All right, so hello and welcome again everybody. This is the the test charted my sequel on Kubernetes seminar and My name is Randy Abernethy. I am a CNCF ambassador and I'm a managing partner at RxM Claw native consulting and training shop, and we're basically here to hear sugu sugu moran's discussion about the test sugu was one of the co-creators of the tests at YouTube and now is the CTO of PlanetScale, and so Sugu if you would like please take it away Thanks, Randy Hi, so just to Quickly give a background about myself and with this We started Working on with this it on 2010 so it does is about nine years old as a project It was actually born out of the need that we had at YouTube where we were Managing many mysql instances and it was beginning to go out of control There were just too many outages and you were up against the wall so Mike my co-creator and I decided to think about what can we do to leap ahead of all the problems that we had We were currently facing and essentially that's how we test was born Quick background on what we test is for those of you who may not be familiar with it is Even though it started as a way to To just take care of immediate problems that is immediate problems that we are facing at YouTube What it has now become is basically a full-fledged sharding middleware for mysql What that means is this that? If you install with us on your mysql instance then you can shard it underneath and As far as the application is concerned you get the impression that you are still talking to a unified database and That's a huge win for a lot of people because Without something like the test You have to make pretty big changes to your app if you just if you want to shard your database So that is one big problem that we test solves Yeah, because of the fact that we were running it at YouTube. It is Naturally massively scalable. So any solution that we came up with had to scale into Millions of QPS and tens of thousands of nodes and also it had to be highly available available, which means that downtime Beyond a few seconds is something that was with something that Someone something like YouTube would not tolerate So we test comfortably gives you five names of Availability in most of the production workloads that it is currently running and Last but not the least with us is cloud native Cloud native is actually a term that It's somewhat of a buzzword But actually there are some very specific technical terms that you can use to evaluate whether a product is cloud native or not And so I will go into Some of the very specific things that makes with test cloud native Alright So these are some of the stats about with this like I said it was started in 2010 and has been gaining popularity so initially when When we both decided to start with this we open sourced it but It wasn't really the internet wasn't really to have other people adopted. It was mostly because we wanted to Expose the work that we had done and also not have to reinvent that wheel if you went somewhere else, right? And so it was mostly we were submitting code into the open source But just it was mostly just for YouTube's own sake We used to just import that code back into YouTube and then launch it inside but around 2015 or 16 Flipkart found us and then they said hey it looks like this is something that we can also use and So then they start they worked on adopting it and over time more and more companies came and Today actually saw the the biggest pride of with this is who are the adopters of with this? We have a pretty impressive list of technology leaders that Adopting a witness Like here is some example Slack is actually a major contributor to with this and also a major adopter Their intent is to actually fully migrate to with us And I think their goal is to do it by end of this year at this point. They are 30% migrated They actually talked about some of their stats in our last meet up just a few days back they said that they peaked at 1.2 million QPS and They even gave some number of shots. I think it was in the high hundreds Or maybe a thousand Not shards thousand instances nodes of with this nodes Square cash actually is a classic case of With this use where they had a single instance my sequel That was running on the biggest hardware they could buy that money could buy and that was running out of Capacity and what they did was they launched with us on top of that huge Database and then sharded it underneath. I believe they they are now at The last number was that they were at 32 shards and we're looking at going to 64 So the one of their Statement is that sharding is addictive Because once you shard things run better and then you say, oh, let's start some more and let's start some more so it just keeps going and you and it's mostly a lot of games with very little a little loss and Pinterest actually recently migrated to with us and one of their cool quotes is Like reshorting is even less almost boring So that's one thing that with us makes really really easy for you to do So here's another thing so cash up actually had Which is from square grew so fast that Jack Dorsey himself tweeted about it So now the top two apps in the top charts are using with this and we are going after Burger King next Cool so here is a list of Some of the big adopters that we test this slide actually needs to be updated There are a few more users that have that are beginning to come on board, but we need to Get them to list their logos logos in here. These are the people that Have agreed to have their logos listed The most important takeaway from this is that we test runs in a large number of environments because each of these companies runs has a different Production setup some are on bare metal some are or on Cloud like running EC2 instances some are running kubernetes Some are running other cloud orchestration software There's at least one we test instance I believe that runs on mesos and there's another user that's looking at running it on nomad so and there's a reason for this is because Which I will go into which which is somehow related to making with us cloud native also so Why is with test cloud native? Why does with us? claim to be so compatible With kubernetes is what we are going to talk about So this goes into the history of with us. So when we first developed with us We were it was actually developed only for bad metal but in 2013 What happened and we were Running with us on bare metal in YouTube's own data centers We were not part of Google data centers in 2013 Snowden happened and Google pretty much mandated that We are not allowed to have data Sensitive data outside of Google data centers itself that we had to migrate everything inside Google's cloud and That faced a pretty big challenge because we just was open source and we were running it on this bare metal and I don't know how many of you have worked at Google, but If you develop software that runs inside Google's ecosystem, it is pretty much Almost impossible to open source it. The reason is because Google has so many Custom APIs right there is chubby. There is stubby. There's all these logging API's monitoring API's And they are all internal to Google. So if you write if you wrote software that ran inside The Google's work cloud that is pretty much not open sourceable But when we decided to port we test into Google's blog we faced a challenge We said, okay, do we just close source it and then Relight we test to use Google's internal APIs Or do we try to keep it open source and somehow make it work inside Google's cloud? So we went for the latter decision and it was really really hard because What that meant was actually building abstraction layers for every API of Google that we were using like throttling and whatever else that That was needed right like Calling into Borgman calling into chubby calling into stubby. So we actually built abstraction layers for each of those things and and That is how we finally managed to get it working inside Borg so one cool Property of with test that even I believe not even a storage system inside Google has is with test LAN as a stateless app in Google's Borg which means that we just as far as Google's cloud was concerned with this was just an app It was not a special storage system With any privileges about What it could do with storage it was not so other storage systems in Borg where actually infrastructural elements API is that you could call into that work provided as an API for storage The test is the only system that ran as an app So why that? Story is important is because when Kubernetes came out We were essentially ready for it because because we could run as an as an app in a cloud all we had to do was Change our adapter Change our layers to call into Kubernetes and we were ready So which is the reason why you can see here Kubernetes 1.0 came out in July but we actually announced that this was ready for Kubernetes before Kubernetes 1.0 came out and And We went out and told people that you can use with us on Kubernetes and People started using it actually Stitch labs was actually the first company to adopt and they were pretty running They are a small company, but they are running. They were running pretty high QPS. I think there is a Percona talk by stitch labs where they talk about Running about hundred and fifty thousand QPS and they migrated their entire traffic into with us and in 2016 and so which means that With us as the oldest we test instance is now nearly three years old and it has been serving So they are 100% on Kubernetes on with us and on on their own storage and It's been now going for three years now. No incidents. No data loss and So they've been pretty happy Then came HubSpot Well, the big work that they did was they actually did a lot of compatibility work to make a large number of queries work then JD.com came and they actually scaled it massively also So these these companies have been running with us on Kubernetes for many years now, so it is not a theory It is now a proven thing and you can take this to the bank So nozzle is actually the last entrant that start that migrated to Kubernetes Their coolest story is that because they are fully on Kubernetes They can move from one cloud to another whenever they want. In fact, they actually started They started on Azure because Azure gave them huge credits and eventually they ran out of those credits and Within one hour, they migrated from Azure into Google Cloud GCP and I don't know if they are running GKE or their own Kubernetes most likely GKE But that is how easy it is for you to migrate from one cloud to another if you are completely on Kubernetes end to end so that's That's one One recommendation, which is if you instead use a Storage that is provided by the cloud like RDS or cloud SQL then migrating out of that is a lot harder Whereas if you are 100% on Kubernetes, it is so easy to move But then after all this Here Kelsey keeps saying don't move your storage to Kubernetes. It is problematic Run your stateless app on Kubernetes, but storage I would not recommend, right? but There is a reason why he says that is because of this Essentially what he's saying is if you just took a storage system and just moved it to Kubernetes, you're going to regret it Because there are there are things missing there are there are gaps between Kubernetes and the storage layer that need to be filled and Existing storage systems just don't run as is on Kubernetes. So that's essentially what you're trying to say And to explain why we test which is the gap. I'm going to show you the witness architecture here The way we test works is even though it can scale really really massively the witness architecture is fairly simple It's just a two-layer architecture You can see the app server here. It connects to These vt gates these vt gates are stateless app servers So it can connect to any of them through a load balancer and as far as the app server is concerned a vt gate Represents your entire cluster. It's as if it's connected to a single mysql instance But under the under the covers what vt gate does is when you send a query to it It actually has a metadata called the v schema, which is kind of a Schema but for a sharded system and it uses that schema to figure out where that query should go and then once it figures it out it sends it to a vt tablet and Each vt tablet runs its own mysql instance and what this vt tablet does is actually completely manage that mysql instance and Yeah, and also it has other benefits like connection pooling. I can also do housekeeping work like backups and restores and those kinds of things You can see here that there are many types of Vt tablets that is a master vt tablet which accepts writes and there are some replica vt tablets that accept read traffic Etc. So this is one case One architecture which you cannot Directly get if you moved your mysql to kubernetes. So let's say you want to Move you want to deploy mysql on kubernetes. So kubernetes the best The best part type to use is a stateful set right the stateful set a workload gives you the ability to have a bunch of instances But what the stateful set does not allow you to do is designate one of those instances as a master As far as kubernetes is concerned. They are all equal. So if you want to designate one pod as a master What you have to do is actually Pull that out into a separate pod type And if you did that then that part becomes a master and then the rest of the parts become replicas So then you can say okay direct traffic to the master pod direct traffic to the replica But then what happens if a master goes down, right? If a master goes down Then you cannot Failover to a replica and say now this part is designated at mass as a master So kubernetes doesn't allow you to change a pod type on the flight Which means that you have to wait for the master to be restarted So to for kubernetes to restart that part as a master and then once it comes back up Then you can send traffic to it. So this in other words if you deploy just mysql and did this type of separation then You cannot really have a highly available system because if a master goes down you're pretty much out of luck and The only way you can solve it is to and the way we test solve it is because it has this VT gate in the middle It can actually track where the master is and if a master goes down We can reparent and designate an existing replica as a master and then immediately VT gate can switch to that replica and start sending traffic and this can happen literally within seconds and Even during those seconds what VT gate does is it actually doesn't return errors to the app server It just waits for the new master to be elected. So the only thing the app server notices is a brief latency spike and The other problem is Databases like mysql perform best when their storage is local Right, so but the but the problem with Kubernetes is if you use the local storage then as soon as your Part is shut down Kubernetes wipes all your data, right and so in this case That is kind of scary for anybody running on mysql So most people that have so far moved mysql to Kubernetes have ended up using mounted Volume like EBS or a CSI based volume that gives its own persistence guarantees There is still now there is now a local PV that Kubernetes supports But it hasn't seen much production use yet and it still has a limitation that unless your Your the part gets rescheduled on the same node. You still don't have access to that The way we test solve this problem is it actually does not rely on the local data ever being present So if a part goes down what we test can be made to do is to always say well if a if a new part comes up always go to to a backup Restore from that backup and then after you restore point it to the master let it catch up and after it has caught up Then start serving traffic. So basically we test does not rely on local data being preserved for for its uptime and We there is an additional feature in mysql called semi-sync replication that guarantees that When a transaction gets committed at least one other replica has it so which means that you will never lose a transaction If a part goes down You can run with tests to also use a mounted storage and some people do run it but But you can also run it in this high performance high availability mode where You use local data and then if a part goes down just throw it away and then bring up a new pod Restore from replica and keep moving forward And How reliable is this methodology? This is how we test runs in Google Cloud in the Borg We we have never ever restored A crashed mysql we always threw it away and then brought up new new instances and this is where and this is where running a Sharded mysql makes more sense if so we don't run huge instances all our instances are like two to three hundred gigs of data Size which means that if a pod goes down a new pod comes back up and is ready to serve within like a few like five or ten minutes So that's how long it takes for a new pod to be spun up so this is what makes with us cloud cloud native and The final one is obviously the discovery mechanism where there is this topology Where VT tablet when it comes up it registers itself with the topology and these VT gets discovered them as new things come up and Last but not the least it works across multiple cells. So you can have a full worldwide deployment of with us running tens of thousands of nodes All right Moving forward You can actually Start using with us right from the beginning.  It makes overall your mysql run better But then as you scale you start to be Using more and more features of the test The witness distributed system capabilities it can route to replicas it can do load balance it can do a master promotion and then eventually you can shard your system and As and as you shard your system as far as the app is concerned you still get a unified view and Eventually end up into a fully worldwide deployment So this is how you would roll with with us and as you can see on the left-hand side I wouldn't want to say that app servers are completely unaffected sometimes you when you distribute things you do have to rewrite things in the app because You are making trade-offs in performance and not everything will continue to work that like it used to work before But the impact is definitely minimized All right, so I am going to show a demo and if I have time at the end of the demo I will talk about the regret feature which is When you decide to shard a system You have to make some trade-offs and decisions and sometimes those decisions are not the right ones So the latest feature that we developed allows you to actually Reshard your system using a different key Which is why it's called the regret feature. So I will talk about that at the end if I have time So here's the demo. I'm going to show This is actually the use cases. Let's say we are building a marketplace Where we allow merchants to sell products to customers something like Amazon so This is a simplified schema where you have a product table, which has a list of products Customer table where all the customers are stored and a merchant table that has all the merchants and merchants list Their products the customer comes in and they say when they place an order An order row is created and this order row has foreign keys Which means that there is an order ID, which is its own ID The CID which is the customer ID points back to the customer that place the order The PID is a product that they bought And the M name which is the merchant name is the merchant from which they bought the product from So if you scale this massively you're going to have billions of orders. You're going to have Maybe a billion customers millions of merchants and thousands of thousands of products right And then when you decide to short the system You are kind of forced to split it into three databases One is the product database which contains the product One is the customer database for the customer and the merchant database Because they have different keys different root keys The orders table is a decision that you have to make about where to put it You can say that orders can be with merchant or orders can be with customer or orders can be in its own shot If that is a decision that's also an option and each one has a different tradeoff So if you say that an order can be with customer Then you then it's easy to join a customer with order. You can easily query whether You can the customer can come in and say show me all my orders or you can say Show me all the orders for a group by customer. So you can do those kinds of queries But it becomes harder to query for example What's the product description For a customer because the product description information is In this database or if a merchant comes in and says, oh, I need to find out all my orders Then it becomes a rather complicated query because you have to go to each customer shard and Find out all basically essentially do a scan of all shards So in this case, I'm going to assume that the product is unsharded because the product table is small The customer has to be sharded because they are massive and the merchant is also sharded so I'm going to accelerate and Show you some pretty cool things we can do with with us But Unlike these stunts. These are stunts that you can try at home So I'm going to bring up a so I already have a cluster that I've brought up I can show you the cluster here. So this cluster is the same cluster that I Showed in in my slide. It has one product shard It has two merchant shards and two customer shards The 80 it means it's a hexadecimal. So eight is in the middle So which means that zero to eight is one shard and eight to infinity is the other shard So in this and I have an app here This is my app My e-commerce application except it is very raw What you have to do is you have to imagine that you are a customer and when you sign up you go and Execute the query to insert yourself into this customer If you place an order you have to execute the query to Insert an order into the table. It's kind of a pretend application but the cool part of it is you can Basically, this app allows you to send random queries to this with a sharded system and as It executes it shows you what it does.  For example for the merchant key space, this is the v schema where it says that the merchant key space has Is sharded by merchant name and it uses in with us. We have these things called called vintexes Which are essentially a sharding key that not only define which column it is sharded by but also How to what algorithm to use to shard in this case? I'm going to use a unicode md5 sharding key, okay And I have some data here You can I have some precooked statements that insert data Into this database. I'm going to run my mysql client against vt gate and say import all this data And then if I go and refresh this page All my data is imported in here You can see that they are there are different colors every time A new row appears that row is highlighted by this app. This is just for convenience. So if I refresh this everything will go blue So here's some data. So as you saw those are just regular mysql Regular insert statements, but they went to different shards like sugu went to dash 80. Demer went to 80 dash uh, and uh, but you can see that the orders for sugu are within Uh, sugu's shard and the orders for demmer are within uh demo shard The foreign key is the c id which is customer id id one and in this case id six, which is the demo shard Uh, and now I can run uh queries here If I say select start from product. So as far as uh, the app is concerned This is one database even though it is now split into three into five different databases If I say select start from product What we test as here it shows the executed queries. It says oh product It knows that it is in the product database. It says i'm going to execute on product and i'm going to send this query If I say select start from customer that is actually a Scatter query because uh customer is a sharder database It sends it to both shards of the customer and then sends you the result If I did a join of the customer With the order table you can see that i'm saying customer join with orders On the customer id as a foreign key Uh, this query with us knows that Since all the orders are of customer are within each shard It knows that it doesn't have to do anything crazy It basically pushes on that entire join into each of the shards And then returns uh the query. So this is uh, the We test is a query routing capabilities However If I did this query So what this query is doing is is joining customer with orders and then Going to product and says Fridge the product description for each of those orders and please display that right? So that is something Of a cross shard query. So what we test will do i'm going to execute it and then explain what it did So what we test here does is actually splits that query into two parts And the first query is a join of the customer with order and as I showed before It's a within shard query. Uh, so that part of the query runs as a scatter query And then it receives three rows that came as output And for each of those rows, it has to make a round trip into the product Database to fetch the description Which is actually the three queries that you see that went into the product So this is uh, so this works in with test, but it is not optimal and Here with test gives you an option a solution Which actually no other sharded system gives that I know of Which is This product table is small What if we could Just copy this product table inside each of the shards of this customer Then we can tell with test to say a join with the local product Then this query will be executed extremely efficiently So we have this new feature that is called the materialized view. You can say materialized product Into materialize any table into any other table using certain rules, right? So I'm going to give you That materialize command So here is the command, right? So here I say I'm going to materialize uh, the product dot product table into customer dot product and It is a reference table. What that means is that I'm going to materialize all the rows Into each of the shard, which means that it is not a sharded table. It's an unshardered table With identical copies within each shard. I say I also want the table to be created because the table currently doesn't exist So I'm going to execute this As soon as I execute this and then refresh it The product table has materialized you can see that it has copied these rows The one thing you should remember is that this table can be multiple terabytes Which means that this materialization process can take a while. It can take a few hours. Maybe even days And during that time this table is not visible. So if I Continue if I reissue this query It will still go It will still behave as if this product table doesn't exist But once this materialization is done and this table is caught up I can now go say expose that materialized view to the application, right? So I say Oh, I did I do something wrong Oh not merchant It should be sorry I did a copy pasta problem. Oh, it's the other one Expose yeah, so expose this So I when I created the materialized I named this as a workflow I use that workflow to make changes to it and I say expose whatever the effects of that workflow to the application Now I'm going to re-execute the same exact query And now you can see that it is the plan has changed. It is now running it as a fully As a scatter query where it is joining with the local product itself I can still say that I want to specifically join with a product table and and that is possible And so this is so this is actually a very powerful feature because things that were extremely inefficient can be made super efficient by just through Through this materialization feature And if and more important thing is if I make changes to the source tables now, I'm going to insert a new product So as soon as I insert it Immediately that role is replicated into these target tables All right, so now the next query is what if the merchant wants to look at all their orders? That's even harder perry to implement because It's actually a full scatter on all the merchants and for each row that I received. It is a full scatter on the Customer key space, right? So that's that's a query. That's basically unimaginably expensive And again, the question is what if we materialize this orders table into the merchant table? So in the case of a product table, it was easy, right? You just copied all the rows But in the case of a merchant table, you can't just copy all the rows Because one is Order is sharded by customer ID on and on this side for this materialization to work effectively It needs to be sharded by M name, which is actually the sharding key for merchant So Vitas allows you to do that also, which is essentially saying materialize merchant the customer orders into merchant orders But when you materialize use a different sharding key And also create table, right? So now I'm going to execute it. So if you see that I refresh it here and You can see that this table is materialized But you can see that the rows are not the same way as they are in the source. You can see that Now all mono price rows are in the mono price shard and the new egg rows are in the new egg shard All right, and now if I now I'm going to As you saw I need to expose this the expose In the demo it feels like an extra step, but in production you need to actually do these as two steps Because you have to wait for the materialization to finish and then you have to expose it So now that I've exposed it, let me if I rerun that same query It now becomes a simple cross shot query a simple Yeah, a simple cross shot query in the previous case. It was a Must have multiple nested loop join very expensive All right so if you look at So If you look at the the underlying feature that helps you do this is called the vreplication feature The first case we actually copied all the rows in the second case. We applied filters to these rows and said Send some rows here send some rows there What else can you do with vreplication? So vreplication not only allows you to materialize and filter It also allows you to transform What does transform mean is that you can specify basically a select query as an expression as a transformation expression and And the select query can be actually can have aggregations and stuff which means that you can actually Create real-time rollups. So here is an example of a real-time roll up What I'm going to do is I'm going to materialize This is again the same materialize command, but here what I have done is instead of giving a target table I say It I gave a target expression saying that materialize sales as this expression. So in this case, I'm going to select product ID and the number of orders And the total price for each order and I say materialize it as a sales table And now I'm going to also expose it Expose it now if I refresh it There is a sales table that has popped up that has automatically rolled up all the orders into their counts and amounts And then I can now run queries directly into the sales table and if you actually You can actually watch this row. I'm going to change an order Am I going to yeah, let's say I'm going to add an order here If I add an order see what happens The order was added here that added order was replicated into the merchant key space And the sales amount has been updated accordingly with the total of all orders And all this happens efficiently because of how the replication works is because this happens by Where we replication subscribes to the bin logs And just basically looks at each event and applies just the incremental change to the target tables So it is very efficient and very fast. The only downside is that it is Eventually consistent, which means that if there is a network partition between customer and product Then the sales table will be delayed in its update. So that is the trade-off for this feature And just before concluding The weird application feature that we use Can also be used for the regret feature that I talked about if you looked at If you flip the story around where you say Let's say I Chose a cid for the orders and I did not like the key I could have created a workflow that migrated orders into the merchant orders and then we repeated by mono price And all I had to tell with this is instead of sending rights to customers, switch the rights to merchant And now I've resharded a table That was Sharded one way into a table that was sharded another way So going back to our Concluding remarks is the there are many use cases that we are going to deploy with the test Materialized use real-time rollouts and resharding Is what I talked about what you can use This index this weird application feature for schema deployments data migrations backfilling of tables And also change notification where you can subscribe to see What changes are going through inside my database? So that's uh, that concludes my presentation. I am now open for questions Awesome super awesome. Thanks to you. Um, the test is very cool.  Let me just kind of run through here So one of the first ones from gene is What versions of mysql and or other targets are supported by the test? Oh, yes a good question with us supports Mysql 5.6 All the way up to 8.0 It supports maria db 10 dot x all versions of 10 dot x all versions of perkona We test can also run on all cloud databases like rds and cloud sequel. So it's a pretty wide range of The only restrictions it has is that you need to have a row based replication and gt id turned on So any mysql or maria db that supports those two features it can run on Gotcha and any other uh tricky combinations? Um You know kind of interesting versions of mysql with other storage engines or anything like that been used at all Yes, uh, we have some proof of concepts. Uh, where we were able to run Mysql as well as maria db against rocks db uh, and And some people have actually run it in production Uh, as far as I know there was no the test limitation itself Those who ran it on production recently migrated to inno db because Rocks db itself has some limitations. So if mysql the rocks db will work for you. You can totally run with us on it Awesome, great. Thanks. Um, okay, let's see. I'm going to mix it up a little bit Just try to make sure we get as many different people represented here as possible in the time that we've got next, um Next question is what what is the benefit of using the test? Over say amazon mysql the main difference is I would say scalability is definitely the the biggest one The the amazon's mysql even aurora Beyond certain limit would not scale for you as with us. You can keep scaling forever Another big advantage is even if you can scale with amazon with things like rds and aurora You don't necessarily get to choose The instant size that you like right once you grow beyond a certain size You cannot really split your database within amazon itself in that case. You can still bring with us in and run Your database sizes at a sweeter spot that you would like to have And but then the biggest one is the cloud native nature of with us is that you can run with us within Your kubernetes instance end-to-end which gives you a huge migration Advantages So whereas if you use something like rds, you are kind of stuck within that cloud Right and you know, I would imagine that because with the test you can tailor your sharding to your actual application patterns that even on a apples to apples comparison, you know Scale wise you could potentially get some pretty fantastic performance benefits. Yes, totally totally and and also it With the connection pooling features it runs your mysql is much cooler and also The biggest nightmares of db is is the sudden Overload spikes And with us handles them really really well I don't know if i'm allowed to talk about this, but I There was a recent outage on slack and they said with us Just didn't even blink fantastic I would like to hear that. All right, so the next one And um Okay, so um, so I think the question is around replication That it says how frequently is data backed up, but I think really it's uh, you know, it's it's asking about the replication And um, if the master goes down, um, you know, is any data lost? So maybe yeah, so that's a good question to talk, but go ahead. Yeah, it depends on actually your sensitivity So you can run with us in a way that you will not lose any data Both whether you are using Mounted storage or local storage you can configure with us to not use any data So if you're using local storage Then semi sync replication is highly recommended, which means that If you configure it that way No commit will be considered complete until one other replica at least has that data Which means that if you lose that master, you are guaranteed to be able to fail over To another master and find that transaction that completed Or you could use Mounted storage, but if you use mounted storage, you definitely have to run with The conservative settings of my sequel Where every commit is flushed into the storage In that case you will not lose data and The somewhat sad part is that if you configure it that way, it does slow you down even further right So I would imagine that basically the only way to lose data is to lose every single replica In at the same time in the chart at the same time, right? Yeah in that case at the same time so the uh, so typically what I would recommend is if you are using um Like if your workload has a large number of replicas anyway because you have uh, you are running Uh, a lot of read traffic and if you are cross sell Because you you need that then local storage is by far a huge win Not only will you are you going to get huge performance benefits? The fact that you have these many replicas gives you huge survivability So it is very hard to lose the more and more replicas you have and the more replicas you have cross sell Uh, it is almost impossible to lose all your data Uh, whereas if you are smaller Uh, where you need only one master and nothing else you send all your queries to one master In that case, it is recommended that you go with mounted storage. That is uh, a much more cost effective We are running with this right, right, you know, I um I was really intrigued by the whole kind of materialized sort of master data distribution approach that's um That's that's super slick and especially the fact that you can have different You know partition keys on the the data set, you know to make it You know fit with the uh with the model of the the parent that's that's pretty cool stuff And I'm guessing that in this case that all of the replicated data there I mean even if you had the the exact partition same partition key that these these uh materialized guys They they're not eligible for election, right? They're just they're just copies of the data Correct. Correct. They are they are they have to be treated as copies But you could um You could go through a uh, so the there are two workflows that we plan to support. One is this materialization On an almost identical workflow, which is actually uh migration Right. So instead of saying materialize if you say migrate the exact same thing happens In but in that case what allows you to do is actually cut over your rights to the other table, right? So materialize comes the master and vice versa Yeah, so it is a it is a failover in that case, but it is not a it is not meant for unplanned Uh, it is more of a planned thing that it's not really efficient for me to write data In this format. I it's more efficient to do it that way. So it's more for a planned uh scenario Yeah, it Wonderful ability for you to explore like what is going to be more efficient and then just sort of like, you know, learn as you go Exactly. Exactly. Uh, like a lot of arguments that people have about how to short things. Sometimes they get very heated So this at least lets you uh At least says well, we'll do it this way and if things break we can go we can always change our mind You know, it's it's a lot like microservices, right? You want to be able to iteratively discover the right architecture. Yeah, exactly Cool stuff. Okay, let's see. Um, so how about a general kind of commentary on latency? in big deployments Oh, yes, that's a good one. So the way uh, so with us adds a static overhead Because it is uh, which is actually basically the number of hops that you have to go through Before you reach my sequel It is typically about two milliseconds so if So if your query, um, some people Do are sensitive to it those that are used to directly sending to my sequel and my sequel responds in a millisecond Then this suddenly is three milliseconds But most people find it absorbable because typical Uh, my sequel latency runs in the five to ten millisecond range per query And in that case, this is something that uh, you won't even notice. Yeah, so you're seven to twelve or something. Yeah And I would imagine if you get into a massive scatter gather operation the test crushes my sequel Yes, totally. That's because uh, when you do scatter gather, uh, now it's all parallel, right? Yeah, you can run 8 10 30 30 x faster than you run before. Yeah. Yeah, that's awesome Um, there's a question about joins across shards, which I think maybe that happened before you demoed all that um, how about, um Let's see So there's a question here on are the demo scripts available somewhere so that people could you know, maybe retry your examples and stuff Yes, I uh, I uh, just pushed my latest branch into ssv demo 6 Which is on the planet scale. Uh, let me show you I'll show it on the screen and maybe you can post it later So branches So this so the entire demo that I showed is in in In this branch of Of the test So if you can see my screen That's where it is and uh, maybe I can send it to you if you send me an email. I can send you the link to this Great branch. Yeah, I think there's like a summary email that comes up after and so maybe we can drop it in there Did it out to everybody that way? Um, maybe we've we've got time for maybe one more question. There's a lot of people interested in Now that you've got them so excited about the test, they're like, hey, can I use this with other database engines? Like wins postgres support coming and you know other databases. So can you comment on that? So, yes with us architecturally is not married to my sequel It is mostly an engine that looks at sql and decides where to send it and what to do with the results So there is nothing architectural that prevents with us from being ported to my sequel from with us to be ported to postgres Uh, it's just that we have had our hands full With so much my sequel people asking for features that we haven't had time to spend To port it to postgres, but it's definitely and as more and more people are asking We are beginning to think that maybe we should do this sooner than later If a community member, um got really excited about this. How many man hours do you think they'd have to put in to build the my sequel shim? And is that easy is it is the test built to be able to be pluggable there? I mean, I know you mentioned a lot of the other kind of facades that you could drop in but is that one of them? Yeah, yeah, I think I would estimate something like six Six to 12 person months. So if people on it, maybe in six months they can have with us on postgres Would be my guess Very rough very very back of the envelope, but that would be my guess All right. So, uh, a four people working hardcore could get it done in a quarter Uh, yes, but then they uh, there is the ramp up time Right, so christmas we expect it by christmas. Yes Okay, cool. Well, it is uh top of the hour again. So thanks to go super awesome You know the tests great stuff and thanks for the fantastic presentation. Hope everybody enjoyed Sorry, we didn't get to all the questions, but I feel like we you know covered a good swath of them. So Um, great show and um, hope to see you doing another talk on the test soon Thank you very much. Yeah, take care Bye everybody


Welcome to Sailor.org's Professional Etiquette course, part of our professional development program of study. The courses in this program are designed for adult learners who want targeted skills that they can immediately apply in a professional setting. Practicing Professional Etiquette will help you navigate the workplace and interact with your colleagues wherever you may work, at a construction site, a medical facility, or a buzzing corporate office. It will also help you stand apart from the rest of your colleagues in the eyes of your superiors. The golden rule holds true for professional etiquette. Treat others the way you want to be treated. This is our first mantra for this course. Common courtesy and manners are not just for family gatherings anymore. In this first unit, we'll not only explore professional behavior, but also establish an understanding of how our conduct affects others. Unit 2 is all about communication. We'll go beyond the water cooler and pay particular attention to how technology affects our communication in the workplace. Do emoticons lighten the mood of an email? Will poor spelling affect the perception of your writing? We'll review the dos and don'ts so you and your colleagues know you've got your job under control. We'll take a deep dive into diversity in Unit 3. A look into how awareness and understanding affects communication in a global workplace. Learning and respecting customs, ideas, and taboos will not only keep you from embarrassing situations, but it will also encourage a positive work environment. As you go through this course, you will focus on integrating internal attitudes with external behaviors to enhance your professional image. Let's get started.


Appalachian Wireless is Appalachian Advantage. Unlimited text talk and two gigs of data for as low as $45 a month or if you like get five lines on eight gigs of data for just $145 a month. Sea store for details, better service, bigger savings. That's today's Appalachian Wireless and East Kentucky Network Company. An orange ribbon was cut today at the University of Pikeville to formally dedicate the new health professions education building. Hundreds attended the ceremony on U-Pikes Plaza as leaders of the community discussed the tremendous opportunity the new building brings to Pikeville, Eastern Kentucky and the Commonwealth. This building is a spectacular show but the the faculty here and the leadership of this college are just amazing. It's like going to a fireworks show. You see bombs going off all over the town with additions like this. Pikeville and Pike County and Eastern Kentucky. While today marked the beginning of the new health education professions building the University also recognized the Kentucky College of Osteopathic Medicine which is housed on U-Pikes campus and is now in its 20th year. This is really just the culmination of a lot of effort that's taken place over the course of the last four years. We've had students enrolled now for a year and a half in the Kentucky College of Optometry but dedicating the building and getting everyone together to celebrate is just the culmination of all those efforts. The health education professions building houses Kentucky's only College of Optometry, U-Pikes nursing program, a dining hall, numerous study rooms and classrooms, a student lounge equipped with a furnished kitchen and a reception hall which is offered to students or the community. The 128 year history of the University of Pikeville I think stands on its own merits. We have had a lot of great leaders over those years. A reception was held after the ceremony. In Pikeville shall be Porter EKB News.


Welcome traders to another Tick-Nail Chartout with me, Patrick Munley, who wants to draw your attention to the Kiwi yen in this bullish consolidation phase at the moment after this extension to the upside. We've got a fairly well defined range here from the 79 level down to the 75 level. You can see we pierced it briefly to the upside before reverting back into the range and equally to the downside we also got a false break and we're now back in the range. So what I'm looking for is prices to pull back now in this channel into the ascending pitchfork support and range support down to the 76 level. I'm looking for bullish reversal patterns there to set long positions looking for a break of the trend line resistance and a move up into the range resistance and projected descending trend line resistance coming in at the 79.15 area. As always traders, plan the trade, trade the plan and most importantly manage your risk. Until next time, thanks very much.


I thought my Italian heritage was going to make my loud voice carry over all of this space. Well, I want to say welcome and thank you for joining us this morning. My name is Karen Katie. I am the director of the Georgia Council for the Arts. We are thrilled to have all of you in the audience with us today, and thrilled to be here with the chairman of the National Endowment of the Arts, Rocco Landison. I'm going to tell you a bit about the conversation and what's going to take place, and then introduce you to some of our partners for the day, for the morning. We are going to engage in a community dialogue with Chairman Landisman. It'll be facilitated by a call from Turner of Alternate Roots. We'll bring them up in just a minute. I want to ask that you please turn your cell phones off right now, not just on silent, but we are live streaming this event, and so there is a potential that your cell phones can interfere. So please do turn them off. Following a brief conversation between Carlton and Chairman Landisman, we will open the session to questions. Ask that you please keep your questions and your comments brief. There are a large number of you in this room, and we want to create the opportunity for as many people as possible to have their questions answered and kind of engage in the conversation. So if you would, please join me right now in welcoming Alan Vela to the stage. She is the general manager of the FOX. They are our venue partner for this event, and we are thrilled to be in this beautiful space and to bring him up. Thank you all for coming. It's good to see all of our friends in the arts here in Georgia and Atlanta. So on behalf of the FOX Theater and the FOX Theater Institute and all of our partner FOX Institute facilities around the state, we really appreciate you coming today. We're looking forward to a very exciting dynamic conversation. So without further ado, we'll turn it back over. Thank you. I was in Macon yesterday where Chairman Landisman gave the keynote address of the Georgia Arts Network Conference, and a reporter asked me what was the significance of having him in Georgia on this trip in Macon and in Atlanta today. And I said to him, well, we here in Georgia have long known about the incredible artistic and cultural heritage of our state and the incredible arts community that keeps our economy vibrant, that helps define our communities, give them a sense of identity, give us all a collective sense of place, and having the chairman here helps us to shine this national spotlight on that and let us tell our story to the rest of the country. So in that vein, I am so grateful to have you to view in the room today to, again, continue that conversation and bring it to the national level. I'm going to have to use my cheat sheets now if you'll excuse me. The conversation today will be facilitated, as I mentioned, by Carlton Turner. Carlton is the executive director of Alternate Groups and has been a member since 2001. He served in the organization's board of both the regional representative and as an officer. Alternate Groups hired Carlton in 2004 as a regional development director and he held this position for four and a half years before transitioning to the role of executive director. His experience within the arts community is extensive, locally, nationally, and abroad. He has been a panelist and facilitator with the Center for Civic Participation, Arts and Democracy Project, and Arts Educator with the MIME Mississippi Eye Program for student empowerment and has served in the executive board of the network of ensemble theaters, where he's a dedicated member of numerous organizations that bring awareness of various issues, including the arts. In 2009, Carlton visited the White House twice to meet with members of President Obama's administration on issues of cultural policy. Today, he uses these extensive skills and his experience to facilitate this community conversation. He will be joined today by Chairman Rocco Lamisman. Rocco Lamisman was confirmed by the United States Senate on August 7, 2009 as the 10th chairman of the National Endowment for the Arts. He pursued his undergraduate education at Colby College at M.D. University of Wisconsin-Madison and earned a doctorate in dramatic literature at the Yale School of Drama. His ensuing career has been a hybrid of commercial and artistic enterprises, including a private investment fund which he ran until his appointment in 1987 as President of Jujamsen, a company that owns and operates five prominent Broadway theaters. Before and after joining Jujamsen, Mr. Lamisman produced Broadway shows, including Tony Award-winning productions of Big River, Angels in America, and The Producers. In 2005, he purchased Jujamsen and operated it until President Obama announced his intention to nominate him to the NEA chairmanship. Mr. Lamisman has been active on numerous boards and has vigorously engaged the ongoing debate about arts policy, particularly the relationship between the commercial and non-profit sectors of the American theater. He joins us today as the foremost arts administrator in the country and to engage in a community dialogue while offering his insights and perspective on the arts. Please join me in a warm welcome for Carlton and Raqqa. The microphone too? Yeah. Great. So I've got this and this and this. All right. This should be all set. Okay. Well, first of all, it's just great. I'm a theater producer. It's great to see a good box office. I'm glad so many people are here. That's a great way to start. And Alan, I don't know where he is, but this is an amazing room. This is an incredibly beautiful space. And I'd come here to do any activity. It's fantastic. Well, I'm going to speak hopefully briefly and Carlton will then we'll get into a back and forth, which is always for me the most engaging and stimulating and fun thing for me to do. But our agenda at the NAA the last three or so years has been something we call and we didn't name it, but we use the term creative place making. And it's really about what happens when you bring art and artists into a place, into a town and how it transforms that place, how arts can create a completely different ethos and vitality and vibrancy in a city or place. I don't think there's a better example of that happening than here in Atlanta. But what we've been trying to do is go around the country and highlight great examples of this and to do what we can to foster it ourselves. In a sense, we've been looking at what Carlton and alternate roots and organizations like that have been doing across the country and saying, boy, this really works. This kind of work really does revitalize communities. And we've made that our agenda. The first thing we did was we had a program called the Mayor's Institute of City Design. The mayors are our natural allies in this process. They really get how arts can transform places. The Mayor's Institute of City Design was already at the NEA. We invested in that and beefed up its resources and started making what we called MICD grants. And then we started a program at the NEA that we call Our Town. It's called Our Town because I'm a theater guy and that's a play and I get to name things. That's one of the things. One of my few privileges given the size of our budget at the NEA. But Our Town is really about the intersection of the arts with places, with real people, with the real world, as I'd like to call it, with people's actual lives. And we've had a tremendous amount of success with this to the point that in the most recent budget, believe it or not, the NEA is marked for an increase and the money is allocated to the Our Town budget, which really doubles the size of that budget. I think last year we gave away about $6.65 million in Our Town grants. The program has been enormously popular. We have so many applications for it. I was in Jackson, Mississippi the other day and visited their public art garden. And that's a typical type of project. Places where arts and organization artists can intersect with the community. When you deal with design and public art, you're affecting people who will never think of buying a ticket to a museum or to a ballet or an opera or a theater. They're intersecting every day with the design and the aesthetics of a city, of a community. So our emphasis has really been on this aspect of art as an element for the changing of an ethos and a place for economic development. We don't just have anecdotal support for this. There's a lot of research, a lot of evidence that this works. Before I got to the NEA, there was a long 10-year study by researchers at the University of Pennsylvania who looked at the cities of Mark Stern and Susan Seifert were the researchers. They looked at the cities of Baltimore and Philadelphia, examined neighborhoods that had art and arts presence and one that didn't. What they found is where there was an arts presence, you had a much greater level of civic engagement, provided tremendous impetus toward cohesion in the social fabric. People who were involved in the arts were much more likely to vote, much more likely to join other organizations besides artistic ones. It was found to be a powerful impetus for child welfare. You had demonstrably lower levels of truancy and juvenile delinquency. We were just at the Drew School, which was a shining, incredible example of how that works. And finally, the arts as an economic driver, as a poverty fighter and as a job creator. And we've highlighted all that. We had a light paper published written by Ann Markison at the University of Pennsylvania about the relationship between arts and economic development. There are a number of other studies about this. There's all the work of Richard Florida and others. And we've really fastened our boat to this theme and it's one that gets traction in the administration, in Congress, in the private sector. If I go around the government and around town saying that the New York City opera is going to go under by Thanksgiving, if they don't get $40 million, everyone's going to say, well, that's a shame, that's terrible. We love the opera, but we have bigger issues on our plate right now than that. On the other hand, if I'm talking about art as being part of the social and economic fabric of a place and something that can be a catalyst for real positive change in a place, it's a completely different narrative and a completely different story. And we get a completely different hearing for that on the Hill and in the administration and everywhere. And I think that's something that's happening increasingly across the country. Karen, who's been in her post a very short time, has already embraced this with a vengeance. And I note that the Arts Council in Georgia is now part of the Economic Development Group, which I think is a big acknowledgement of this theme that we're talking about. So this is what we're about in broad general headline terms. A lot of what we can do is use our platform to highlight that and to bring attention to it, as Karen said earlier. But we're here to provide a spotlight and a validation for the kind of work that Carlton and a lot of you in this room are doing every day. You do the real work, we're here to sort of acknowledge it and point to it. So with that, let me turn it over to Carlton and take it from there. Thank you so much. I want to start by thanking Karen and the Georgia Council for the Arts for reaching out to its ultimate roots to partner in hosting this conversation. Also to the Fox Theater for making this space available. Definitely to the chairman for making this visit and coming through to have this conversation with us. And most especially, I want to thank the board members and members of all the groups who have been up here in this work for many years. Especially my officers who are sitting here in the front row and my board chair, Sage Cromby, board director and Dan Brawley and Trevor, who have come here this morning to share in this conversation. I'm just going to speak really briefly just to talk about the history of ultimate roots and the work that we do. Alternate Roots was founded in 1976 at the Highlander Center in New Market, Tennessee. And for those of you that don't know about the Highlander Center, the Highlander Center is a place that was founded in 1932. And it has been a pillar in the South in Appalachia and being a beacon of grassroots organizing and movement building. And that is the place where in 1976 a number of theater companies gathered to form this organization. Of those theater companies you had organizations like the Carpeback Theater in Knoxville, Tennessee. The Free Southern Theater in New Orleans, Louisiana. The Rogue Company in Eastern Tennessee and even Atlanta's own Academy Theater was one of those organizations. And they got together to really bring together what now is about 375 community-based artists across the country that make up this organization. This organization is artist-led and artist-run. And these artists were really interested in how to continue to explore how art can be used to look at the complex human issues and use these arts as a tool for social justice. In 2011, it was turned 35 years young. And as a celebration of this milestone, we went to the city of Baltimore, Maryland, West Baltimore to be more specific. And we organized a national festival. It was a five-day event that had more than 250 artists, culture workers, educators and students put together five days of conversations and performances in an outdoor festival that attracted 11,000 people. It was an event that started with an invitation from an artist in that community to explore creative solutions to the everyday struggles that they were experiencing. The process was three years in the making. There were many conversations over food and community centers and church basements, craft shacks and street corners. But this is the place where transformation actually happens. This is where art is most powerful. And this is the heart of creative placemaking. Creative placemaking is more than the creation of an art mural or an art park. At its core, it's partnership and the placement of creative minds in the center of community effort. Not the end is entertainment, but at the beginning as a partner in the development of ideas. This work is not always about a product, but it's always about fostering change and the perception of who can be an artist and what creativity means when employed as a real-time strategy to everyday issues. It is in this process that we forge meaningful relationships and we all know that relationships are at the heart of any community. This work is not always glamorous and often difficult. It requires a level of transparency that is often lacking in institutions. It requires us to understand power dynamics, especially when working in communities that have been historically under-resourced and therefore lack sustainable economic infrastructure. It also requires an honest and open dialogue. But when this work is done with a listening in and an open heart, it can lead to long-lasting personal and social transformation. One person, one community at a time. This is the work at Ultimate Roots. Ultimate Roots was created to support you. This is our challenge. This is the charge for all of us. All of us that are dedicated to using the arts to unlock human potential. It is for each of us, organizations and individuals alike, to find ways to collaborate, partner and develop deep relationships that lead to sustainable change. This is our charge. On behalf of Ultimate Roots, our members, their partners in the communities they serve, the communities of artists and organizations in and around Metro Atlanta area and the state of Georgia, I would like to say thank you to the National Endowment for the Arts and this efforts to continue to support creative community transformation. One of our own little stories is really quickly as we have Captain Navarra in the audience, and she's really taking this creative place and making it to another level. This past year being elected the mayor of Pine Lake, Georgia. I was really looking at how art can be used to transform her own community. And this is the work that we do. It's really important that you all look here today to engage in this conversation. And we really look forward to finding new ways to partner. And I charge each and every one of you to think about the partnerships that you're creating in the community and what is the long lasting sustainable change that you're trying to create. So at this point we'll open it up to the floor. For questions? Alright, there are no questions. We've accomplished everything we need to do and there's no issues. Doctor, what is your favorite example of projects funded by Artown? Well, there are so many of them, but there's a project in Wilson, North Carolina that I believe is funded by both Artown which is the NEA initiative and a sister initiative which I'll get into as we go along called Art Place which is a private sector funding initiative that's being funded by the major arts funding foundations in the country. I can talk about that in a minute. But there's a sculptor named Wallace Simpson. He must be 80 years old now or something. He does these incredible weird idiosyncratic whirligigs that are real works of art expressions of his completely wacky sensibility and he's been doing them all his career and they pile up on his farm and people in the know know that there's these incredible structures there. Well, we've provided the grant for a park to be created in downtown Wilson, small town 4,000 people or something. They're going to create a park to exhibit these crazy whirligigs and it's going to be a tourist attraction. Most certainly people are going to be excited about it and be coming to see it and it's going to be an economic driver. It's going to be part of the economic revitalization of Wilson, North Carolina. That's a typical kind of thing. It's public art. It's accessible to the population at large and it's really at the intersection of art and the community. So that's one of my favorites. Although I have a long list of different times I'll mention different ones but that I think is pretty typical. Do I have an hour and a half? You just hit one of the buttons. We were just this morning at the Drew Charter School which is amazing. If you see what they've done in a lower socioeconomic area what they've done with these kids and how these kids are performing on other subjects. The arts are a huge part of it. It's not an art school but it's arts infused education. We're just talking about that this morning. We're talking about in the drive over here. I think we're seeing the beginnings of a real national movement about using the arts as part of the whole education process. We just published a white paper by a researcher named James Caterill at UCLA where he took a lot of data from the Department of Labor Department of Education and drew some amazing conclusions. Hard actually to believe I didn't see it in black and white which is that kids from low socioeconomic backgrounds who are exposed to the arts perform on a level or above of all kids of all socioeconomic backgrounds which is an amazing thing that never happens but when the arts are part of their education they come way up on test performance where they go to college the amount of time they stay in school performance in other subjects, math, science, etc. This is a very dramatic and striking body of research that's getting bigger all the time. What's happening at Drew is starting to happen now in different states across the country. It started in North Carolina with something, to my knowledge, something called the A-plus schools where they do professional development of teachers in the arts and it's not so much that they teach the arts it's what I would refer to as kind of arts infused education where artistic techniques are used to tremendous success and that was started to be used in Oklahoma and now A-plus schools are all through the state of Oklahoma and now it's coming into Arkansas, now into Louisiana. Mississippi has the whole schools program.  We don't have the size of budget even the Department of Education doesn't have a sufficient budget to just wave a wand and make this happen everywhere but we're trying to use our platform and our bully pulpit to try to make people aware of how when you have arts in schools the performance of these schools goes up dramatically and of course it's always the first thing dropped out of the curriculum when there's a budget crisis it should be the last. Karen and I were having conversations just this morning about other ways to have the example of Drew be carried across the state and we need to have it engage nationally. There's no more important work than this. I know it's a long answer but it's an important question. The whole educational system in this country cannot be to train teachers, to train students to perform on standardized tests in two subjects. A system that I've started to refer to as no tests left behind. And there's a lot more to these kids' futures than performing those standardized tests in those subjects and we're going to do everything we can to make that happen. In terms of talking about partnerships and the creative place making which the strategy is about bringing together various sectors to work on an issue. What is the strategy of the NAA in terms of building partnerships not just the public sector but also in the federal government across other organizational parts of the government? This has been a signature part of our work. The administration, the Office of Management and Budget never likes it when I refer at least publicly to our budget as pathetic but so I didn't say that. But it's certainly limited and there's so much more money in the other federal agencies and what we've tried to do is marshal those resources and so I've made a point of developing close relationships with the cabinet secretaries in the other federal agencies so that now when HUD brings out a $100 million NOFA notice of funding availability for its choice neighborhoods initiative that money is now accessible to arts organizations and arts organizations are encouraged to apply for that and we sit at the table with HUD and help evaluate those proposals. So we're working together with HUD and its resources, their budget is $40 billion. Same thing with the Department of Transportation, the Department of Education, Department of Education's promise neighborhoods program, another $100 million now has a metric for the arts. So if there's an arts aspect to your application you get bonus points for this. You get a preference and that's having a tremendous impact on the applications that are getting written and on what's happening in the schools that are applying for these grants. We did a joint white paper with Kathleen Sebelius and HHS, Department of Health and Human Services. Kathleen came over to the NEA, we kicked off essentially a working group, a study group and we produced a white paper that lays out a research agenda for our agencies to work mutually together because if you look at the whole range of human development arts has a huge role to play. For example, the role of music in very early cognition. There's a lot of evidence, anthropological evidence that mothers were using music and song to relate to their children before there was spoken speech, before there was language. The relationship of arts and mental health, substance abuse, geriatrics, the arts have a role all across human development. So we have a joint program to find out ways that we can work together with HHS because the arts intersect in their portfolio all the time. So it's tremendously important that we engage the other federal agencies and I think we need to do that on a state level and Karen and I were talking about this morning too. We've got to knock on the doors of the State Department of Transportation and all the rest of it to say how can we work together because the arts are a natural part of each one of these agencies and I think that's very important. Question here. Good morning Karen. Good morning. Let's go to our study group. We tested the way that we could see in trying to get the world. We made a look back and see what we could say in terms of what art is playing in the world. As a girl knows the world, what role do you see in our playing in terms of trying to conflict with the human spirit? The human spirit as it resides in Bangladesh, Samaria, South Africa and other parts of the world because the reason why I'm asking this question is because art needs to be done in the artistic world. My personal opinion is that on time, at least 20 years later, we met in America, saying, oh, you need to do something else. But I'm just saying, what do you think art will be as we go forward in the global community? Thank you. Well, art has always been a tremendous part of the identity of a people. I think you're dealing with that every day in your work, Alton. And art is the way the culture is passed on. When I visited the Pine Ridge Indian Reservation, I was really struck by how much of the identity of those people from generation to generation is preserved by the art that is passed on and the art that is also produced by successive generations. In Haiti, when the earthquake occurred, what happened? People congregated and sang. They did songs. They found a way to access their own historical culture. And I think art has a tremendous potential worldwide to inspire, to bring together generations to pass on the essential elements of a culture. And we have to make that point again and again, however forcefully we can. Art also has a role globally in terms of our own place in the United States, in terms of our global competitiveness. If you're talking about our economic role in the world, you're no longer talking really about our manufacturing imprint so much as all of the other aspects of our culture, our creativity, imagination, elements that we think of as associated with aesthetics and with art and with design. You see that with a company like Apple or with our cultural exports, movies and the like that are being done. Increasingly, our role worldwide is going to have an aesthetic and creative and imaginative component. It's interesting that you mentioned Apple because as I'm sure you know, there was news in the last couple of weeks about Apple dodging taxes that could be providing a lot of money to our government that in some way could maybe help to make art and the arts, you know, viable. The arts are not economically viable but our country has to get into the mindset that we need the corporate success to help fuel the arts, you know, and not distance themselves from it. So, down I'm going to leave to my friends at the IRS. I have an 11-foot pole rule at the NEA. For things you wouldn't touch with a 10-foot pole, you certainly shouldn't touch with an 11-foot pole. The comment that you made before, which was about your partnering with different organizations and the government and the town, there's been a very ample research indicating that the artistic mindset, if we take the performance out of the conversation for a moment, it is what the actor or the performer brings to the artistic performance that is very highly correlated with creativity and expression. Creativity is highly correlated with entrepreneurship and success in all fields. So, can you speak a little bit about what the NEA is doing in terms of direct partnerships with for-profit corporations around the country in terms of that relationship? Well, very little in terms of direct relationship with for-profit companies. I mean, we really are here in some ways to make sure that the... because we're a grant-making organization, to make sure that it's not just the marketplace that determines what art gets produced. One of the reasons you have an NEA is to subsidize forms of art and works of art that aren't going to be supported readily supported by the marketplace, per se. That being said, as we look at the ecology of a city or town, the economic ecology of it, it's apparent that, you know, there's not a terribly important distinction between the for-profit and not-for-profit arts as those help to revitalize a community. What's the difference really in Miami between all of the museums and not-for-profit arts organizations and Art Basel and the gallery scene? It's all part of one continuum, and I think it's our job to highlight that, and it's sometimes hard to make distinctions. But we do try to subsidize work that might not otherwise be provided for in the marketplace. We know that in Europe, well over 8% of arts and non-profits are supported and funded by the government, which is very foreign to a far-away operating of America. However, it has been a movement in the last decade, musicians like Quincy Jones to help establish some more visibility and support through the Catholic position, as it's been in the 80s elevated to Catholic position of the Catholic community. What is your viewpoint now on that? Would it be to the advantage of the country in terms of development? Would it not be necessary, and what is the status of that? My view is that that would probably be a positive thing. I don't think it's going to happen in this budgetary climate anytime soon. I think probably the last thing that Congress is going to do is to create another cabinet ministry of any kind, let alone the arts. I just don't think that's the mood in the country at the moment. Do I wish that we had a chance to talk about national cultural policy the way other countries can? Yes, I think that would be a nice thing. I just don't think it's going to happen. There is continues to be a lack of understanding of the economic growth and the arts. And the story of the country, how important, for example, software development teams and public development is related to all the things that develop the arts. That story is beginning to be told. It's beginning to get traction. The mayors get it totally. We're increasingly seeing it in states. I think we're seeing it with Governor Diehl here in Georgia. There's a recognition of the real economic power that the arts have. I think that story is unfolding, but it's a process and it's going to take some time. But I think it is happening. And I think even the levels of Congress, there's recognition of it. Congressmen have arts activity in their districts and they can see the impact of it. There's a question over here. We've seen in other communities where creative placemaking, bringing an artist into a community that on the downstream economically has led to an upturn, but it's also led to gentrification and people who live in that community not being able to stay there. What are some of the, how is this challenge being addressed by some of the NEA out of our town grants or some of the work that's being done with the white papers and some of the studies? Gentrification is an interesting issue. Some of it is not such a bad thing. I remember when I was in Baltimore with Sean Donovan, the Secretary of HUD, and HUD was financing an artist housing project in, I'm telling you, a tough, tough neighborhood in Baltimore. Nothing there. I just looked like something bombed out and cratered in a tough, tough district. And they're creating some artist housing because artists love to go into places where you can buy a house for $8,000 or moving to some subsidized apartments and start doing your work. And I said to the mayor of Baltimore, I said, well, so this starts to take hold and starts to happen, what about gentrification? And she said, please God. To have some tax base, to have some increase in economic development, I think is a positive thing. What happens when it becomes so-ho and artists are priced out of the area, that's another issue. And there are ways to approach this. One is, I think, if artists are helping to revitalize a neighborhood or community, maybe there's a way to give them some equity in what they're achieving. Rather than subsidize rental, some equity in their residences. So they have an investment to stay there and in effect subsidize to continue to be there. So you don't have a continual cycle where artists come into a community, revitalize it, and then get priced out because they can't afford to live there anymore. They're dealing with this in New York City with strategies to help the artists participate in what they create. But that's an important challenge. Absolutely. Another part of that is looking at the artists that already live in that community and how can they begin to have a stake in a community that is being shown some interest from people who have some of the more investment capabilities to help to bring about some of the change in those communities. We saw some of the things in Baltimore when we were working there that when people would talk about the creative place-making, it often seemed like they were talking about bringing artists from somewhere else and ignoring the fact that culture exists in every community and how can we use these opportunities to elevate the culture that exists naturally and create space for those community members to have a platform to elevate their own voice. So I appreciate the work that's being done. That's exactly what I was going to ask for, actually. In creative place-making and so forth, looking at individual artists, maybe it doesn't give any money to individual artists anymore, I believe I was wondering which areas we'd hope for that. Then my second question is, often a group is born and how it's a little bit of an initiative for the federal government and how a lot of it generates spirit organizations that don't look at them like they're trying to pull out things like possibly social change that the entity is interested in lifting up in the morning or if you think I'm supposed to be suppressive, I guess that's it. We're back to the 11-foot poll. I won't speak to the merits of any particular organizations. That comes through a panel process and Carlton's been on those panels and certainly knows how that works. With regard to individual artists, I would like to see individual artists supported, of course. We're the National Endowment for the Arts. We should be supporting artists directly. Right now, that's not what's mandated by Congress. It hasn't been on the top of my agenda because there's so many things we have to do in such a short time. If we're up to me personally, we would have direct support for artists. And we do in some areas. In literature, we give direct grants, literature grants. We do it with our heritage fellowships, with our Jazz Masters awards. We do a fair amount of it, but we're limited by Congress in terms of what we can do, actually. There's a guy back there who's had his hand up all day I was listening to you talk about how you tried operating in EC and I was wondering why you would like to see arts organizations being kind of at that same kind of lateral level. The micro example of our organization, you, generously, by the way, I'm glad you came to work with two of the Atlanta public high schools to do residence in, what all of the Shakespeare plays, a fantastic experience as well as the original that you talked about. And then we leverage your funding with a private foundation, well, just don't do that. Maybe you ought to be working with Atlanta public schools. Can one leverage it more? Can we extend it through the thoughts and the ways that individual organizations here could be thinking more broadly about it? I think the two obvious ways are other sources of public funding through other city, state, city and state agencies, we're doing on the national level with our agencies and in the private sector. We started Art Place as a way to, you know, gain resources and scale up resources for investment in the arts and Art Place is growing rapidly. We're adding more foundations all the time. Individuals, we now have a loan fund that's being sponsored by, invested by six banks. And I think the, you know, the private sectors, the organized private sector, particularly foundations, are a way to go for that. Morning. Hi. You mentioned partnerships with the different departments that mention education specifically. I wonder, I teach arts and prisons and consider arts and education to be the best way to reduce production of cynicism. And consider that to be the most marginalized population, one of the most marginalized populations in the United States. Have you worked at all or talked at all with the Department of Justice to try to increase funding for arts and within the person across the country? We haven't and I think that's a good idea. And there's some departments and the Department of Justice is one that we haven't reached yet.  But I think the Department of Justice, Department of Commerce, Department of Labor, all of those are still on the table. And I think their natural, what you just described with the prison population would be a natural for the arts and we should be talking about that. Absolutely. There was a recent report from the National Council for Responsive Philanthropy which identified the disproportionate amount of philanthropic resources in the arts going to a small minority of organizations to the detriment of artists-led organizations, organizations from hopefully specific communities and organizations working for social justice and social change. Has that report had an impact on the thinking at the NEA about your distribution of resources? That probably is a better question for the people who actually, you know, decided on those grants. They're decided by specific panels by Joan Shigegawa, who's my deputy there. I don't think it's the purpose of an arts grant-making organization to be out promoting any particular social agenda, per se, any kind of social justice in and of itself. I think we're, you know, the excellence of the art, the quality of the art plays a huge role in how we make our grants, and it should. That said, I think there's been a tendency at the funders across the board, both in the private sector and at the NEA in the public sector to fund what we already know and have the relationships we already have, the people we've already funded, the organizations we know well, we know their work, and the easy thing is to keep funding them. We're trying to open up that process. We just came under a lot of criticism because our funding for PBS and PBS stations was cut back in this last cycle. Well, the reason that was cut back is because we opened up the category. It used to be a funding stream for radio and television. Now we've opened that up agnostic to a much wider media. There's so much work that's now produced on the internet, on YouTube. Independent films, something that's not just done by WNAT in New York or by PBS, so we now have a vastly bigger application pool to choose from, and we're trying to get out and around into other organizations rather than just the tried and true ones that we know already and have historically always funded. That's education. I'm a teacher. I'm a former fifth grade classroom, and I'm in my previous career. I have developed software and I'm doing business right now. I'm working in projects specifically in STEM, a science center on the engineering map, but I'm working in the technology map of science and the arts. I'm specifically dancing drama, and I'm interested from your perspective. I'm disappointed that maybe I just didn't found it yet. I expect to see on the line more of a pass or PBS videos where these type of collaborations will be done, given the understanding that STEM is a priority for this country. I mean, I'm not sure if we're doing it through my school, but I'm surprised and disappointed in the form of your perspective where this would be done. Who's doing it and how could it get more on support going on? Well, it was interesting. When we were just at Drew, we saw the intersection of art and science all the time. There was a... They were using magnets to create... use of magnets to create painting, so you learn about science and painting at the same time. We're having a lot of discussions now with the National Science Foundation and with our counterparts, science counterparts and the federal government to find out ways that we can start to work together. I think it's important to agenda and we're going to be on it more and more. We've had enough. That's fun. Just the part I like the most is when there's a real back and forth.


This study developed a novel photothermal nanoparticle-loaded tumor cell vaccine, TCV, platform that can be used to treat various types of cancer. The TCV platform consists of photothermal nanoparticles loaded onto tumor cells, which are then injected into the body. When exposed to near-infrared light, the nanoparticles release heat, which causes the tumor cells to express heat shock proteins as endogenous adjuvants. These heat shock proteins activate dendritic cells, which in turn stimulate the immune system to fight off the tumors. Additionally, the researchers found that the TCV platform could be used to manipulate the immune system on demand, allowing for the precise timing of the treatment. In animal studies, the TCV platform was able to reduce tumor size in multiple mouse models, including those based on humanized mice and patient-derived tumor xenographs. This article was authored by Jiaqi Meng, Yanglin LV, Waiyabao, and others. We are article.tv, links in the description below.


back to the channel, if you haven't yet, make sure you subscribe to the channel to stay up to date with all the latest content. So today I want to talk about how you can set up a six figure referral program in your training business. So something I get asked on a regular basis is I get asked questions, Leo, how can I set up a referral program within my sports training business so that clients who I'm currently working with who are currently getting great results with me can refer other like-minded parents to my program. So this is a common question I get asked on a regular basis and I want to share with you a couple of things that really will make this a reality. Now to get to six figures it's not easy. Most of the coaches that I work with and most of the coaches who are part of our sports accelerator program are coaches who are either at that stage already or are nearly there. So essentially we work with coaches who aspire and are committed to getting to that level. So the first thing that's really important so when you want to get to six figures with your business you have to make sure that the clients you currently are working with are paying you enough in order to be able to get there. So what I want to do is I want to give you a really simple example of what you need in order to get to a six figure referral program. So the way we help coaches and the way I work with coaches and I help them to create these referral programs is that at the end of each month you're reaching out to your clients and you're getting on a call with them. So you're getting on a call with Mrs. Jones, you're talking about how their child has progressed with you, how they've grown, how they've developed, how they're getting better and then you talk about your referral program. Now when you talk about the referral program you have to make sure that you mention that you are looking to grow the program, you're looking to bring in like-minded type of clients and parents and players into the program and if you guys were to refer someone that could commit long-term into the business or into the program you will get X amount off your membership or you can offer them some other sort of incentive for them to refer people from you. So to get to six figures and to create a six figure referral program the easiest math I can give you is all you need is 10 referrals per month that are paying you thousand dollars per month. Now this sounds ridiculous, it sounds crazy but this really determines the way your business is set up. So if you're charging very little for your service then to get to six figures is going to be very difficult. If you're charging a premium for your one-on-one or your group training then getting to this figure will be a lot more accessible. Okay so a couple of things you need in order to be able to to create this type of program is number one you need to make sure that all the clients that are currently in your program that you're going to be reaching out to for a referral are obviously premium type of customers right they're customers that are investing a lot of money so anyway between one to three k per month into your coaching business. Okay so that's that's the first bit you have to have premium type of clients in order to set this type of referral program up. Now the second thing is you need clients that have been with you for a long time right so this could be clients that are with you that have been in your program for either 12 to two years 12 months to two years. Now why is that why why do you want to have long-term committed clients and why do you want to then reach out to them and be able to get referrals from them. The reason is because if a client has invested that amount of money over a long period of time with you the chances are that they will in within their their ecosystem or within their their kind of friends circle of friends circle of contacts they will probably have like-minded people who are willing to invest that kind of money into a private trainer. Okay so if a client has been with you for 12 months to a year and a half or two years and they've invested anywhere between one to three k per month right not only is that a lot of money but also it shows that they have been in your program for long they enjoy what you do they enjoy the service you create and you give to them and also that they are getting great results with you okay so essentially that is the main the main goal of having a training business is getting good results with the clients that you're working with. So if you've got premium type of clients that pay in you anywhere between one to three k per month for for private training they've been in your program for a long period of time they've invested a lot of money into your program okay and they understand what commitment is the chances are those type of parents and those type of clients will refer other type of those type of clients to your program okay again this takes a lot of courage this takes a lot of practice but essentially you need to have premium type of clients you need to be charging a high amount per month clients and they need to be investing anywhere between one to three k into your business and then the third one is they need to have been with you for a long period of time in order for them to have gotten results with you and to be able to talk about your program to other like-minded parents okay so if you have those type of parents in your program what you want to do if you've got those three things you want to reach out to them at the end of each month get on a call with them give them an update on how their child is doing how they're progressing in your program how they develop in and then talk to them about your referral program okay so talk to them how you want to grow the program you want like-minded parents and players joining the academy and how having you guys as clients as customers as long-term ambassadors from the program it's made the program better and stronger with you with you as the client inside it okay so the chances are some parents will go and refer over to you others may not but it's going to take time okay in one month you might not get those 10 clients that you need in order to get to that that six figures per year referral program but with time as your clientele grows then all you need is 10 clients out of maybe 100 or 150 clients that you currently have to refer clients into your program and that invest anywhere between 1000 to 1500 or 3k into your business each month okay so the maths is very simple you can get 10 referrals per month from your current clients that are investing a thousand dollars with you right that's 10k per month you're making times that by 12 that's 120k you could be making in 12 months okay so just do the maths what do I need in order to get to six figures how much money should the referrals be paying into my program in order for me to reach that number and what discount or what alternative can I offer my current clients who refer those high ticket clients to you okay as a thank you and as a as a as a reward for the referral okay so if you need more help with this I do work with coaches on a regular basis every single day I'm talking to coaches I also work with coaches one-on-one and we also have a sports accelerator program that has coaches from all sports such as basketball soccer American football baseball you name it there's coaches in the program of it and also in this program we have coaches from all around the world right we've got coaches from the UK we've got coaches from Ireland we've got coaches from the US from Canada from Australia right so we've got coaches from many different countries that are part of our program so if you want to speak with me about your business or you want to learn more about the programs we have to offer here at Make Money Coaches Sports get in contact with me there's a couple of ways you can do that visit this description in this video below okay you can either book a free 15 to 20 minute call where we can jump on zoom I can ask you a couple questions see where you are of your business see where you want to get to and I can show you some actual steps to take this week to grow and scale you don't want to do that just send me a question and I will be more than happy to respond okay thank you for watching and I'll see you on the next video