens, Georgia, 2005. DDD
PHOENIX PHCD166 [55:56]
The Richard Strauss violin sonata was the last of his early chamber works. It is most definitely his finest and has received deserved attention. Whilst it is tempting to group it with the cello sonata, piano sonata, string quartet and piano quartet, the work for violin shows a greater maturity than its bedfellows and displays many of the melodic and harmonic characteristics of the later tone poems and operas. There is an abundance of lyricism and a multitude of quasi-operatic climaxes. In short, it is a wonderfully exhilarating and passionate work. Or should be.
There is little amiss about this performance by Ambartsumian and Sheludyakov. Most admirable is their faithfulness to the letter of the score in terms of dynamics and articulation. They also appear to understand the finer matters of period performance practice, a relatively new area when it comes to late nineteenth century string music. Ambartsumian plays with a narrow vibrato, employed as an expressive device rather than as a matter of habit. He makes frequent and tasteful use of portamenti, and the repeated stopped chords in the stormy centre of the second movement are played on the string rather than spiccato. Sheludyakov turns in a very good rendition of the fiendishly difficult piano part. Every note is in place and the tone is consistently beautiful. Yet both players seem intent upon 'civilising' the music to the point that it is frequently robbed of its expressive potential.
The first movement begins with laboured phrasing. True, Strauss indicates allegro ma non troppo. In principle the present performance does not begin at a particularly slow tempo. Rather, the frequent (unmarked) rallentandi create a fragmented, 'stop-start' effect that destroys any sense of forward momentum. Some of the early passage work in the violin part feels tentative and also suspect in terms of intonation - perhaps a side effect of the approach to vibrato. Ambartsumian's tone is pleasingly rich in the lower register but somewhat thin above the stave. The recapitulation is handled very well indeed, almost flawless in execution - why not do a re-take to cover the slips earlier on in the movement? - but the final climax simply refuses to take wing. Strauss specifically asks for this moment to be played molto appassionato. Neither player does so, nor do they produce anything equating to a fff.
By way of contrast, the second movement receives an exceptional performance. Ambartsumian produces some seamless legato playing and phrases beautifully. The aforementioned, stormy central section is as passionate as one could hope for and the unexpected modulations throughout are exquisitely managed.
Unfortunately the final movement suffers in the same way as the first. The piano-led introduction, sounding very much like early Scriabin, is suitably mysterious, but the allegro proper lacks brilliance. This performance is earthbound when Strauss wants to launch us and the performers into the stratosphere. There is no joy in the music, both musicians holding back at all the big climaxes. For example, in the lead in to the second subject, Sheludyakov affects both a decrescendo and a rallentando - neither indicated in the score - thereby undermining the appearance of the theme; this is no accident, as the same idiosyncrasy occurs in the recapitulation. Likewise, the poco stringendo towards the close of the movement stubbornly refuses to take place.
It would be remiss to dwell on the deficiencies of this performance, as it is a highly musical, thoughtful and well-played account. However, it does the music no favours. The 72 year old Heifetz performed this sonata at his final recital in Los Angeles and imbued it with a life-enhancing sense of excitement and ecstasy. Despite frequent lapses of intonation, that performance displays exactly the spirit of the piece that the present recording somewhat lacks.
Bartók's Sonata for Violin and Piano Op.18 receives a far more idiomatic performance. The quasi-romantic harmonies combined with typically Hungarian folk-inflections appears to suit these performers well. Despite the influences of Brahms, Liszt and Strauss, the opening of the first movement with its pizzicato violin places us firmly in familiar Bartók territory. Ambartsumian's tone and vibrato are well suited to this music, as is the duo's generally restrained approach. Whilst the movement has its playful moments it is predominantly lyrical, even ruminative. The more angular, fugal development has the occasional moment of suspect intonation but it is given a growing sense of intensity that is highly appropriate. One would perhaps wish for less inhibition in the major key return of the opening subject towards the close of the movement, but this is a minor caveat.
The theme and variations of the second movement are well characterised, and ensemble is to be commended, particularly in the tempo fluctuations of the second variations. The stark counterpoint of the final variation - foreshadowing Shostakovich - is also well realised. In the third movement it would be possible to imagine more energetic performances but the result is thoroughly idiomatic.
Not an exceptional disc, then, but worth listening to. The Bartók particularly receives a worthy performance. The performance of the Strauss sonata shows signs of intelligence and is highly musical, but misses the sense of abandon that others convey.
Owen Walton


This section includes the articles that cover regional history with an emphasys on the most recent events.
By the year 656, most of the South Caucasus except Lazica –Egrisi, was overrun by the expanding Arabs and became part of the Arab Caliphate that by that time included all of the Middle East, North Africa and parts of Europe (click on the map to get the full-screen image). In the former Iberia-Kartlia, an Emirate of Tephelis was established with the centre in Tephelis (Tbilisi). That caused mass migrations of Kartvelian-speaking population westwards to Byzantine-controlled Lazica. As a result, several areas of formerly Svan- and Zan-dominated Lazica became Kartvelian-speaking among them Racha, Imereti and Guria (including today's Achara) However, the Byzantine-Arab wars and partial disintegration of the Caliphate, created pre-conditions for the restoration of some elements of Georgian statehood: between 780 and 810 several principalities, kingdoms and other domains in the former Iberia gained sovereignty by throwing off the Arabs.
In the year 1918, Georgia restored her independence from Russia. This became possible as a result of World War I and disintegration of the Russian Empire due to its failure to withstand a tremendous pressure endorsed by the war effort.
The lingering ethnic discord in Abkhazia exacerbated when, on March 18, 1989, the Abkhaz nationalists, who viewed an increasingly active movement for Georgia's independence as a threat to their political privileges of a "titular minority", signed a petition to the central Soviet government at a mass meeting at Lykhny, Abkhazia, demanding the rights to secede from Georgia. The move caused mass protests from the Georgian community, which accounted for by far the largest single group in (45,7%) of the population of the Abkhaz ASSR, and were resolutely opposed to any diminution of their links with the Georgian republic, holding rival demonstrations within Abkhazia and within Georgia proper. The protests climaxed in the Georgian capital of Tbilisi and evolved into a major anti-Soviet and pro-independence rally on April 9, 1989, which was violently dispersed by the Soviet Interior Ministry troops, killing twenty, mostly young women, and injuring hundreds of demonstrators. At a plenum of the Georgian central committee the following day the Communist party first secretary, Jumber Patiashvili, resigned and was replaced by the former head of the Georgian KGB, Givi Gumbaridze. The April 9 tragedy removed the last vestiges of credibility from the Soviet regime in Georgia and pushed many Georgians into radical opposition to the Soviet Union. Meanwhile, the Abkhaz remained largely loyal to the Soviet rule partly to antagonize the Georgian movement and partly to obtain Moscow's sympathy towards their cause.
Despite the 1920 treaty of non-aggression signed between Bolshevik Russia and Georgia, Soviet Russia's 11th Red Army invaded Georgia on February 11 1921, and marched on Tbilisi. Almost simultaneously, 9th (Kuban) Army entered Abkhazia on February 19. Supported by the local pro-Bolshevik guerrillas, the Soviet troops took control of most of Abkhazia in a series of battles from February 23 to March 7, and proceeded into the neighbouring region of Mingrelia.
The Bolshevik coup in October 1917 and the ensuing Russian Civil War forced the major national forces of South Caucasus – Armenia, Azerbaijan, and Georgia – to unite into fragile federative structures. Abkhaz leaders created, on November 8, 1917, their own post-revolutionary body, Abkhaz People's Council (APC), but Abkhazia became embroiled into a chaos of the civil unrest.
The Russian annexation of two major Georgian kingdoms between 1801 and 1810 facilitated the empire's expansion far into the Caucasus region. During the Russo-Turkish War, 1806-1812, in 1810, a Russian force took hold of Suhum-kale and installed their protégé Sefer Bey (Georgi), who agreed to incorporate Abkhazia as a vassal principality within the Russian empire. Initially, the Russian control hardly extended beyond Suhum-kale and the Bzyb area, with the rest of the region chiefly dominated by the pro-Turkish Muslim nobility.
In the 1570s, the Ottoman navy occupied the Georgian fort of Tskhumi on the Abkhazian coastline, turning it into the Turkish fortress of Suhum-Kale (hence, the modern name of the city of Sokhumi). In 1555, Georgia and the whole South Caucasus was divided between the Ottoman and Saffavid Persian empires, with Abkhazia, along with rest of western Georgia, remaining in the hands of the Ottomans.
Reign of Queen Tamar was the peak of Georgia's might in the whole history of the nation. In 1194-1204 Tamar's armies crushed new Turkish invasions from the south-east and south and launched several successful campaigns into Turkish-controlled Southern Armenia. As a result, most of Southern Armenia with the cities of Karin, Erzinjan, Khelat, Mush and Van, was put under Georgian control. Although not included into Georgian Crown lands and left under nominal rule of local Turkish Emirs and Sultans, Southern Armenia became a protectorate of the Kingdom of Georgia.
In 1008, the Bagrationi (Georgian Royal House) ruler Bagrat III of Georgia united the kingdoms of Abkhazia (Apkhazeti) and rest of Georgia into a single Georgian feudal state. The second half of the 11th century was marked by the disastrous invasion of the Seljuk Turks who by the end of 1040s succeeded in building a vast nomadic empire including most of the Central Asia and Iran.


Enterprises have used their information technology (IT) infrastructure to provide competitive advantage, increase productivity, and empower users to make faster and more informed decisions. However, with these benefits has come an increasing dependence on that infrastructure. If a critical application, server or data become unavailable; the entire business can be placed in jeopardy. Revenue and customers can be lost, penalties can be owed, and bad press can have a lasting effect on customers and a company's reputation. Building a high availability IT infrastructure is critical to the success and well being of all enterprises in today's fast moving economy. Reliance Monitoring Services will protect business from all common causes of planned and unplanned downtime.
Reliance Monitoring Services provide enterprise-class monitoring solutions to monitor customer's IT infrastructure and help in isolating and diagnosing the problem proactively.


Narendra Sisodiya: Virus corrupt Unetbootin Live USB, we must device a new method for Live USB.
Virus corrupt Unetbootin Live USB, we must device a new method for Live USB.
.ini files and make that USB unbootable.
CDFS so that nobody can temper booting process.
whatever you can do with an internal hard disk.
Exactly, you can have a minimal size bootable partition containing a kernel and the initrd.
And the other partition, containing the actual stuff i.e. /, can be formatted with something that windows cannot read- ext, jfs, etc.
The main bootable partition should be cdfs, so that it is not writeable by windows.


Today I was reading some articles on the Amazon site, these are about their web services, in other words cloud computing services. When I heard about cloud computing 5 years ago, I was thinking; why cloud computing? the web is on the cloud right? why are we going to use other approach for web?.
I was like; what cloud computing can offer us that is different than what we have right now?, well today after all those 5 years and after a lot of development work done, I can see why this is important, and what is out there that will help us develop more powerful systems.
AWS (Amazon Web Services) is a set of services that can be hired and will be very helpful when they are used with wisdom, I think the first and most important part of these services is the scalability.
For example if we develop a game that will be played just by three people, does it needs such a complex infrastructure?. At the first sight we could say: No!
But think more, what happens if you start with your own server, and then this game starts being popular, or better; viral. what happens when the game start lagging due so much players in it? well at this point you can buy more RAM, a better processor. But think! what is the first thing that you need to do in order to add this to your server?
Shut down! and this will not make your user happy right? they will need to log out and stop playing for that period of time. This is not good for the business. Maybe for three people is not that important, but imagine if your game is being played by 10,000 players at the same time, and you decide to increase the power of your server, this is a worst scenario.
But, with cloud computing you can stop thinking on this infrastructure. You can let IT professionals handle this for you. Now imagine that the same 10,000 players are very disgusted by the performance of your game, and this is because you have a Pentium III assigned to the game server. And you decide that you have the enough budget to buy a twice powerful processor. And you only say to the IT guys that you will pay for more processing power. And then magically those 10,000 players start playing the game more smoothly. And there was no downtime. This is very nice, don't you think?
So cloud computing is a really good infrastructure. And there is more! another pillar of the cloud computing is storage. And this becomes more important when you want to deliver static content. Now imagine a MMORPG (Massive Multi-player Online Role Playing Game) that needs to deliver map content to several, let's say a HUGE amount of players. And when this map is going to change? well let's suppose that the map is going to remain the same forever (so boring!), but well… this is just an example, so supposing this we have this static map, we can split this map in several areas, done this we need deliver each part of this static content to players, and let's add something interesting, this is only going to be delivered when they visit that specific area. So they only need that data, when they step into the area. But all the players needs this same content. We can deliver this with a CDN (Content Delivery Network), when we build such a good infrastructure we can achieve better game response. And also we are delegating the responsibility of deliver content to other entity, this reduces the processing of the main game server(s).
Well these are some of the benefits of cloud computing, and this is only my point of view, there are a lot of approaches and a lot of applications that can use these services better, but I'm going to be focusing on mobile game development.
And this is the end of my first post, I hope you enjoy the reading, and I'm here for any comments that you have. Thanks! Stay tuned!