Today, I'm going to do a presentation on a topic that's been top of mind for a lot of us. Mostly as conversations though, there's not, I feel in my opinion, there's not a lot of lessons that we've been able to internalize from a lot of the activity that's been going around open source licensing and things like that. Now, changes to licensing might feel a little personal to a lot of people. Might feel just a technical blowback to a lot of others because you're introduced to technology at work and things like that, but irrespective of how you feel, I just thought together as a group, as a community, we could go over what some of the recent licensing changes have been in the open source world. I don't want to limit this to just one example that everybody knows about, but rather go through this in the light of a larger sort of rolling set of licensing changes that have been happening in various parts of the world with various technologies, some of which you might be very familiar with because of the popularity and scale and some of it that might not be as visible in the public lens and might be somewhat more obscure and things like that. So with that introduction, welcome to this talk on use versus abuse open source licensing. Let me begin with the question of what fairness is and let me be very clear about the fact that I don't know. So this could mean many different things depending on where you're coming from and who you might be, you might be a business, you might be forced to do a change, you might be a person who has contributed as part of a code base thinking that the trajectory of that community would go a certain way, but didn't and so you might be somebody who's an organization that's downstream dependent on some upstream code bases and things like that and so any change in licensing could remain anywhere on that spectrum of this is really okay and I understand why it's done versus this is totally not okay and they should definitely have not been done and so even a cursory glance at some comments on the angry orange side as I like to call hacker news can reveal this whole spectrum of emotions that people feel and so like I said I don't have an answer to that question but let's revisit this about at a half way mark through the presentation and towards the end and see if we can derive an answer. Licensing changes are not without their consequences. Some of the implications of a licensing change can be reduced adoption of code bases. Some implications can be about potential legal implications because of making the change or not making the change. There's always an item potentially increasing amount of uncertainty because of the entropy that changes can bring and perhaps the biggest downsides or consequences of licensing changes can be an increase in fragmentation within the ecosystem and also increasing costs in terms of communicating these changes, maintaining these changes and what have you. Now there's also a deeper implication of what a change like this can bring and this could be in the realm of packaging and distributing a lot of the software that a community is responsible for. There could be uncertainty about any patents that have been awarded or would be awarded in future and who should the ownership of some of these go to. There's also the whole conversation around how and why customizing and packaging the software to downstream consumers should be done and there's also the whole notion of is this being done for deriving business benefit or not and so there's really many dimensions in which to slice and dice this whole notion of what the consequences are of any change in license. Now, I'll quickly go through a few stories. I know it's after lunch and people tend to doze off and it's probably not the best time for telling stories but the first one I'll open with is something that happened about five years ago. Yeah, definitely over five years ago. MongoDB, everybody's probably aware of this. Yes, people know MongoDB, yes, no, maybe, yeah, good. They're all not sleeping. So MongoDB went the way of changing their license from a GPL to what is known as an SSPL or a server-side public license. Now, the GPL is something that's more popular than the SSPL is and that's because the SSPL was invented at that time by MongoDB and what it basically stated was GPL belongs to a family of what is known as copy left licenses. We'll get into a little bit of detail later but the server-side public license basically said you can qualify to call yourself open source software as long as you make the open source as long as you make some part of the source available to the community. And so in theory and if you look at it pedantically, there's a question of are you truly open source if you're not allowing open source contributors to come and participate in the development of your software or not. And in this case, MongoDB said I'm going to make the source available but it's not open for people to come create a pull request, write some modifications and merge those pull requests back into the code and things like that. It is what they were before the change but after the change they just said we'll be making the source available and we'll also sort of control a lot about how the stuff that you modify is distributed publicly and things like that. And so the reason for doing this was very straightforward. So Mongo, which was public back then even wanted a manner in which to control a lot of the distribution of its own software that happened and it was trying to preserve its ecosystem. It was trying to build new revenue streams and so some of the forces of free market capitalism dictated that Mongo deliberately exhibit these qualities and also extend that kind of control and influence over what it is that it was publishing. And so the move was very simple. Another example, which is quite popular I think in the year that followed, I think this is about four years old to the date. People have heard of Elastic, right? And Elastic does a lot of fantastic work in terms of the tools that they make but four years ago what happened was Elastic was forced to change their license from the Apache license, which is again a big favorite in the open source world to what they call the Elastic license. So again, this license was invented by Elastic in order to protect some of the infringement that Elastic felt was kind of not fair towards the project itself and the community that was building it. So in particular, we have a notoriously popular infrastructure company to blame and basically what Elastic was trying to do at that point was to protect itself and its products and its projects and its tools and its contributors and its committers from AWS creating a fork of Elastic making that available on their platform as a cloud distributed model. And so people could go ahead and subscribe to an AWS service of Elastic Search as opposed to subscribe to the Elastic Search by the Elastic company and their cloud service. So a lot of other companies followed a similar model. Readers, the popular messaging tool also went from Apache to source available. Again, they were trying to protect a lot of their rights to distribute and they went from being fully open to source available. And we come to like our favorite tool, right? The one that sort of spawned all of the conversations this year, dominated Hacker News about its stories and everywhere we went, we kept hearing how the HashiCorp license which has happened, frankly, it has affected my usage in no way at all. So whatever I was doing with Terraform and all of these other projects, I continue to do that. I'd love to hear stories if things change for others and the move was from a Mozilla license which is a permissive license to a business side license. So this is, again, a slight variation of the service license but it served to protect the way HashiCorp was able to choose to allow whom to redistribute Terraform based work and who not to distribute. And we come back to this question again, like I promised, of is this fair? Now, given what you know and given what we know about Terraform, HashiCorp justified in blog posts and so many others, they issued a lot of clarification about the fact that they're trying to protect themselves from other companies that are taking the work that has gone into Terraform and being able to create a deployment platform using Terraform and being able to offer that as a commercial service to open users. And so this was really protecting the core business interests at Terraform and this was not aimed at making things more restrictive or constraining the experience around the contributors and the committers and things like that. Which makes the question now, if you've had 2014 to 2023, roughly eight or nine solid years of work where you've based a large part of the project's evolution and life cycle on the work that a lot of open source contributors have done, while it is very important that you preserve your business ethos around the tool, is it fair to alienate newer contributors and existing contributors in that form or manner? And that's really the question that we are left with at the end of their justification and what they have to show. And so let's revisit the question one more time closer to the end. And let's look at a few more terms and let's aim to learn a little more before we can give a fully formed answer. I want to start by introducing a few terms to the audience just to make sure we're all normalized in this space and we all know what we're kind of talking about. So there's the concept of public domain when it comes to open source. And within the whole notion of software ownership, public domain refers to this state where intellectual property rights which exist for software does not exist within this domain. So what that means is any software that is a part of the public domain is need not necessarily apply to software but I'll sort of continue to speak about this in the context of software that's being written. So this public domain or being available in the public domain means that software is freely available for anyone to use. It's available for anyone to modify. It's available for anybody to distribute it and even monetize and build a business around this without any restrictions or permissions. And so if there's so many examples of digital commons where a lot of software is available that's actually in the public domain that you can go and use. On the other end of the spectrum is proprietary software and we all probably know and use a lot of examples of these every day. And so the definition of propriety or proprietary software is defined on two axis. There's the notion of ownership and there's the notion of control.  And there's also the notion of control where this entity that has the ownership also has the ability to exert influence over how a particular piece of software is modified, how a particular piece of software is distributed and it's managed through a set of restrictive licenses and things like that. So again, this is to be aware of the other end of the spectrum. And so between these two ends lies the meat of what we are going to focus on. And so I want to introduce the first kind of open source license. And this is known as a permissive license. Once I show some examples of these it will become much more clear but basically a permissive license grants users some freedoms. It's okay for a user to come along and start to use, start to modify and start to distribute a piece of software. And then permissive software comes with very minimal restrictions about what you can and cannot change, how you can and cannot distribute and things like that. There's some very popular examples of permissive licenses which is the MIT license. It's a very popular license among open source distributors. The Apache license is again a big favorite. I think all of the CNCF projects follow the Apache license if I'm not wrong. So that's a big favorite in this community. I think Kubernetes is also Apache license. There's a blog post by some former, I think CNCF general manager, I think Dan Kohn who mentioned that there's, Apache for them is the most permissive while being able to take both commercial by being able to extract a lot of commercial value and being able to orchestrate enough of the non-commercial use cases around a lot of their software. And so it's the one that he describes as fitting the wider spectrum of work that they have. The other big popular permissive license is the BSD and the BSD license I like to think is the one that started it all off. So back in the day when Unix was being forked from IBM and between collaboration between IBM and Berkeley, the first sort of licensing issues started to jump in and BSD was like the first license that they made and they made a very simple two clause BSD license which is very open. It just defined what was copyrightable and how things could be distributed and there's a three clause BSD that was introduced later that basically allowed people to do attribution and things like that. So these are, again, very popular examples of what are known as permissive licenses that allow you to do something and then a second type of license known as the copy left. Everybody here is probably aware of the term copyright and so this is a play on that word called copy left. It's a slightly more restrictive license in the sense that it will still allow you to do open source the way you want to do it and a lot of open source projects continue to make use of copy left. It's just that they require that any derivative work that is based off of any already existing copy lefted software requires that you continue to be copy left. So if you write some piece of code and it's derived from some other copy left software, let's say a GPL license, then they require that you continue to maintain a GPL license or a similar copy left license for that work and so in that sense it's a little less permissive or a little more restricted compared to permissive licenses and popular examples of copy left include GPL, a bunch of its derivatives like LGPL and AGPL and things like that and it also includes the Mozilla public license. So if you've been paying attention, Hashicorp actually switched from a open copy left Mozilla public license to the business side license. So I just wanted to introduce a bunch of the terms and some of the taxonomy surrounding software and things like that and if you wanted to dive in to the business source license a little more, some people call it BSL also. Officially though, it always comes with a BUSL so I prefer that although when you say BSL, people are probably not going to mind except maybe like someone very pedantic. So this is a source available license which means that you obviously make the source code available for the project and it borrows some characteristics of the other open source licenses but it's not considered a true open source license in the permissive sense or the copy left sense of the word and so it really doesn't quite board well when you assign a BUSL to your project and call yourself open source because it's really not open source well and truly to be honest but there's some advantages to this route. It allows you better management of commercial licensing and placing some restrictions on how your software can be used commercially which is what we saw in the HashiCorp story and things like that. Let's look at a few more terms that people have to know. So there's a, I'm sure everybody has come across the word intellectual property at some point in time before is basically to, it basically allows some exclusivity to be granted to somebody who's exerting ownership over software. Then there's the term called patents that opens up its own sort of can of firms in terms of what it is, what you can patent and what you can allow the use of. Trademarks are slightly orthogonal but somewhat belong in this world. Licenses do have to govern what trademarks are, what they aren't and things like that. And then comes one of the most debated words in the open source world. So free software and what constitutes free, what isn't free. It probably deserves a whole conference of its own so I'm not going to go into much detail here. And then there's the final thing that is more definitive in this world of open source which is freedom. So open source licenses are defined by four kinds of freedoms that they allow. And so your choice of license should come from what kind of freedom you want your users and your community to essentially have. So there's, depending on what you choose and what you leave out, there's always a license for that. There's about 200 different kinds of licenses. It's hard enough for getting people to read through one license, let alone fully understand and internalize what's in 200 different licenses. But this question continues to remain unanswered for me. I don't have, despite me doing a deep dive into all of the different aspects of what is software and what constitutes fairness and what goes into a license and things like that. I still haven't been able to come up with a definitive answer for is this fair use of the different clauses.  As you start to incorporate more and more open projects into the work that you do, please be aware of what the licenses are that are associated with all of the different projects. Please be aware of what it is that you're including and what it is that you're excluding. And let me ask this room before we close. Are you all writing a Docker file at some point or the other? Yes, no? Yes.  So maybe a little sound in the room. When you're creating a container, using this Docker file, let's say you borrowed some parts of it from somewhere, you asked a colleague and things like that. What kind of license would you apply to a Docker file? Have any idea? And now when you use that Docker file to create that container, what kind of license applies to the container itself? Right? Questions to think about.  So let's say you're writing a note JS app, right? And then this note JS app has some NPM dependencies and then it has some stuff that you wrote. And then maybe you looked on Stack Overflow and borrowed some other ideas about some other layers you wanted to include. And so you now have a multi-stage Docker build that's building a container. Some of whose licenses are GPL and some of whose are Apache and some stuff that you've written on your own.  I don't have an answer, something for you to think about and while you're digesting lunch. And so there's very little awareness about what we are writing into our own containers. Now lack of transparency in software is a much bigger problem, but also are you setting yourself up for success or are you setting yourself up for failure? These are questions that I want to leave you with at the close of this presentation. Not to dampen your enthusiasm about using a lot of open source projects, but the realm of security and compliance in addition to a lot of things also includes in some sense business continuity that will come from knowing what's in your container and what applies and does not apply to you. And so that's really what I'd push this group to think about and as a community, we need to start coming up with ways in which we think about this more transparently and we need to think about this more in the open about what it is that we are building and what exactly assigns ownership. But thank you all for coming to this talk.  I'm happy to chat through anything else that you might have in terms of opinions. I'll leave the floor open for a couple of minutes for any questions that you might have. Yes. Thank you. Thank you very much for the presentation and talk. So is there any tools that we can use? For example, given a set of questions like Q and A, okay, do you want to license this part, that part and so on? And at the end, it will give recommendation which license that suits for your needs. I'm not aware of a specific tool that might do just that yet, but have you heard of S-Bones Software Bill of Materials and the SPDX format? Yes, this morning. Okay, good. If you've not, there's a talk I'm giving at 3.30 in the other room, so I'm going to go into S-Bones, sorry for the shameless plug, but S-Bones allow you to determine the license that's associated with every single component that's inside your bill. By using S-Bones, you'll be able to definitively say which licenses apply to what parts of your container and what components that are inside a bill. And by ingesting an S-Bomb, you should be able to, one of the things that you should be able to do downstream from ingesting an S-Bomb, is determine what exactly is the best license that you will have going forward. So I don't know of a tool that does this fully automatically and spits out like a one word result, which means, you know, let's build one. But also I think just having to ingest S-Bombs and determining that answer is the best path to go. Okay, all right, thank you. Great, thanks everyone for staying awake and coming to my talk. Hope you have a great rest of the evening. Thank you.


The transition to carbon neutrality in rural China's energy sector would increase energy consumption and reduce poverty, but also require significant investment and have health benefits that could offset costs in most regions except for lower development southwestern provinces. This article was authored by Ting Ma, Sillu Zhang, Ilong Xiao, and others.


The T2tile project is building an indefinitely scalable computational stack. Follow our progress here on T Tuesday updates. Welcome back to the T2tile project. The top story, it's the end of the world, or at least it feels like that some days now as the novel coronavirus continues to spread around the globe. Here in the southwest of the United States and New Mexico, we're still in the relatively flat part of the curve. We're doing okay. How are you all doing? You know, it's interesting.  It's sort of paralyzing about thinking about other things. But you know, underneath it all, we keep on doing what we do because that's what living systems do. And so I want to give an update on the actual nitty gritty nuts and bolts of the T2tile project as well. On the other hand, you know, looking at this perturbation to the system, looking at this, you know, terrible tragedy as it unfolds in slow motion and then too rapid motion around the globe, you know, I've been thinking about robustness in system design and computing design for over a decade. And you know, I have to admit, when I started telling people about it and started, you know, proselytizing, speaking in favor of robustness, I imagined I would be able to get more traction than I have gotten over that decade. And really, what it comes down to is this relentless focus on efficiency that people have built into their heads. And there's, you know, plenty of times when efficiency is a good thing, but the mindset that the alternative to efficiency is waste rather than the alternative to efficiency can be robustness and the alternative to robustness is fragility. And, you know, so we look and we see these people who've made great fortunes by streamlining systems by taking the waste, a.k.a. the robustness, you know, and it can be some combination of both.  It depends on what unexpected perturbation happens to the system. But these people who are all patting themselves on the back and walking away with their billions of dollars from having taken the robustness out of the system and now here we are. And it makes me think, you know, I have previously when I was giving talks about this stuff, I've talked about political structures as a way of interpreting what's going on inside a computer, but the reverse happens just as well that we can take computational arguments and computational architectures and structures and imagine how they apply to human systems, societies, and political systems as well. And as we look at how the different cultures and the different political organizations around the globe have responded to this, you know, so far the United States, it doesn't seem like we're doing a very good job as far as, I mean, if you assume that maintaining the most life for the most people is a good thing, something's happening, then it seems like we could have been doing a lot better than we have. And so I want to circle back to this later in this episode because I really want to just say, okay, well, at the end of the day, I'm going to do the project, I'm going to make progress, and I have made progress because it's been a while since we've talked. So the Artificial Life Conference this summer, which we've been aiming at for at least a year with the intention of having the first public display of the T2 tile grid, the 100 plus tiles operating all at once, doing stuff, you know, running a curated exhibition of people's software that they've written in this new T2 tile stack, this Ulan splat, and so forth, all the stuff that we've been talking about here, that conference is now virtual. We're not going to be going to Montreal. Montreal is not going to be hosting the thing. It's all going to be online. The tutorial that I proposed and was accepted about Ulan and splat, presumably, I'm told it's actually, it is going to happen, but it's going to be online. And so we're going to have to figure out new ways to, you know, build a, you know, get a camera and maybe we're going to need more bandwidth from wherever the camera is located. I mean, you know, this grid is going to be so big, it's going to be generating so much data in principle that we cannot get that data all off if we wanted to analyze it later.  But, you know, something that we can be looking at the grid and getting lots of information off it, which we can then be perhaps digesting down to stream onto the internet or what have you. But all of that has to be thought because that is now going to be the form in which the debut, the presentation of the grid is going to take place. But trying to keep the same timeline going for what I've been spending most of the time in the last couple of weeks. Oh, and, and the other thing, right? So the original paper deadline, the wall of science, all the stuff that I haven't told you guys about. The original deadline was March 1st, and then it got pushed back to March 18th, and then when it became a virtual conference, the deadline got pushed back to May 1st. So it's still more than a month away. And given that, I have largely switched back to working on the tiles themselves, back to intertile events. And the news on that front is, is, you know, everything takes longer, but it's fundamentally good. So previously we had talked briefly about how I was taking some of the protocol negotiation in particular, the saying is, does the tile next to me running the same physics, the same MFM simulation code that I am, down into the kernel. And that is now done. And they have a pretty good, pretty robust protocol that they exchange with each other. It takes a second, second and a half, whatever it is when they first connect up to determine whether or not they're running compatible physics. And if they're not running compatible physics, they don't even send cash traffic up to the MFM, the user space level. The user space level doesn't even know there's a connection there. And I am now working on a spike, a little demo program to, to grab, to grab those, to try to do events on top of this thing. And I've, I'm not going to go through it today because there's too much to talk about, but there's a new design that rather than thinking you're going to be doing one event all the way through to completion, now the idea is the code that I'm building now supports having many event windows in flight at the same time, which the old, the MFM simulator has in a limited way as well, but this is going to have it in a much more profound way, which I hope we'll see, I know, may get us several more milli-air who knows, we'll find out. But that is, you know, fundamentally what it all comes down to is I spent months trying to figure out small tweaks and little patches that would let me take most of the simulator code intact and drop it in with just shims around the outside to deal with the fact that we're on a tile and we have to actually communicate to other tiles in order to do it. I've now ditched that and I'm starting with a blank slate, you know, with new kernel modules and now a new user space code until I get up to the point where I have, okay, here's an event, here's a beginning, middle and end of an event, and then we're going to start porting back in the code, which we're going to have to, so that we can now run ULAM code and the splat code which compiles into ULAM on the tiles. So that's making good progress, I'm spending as much time on that as I can, and we'll hopefully hear more about that next week. Okay, so, you know, all of this time that I've been thinking about living computation and the relationship between living systems and computational systems, that has always for me been bigger than just computer engineering. And as I've been seeking out ways to move the needle on making some impact for these ideas about seeing the real deep relatedness between living systems and computational systems how they enter to find each other and so forth. One of the things that I've been working on for the last year is setting up a nonprofit foundation to be a place to center all of these projects, the T2 tile project, the computing up podcast that some of you may know about and other stuff as well. And to give it a point of contact and to let people support it if they want to. And that is now real. The living computation foundation exists. And, you know, that may not sound like much.  This is now scientists lost in lawyer land and tax code land, and so forth in corporate land. But we are real. The Secretary of State of the state of New Mexico has certified where where's we got there it is the great seal of New Mexico on the living computation foundation and more to the point the IRS knows about us as well. We don't yet have the nonprofit status cleared. We have a little bit more stuff to do. We're still, you know, trying to open new bank accounts when the banks are closed is a bit more challenging than it might be. But that is actually happening. Here is the mission statement for the living computation foundation. And it's kind of a mouthful. But I want to try to go through it and see if we can get a half decent reading. The living computation foundation advances a unified view of life and computing by supporting science and engineering to explore that connection and education and outreach to convey it. We seek to improve individual liberty and equal opportunity for the citizens of our emerging information technological societies. What do you think this is getting at when I was talking about a moment ago about robust first and different political structures, different organizations. One of the things that it comes out so clearly in robust first programming and indefinite scalability is that you want to use as little synchronization as you can. And synchronization is somewhat closely related to the idea of centralization. And centralization is the number one trick that people who are pushing efficiency always use. You know, Google is everywhere, but it's centralized Facebook centralized, you know, centralized government make the trains run on time. And what we need to be pushing what we need to be appreciating what we need to be supporting is the idea that we want only as much centralization only as much synchronization as possible to get the job done and keep everything as decoupled as possible beyond that. And that decoupling involves redundancies because it means things are being done multiple in local scopes, multiple times rather than all referring to one centralized scope for whatever the task is, which makes it inherently more robust and it makes it more robust in a natural way in a sort of spatial hierarchical way. The risk that I see of computers and the internet and all of the stuff that we see happening now is that they can easily be and to a large degree, they already have been a tool for increased centralization of power. And that's why the Living Computation Foundation wants advance the view that computational systems and living systems are the same kind of things so we can apply the same sort of stuff. And we can have completely sort of value neutral that it's not about people per se or these people versus those people. It's just about computational systems. And we can make arguments that we want to have local control, keep things small. The way to scale is not to scale in a flat space, but to scale amongst federations of eagles of larger and larger scale as we go up. We'll see.  I used the Living Computation Foundation as my affiliation for the first time. And here's our logo. Tell me what you think. The idea is it gets at the union of the rigidity of more computational stuff with the so you know, the the output sense and the input sense that makes computational go and then the more unique and opportunistic systems of life that just appear wherever they can and it's all of those things the input the output, the system is defined by its environment, the environment is defined by the systems it contains and the spark of opportunism of uniqueness of a living system. So that's it. I'm excited about it. I'm terrified about it as always. But it's now real and the website is www.livingcomputation.org. There's just a placeholder there and you know, we need help of all kinds, you know, if you can write copy, if you can do, you know, web web page management stuff and you have some time that you'd like to put into it, you know, get in touch with me and the get get her email or Twitter or anything.  All right. That's it. I'll stop here. We'll have another update next week. I don't know if I'm going to stay weekly. It's possible that I will go biweekly for a while because I have these other videos that I'm sort of feeling the need to maybe, you know, who knows how long any of us really have. Maybe I should move some of those along and get them out as well. So we'll see. But I will see you next week. Thanks for being here. Be well, be safe. See you next week.


The People's Democratic Party has appointed Senator Uche Iconife, representing the number central sanitary district, as the director general of its campaign for the governorship election. The governor of Adamawa State, Amado Fintory, announced this while addressing newsmen in Abuja. After the party leadership meeting held at the Abuja residence of the party national chairman, Uche seconded. Fintory said that the decision was reached at the meeting, had with governors, members of the national working committee and some of the aspirants who participated in the election. He expressed satisfaction with the preparation being made for the election and the reconciliation of all aspirants for the election. In his remarks, the national chairman, seconded, asked all aspirants to forget the past and be united for the interests of the party. Accepting the appointment, Iconife pledged her readiness to work together with all stakeholders to retain victory for the PDP. Hello, hope you enjoyed the news. Please do subscribe to our YouTube channel and don't forget to hit the notification button so you get notified about fresh news updates.


An HTML block is a customizable block, allowing you to add images, text, links or even embedded code or widgets to blocks at the side of your course. You don't need to understand HTML code to use it. And you can add more than one block, as you see here, where we have, for instance, an image of the Arte Triomphe in Paris which links to a website of Paris Tourism and a weather widget using code from an external site. To add a block, we turn on the editing and then from the add block link at the bottom of the nav drawer, we choose the block we want, HTML block. Let's add an image and link to that image, so when the block is added, we need to configure the new HTML block by clicking the icon. We give it a title, I'm going to call it Bonjour, and then in the content, we add the image we want. I already have a public domain image of the Arte Triomphe on my desktop, so I'm simply going to drag it in. Note the text editor I'm using is Moodle's Atto editor, which allows you to drag and drop an image in. We could simply save it and display it now, but we're going to link this image to a Paris Tourism website. So if we select the image and then click the link icon, we can then paste in the URL of the Paris Tourism website, which we will have already found and copied in another tab. When we save the changes, we'll see the image there and it's linked to the website. And that is how to add HTML blocks.


Okay, since the door is closed, I think I'm going to start the talk about Vagrant. So Vagrant is a tool to create software environments based on virtual machines. Just a short question in the beginning as already people who is using already Vagrant here. Okay, so I'm going to start from the beginning, how it's actually working Vagrant, very basic stuff, and then after I will show how do we use it in a Proxmox company, which are working at the moment. So some words about me. So I'm a French guy. I'm living in Austria. I speak three languages. Yes, French guy, three language. I'm a Debian contributor since five years before I was doing games packaging. I was a long time sysadmin. I got bored of creating user accounts and I am a software developer, which enjoy more. So Vagrant, what do you need to start? So if you are on Linux, you just need to install a virtual box and a Vagrant from a package manager, because it's already packaged in Debian, and Vagrant is using for its virtualization need virtual box in the background. Windows OS 6, you have to go to the two URLs, click a lot of next, next, next, and then you're done. Plus on Windows, if you want one, it's interesting to have an SSH client. So we're going to start with some examples so you can see that what Vagrant can do for you.  With these three commands, you have a brand new, suppose you have installed before Vagrant and VirtualBox, you have a brand new Debian environment on which you can do stuff. Vagrant in it, which will download from the Vagrant cloud background, some kind of preconfigured disk image. Vagrant up will start that in VirtualBox and Vagrant is a Sage and you're already inside and you can do stuff. So now, as Vagrant and VirtualBox, both are multi-platforms. You can do this, of course, on Linux. You can do this on OSX and you can do this on Vagrant on Windows with the same set of commands. Always is Vagrant in it, Vagrant up, Vagrant SSH. So it's actually a very fast way to get a Debian system installed on Windows. So it virtualized, but still it's very fast. Now some more examples to start. So this guy who has written this book, Data Science, the common line where he explained how to use R and a lot of data science tools. Actually, I don't know really how they're working, but to get the stuff quickly installed for everyone, he packaged all the stuff into a Vagrant image. So you can install that very quickly and do your Data Science common line. So again, it's the same workflow. This Vagrant in it will download this prepackaged VirtualBox image for Vagrant from the Vagrant cloud. Vagrant up will start it up and with the Sage SSH, you already can start to work with your statistical tool like this statistical language. Now some more examples. That's something I packaged a little bit for myself. So this is guy who released the GCC cross compiler for the Atari ST, so 16-bit computer for the 1980s. But writing a cross compiler and packaging does some work, but it's only available for Ubuntu. So I'm on Linux. I'm on Debian. I don't have Ubuntu. I can install the package directly, but if I do this Vagrant in it, I download VirtualBox prepackaged Vagrant, Vagrant up Vagrant SSH, and I can already use that very quickly. Actually, a lot of organizations are shipping their SDK as a Vagrant-based box. So they put everything you need, like version of compiler on PHP, library, whatever you can need into a Vagrant box. You download that and you can start to develop on all these three platforms where Vagrant and VirtualBox are supported. So Media Wiki is doing that. Atlassian is doing that. Laravel Framework, which is a PHP framework, is also doing that. It was actually the beginning, the main reason for Vagrant. I think it was written from an OS 6 developer who wants to have an environment, development environment similar to the server, which he could use on his workstation. So now we're going to see a little bit how it's working on the background, because there has been a lot of magic and downloading stuff for the internet and whatever. So this Vagrant init command that we have seen in the beginning actually calls in the background this Vagrant box command. So the Vagrant box command will download from the Vagrant cloud server or any HTTP server what's Vagrant called the base box, which is basically a VirtualBox disk image with some specific customization, like for instance there has to be a Vagrant user with esudo. So as you see it just downloads that from the internet, but it could be also a file image if you want to share that with your co-worker or it could be for instance any HTTP server you own. So the Vagrant init command will now copy this base box that you have downloaded to the current directory and create here a new environment. What is a new environment is simply a directory where you have this Vagrant file, which basically is just something like this. It will create here a new environment based on this disk image and after you can add here all kinds of customizations. Now Vagrant app will start a virtual machine in the background using your Vagrant file and Vagrant SSH will log you as a Vagrant user in the virtual machine. So all networking stuff is automatically handled in the background. You don't have if you need for instance a new environment in a new virtual machine, you don't need to care about which IP address do I have to do. You don't have to create users. You don't have to think about why I'm doing some kind of what kind of port forwarding do I need to do SSH. Everything is taken care in the background. So Vagrant has some extra capabilities besides creating these basic virtual machines. So for instance you can create multiple environments based on the original base box. So suppose for instance you need to have more than one DBN environment when you want to break stuff. You don't need to do the download every time because it will recreate it. It will recreate a new environment. It's time you call the Vagrant in it based on what you downloaded before. So out of the box you have also pre-configured shape shareholders. So it means that this directory where you create the Vagrant file is automatically exported in the virtual machine. So for instance you can hack on your host workstation and everything is synchronized into the virtual machine and you can start here for instance a Python server or Ruby server and you're actually running your software inside the virtual machine but you're developing on your local workstation. You can add extra port forwarding. For instance if you want to access a web server which is running inside the virtual machine and also Vagrant has very interesting plugins that you can directly add from the command line and also actually also from your package manager because I've just heard that this Vagrant LXA plugin which allows to use Vagrant with LXA container has been packaged by Antonio. Antonio if you're here kudos. So you can also customize your virtual machine with provisionals. So which means for instance you have this basic Debian environment in a Vagrant based box and you want to for instance recreate the production environment you have on your server. So you could add of course all the package you need with Apetiteget, re-export that as a base box and share it to your co-worker.  So Vagrant supports five big configuration stuff. So for instance you can call an unseeable playbook and he will play that inside the Vagrant machine to set up for instance a whole server automatically in your virtual box environment. Vagrant has unfortunately some limitations that we're going to see there. So first of all there's a question of trust from this Vagrant based box that you download from the internet from the Vagrant cloud. So I'm going to read that quote from the Vagrant cloud authors. Here are some things to note when you're choosing a box, the username of the user. If it's chess or canonical you can likely trust the more than any most user. So basically I created the Vagrant cloud an account called Debian, but everybody could have done this. There's no kind of signature, there's no kind of validations. But it's a work in progress to do official base box for Vagrant. Now like Ubuntu is doing that already and we have at the moment in the Vagrant cloud Vagrant based box, but they're not official yet because they are not part of the Debian infrastructure. So virtual box is not that fast. When you start a Vagrant environment you need to do all this of BIOS, initialization, and hardware initialization, and you basically don't need that. And also which is what I found particularly annoying in the work I'm doing because I'm working on virtualization. Virtual box does not support nested virtualization. So for instance you cannot start Vagrant inside a KVM or you cannot inside a Vagrant start a KVM and this is annoying actually because for instance it means if you have any kind of using any kind of cloud provider where you have a virtual machine you cannot start really with Vagrant and virtual box inside. So you have to switch to another provider like Vagrant Elixir, but you lose a multi-platform aspect. So now I'm going to give some example of how I use Vagrant at work. So I work for this guy, Proxmox, and we're going to see how we use Vagrant there. We will start from a Debian base box. We'll create two network cards. We will create an internal private network on one of these network cards and we will install a web application. So some words about Proxmox. So it's a seven years old platform for managing virtual machines. It's basically a per library on top on KVM, Elixir, ZFS, Safe, and also storage technology which exposes the REST API. The REST API is consumed by the web interface and a common line tool for managing virtual machine. It's based on Debian's table. It's 8GPL and for the level of complexity it's somewhere between raw QME management and OpenStack. So you can start with one server on which you install Proxmox V with a CD and you can already create a virtual machine and after you can bring that into a cluster. I think the sweet spot for Proxmox is like if you have between one and 16 servers. So it looks like this. You have a common line interface and you have an interface for creating virtual machine. And why did we use Vagrant? The thing is we have two ways of installing our software. One of them is just a normal ISO that you use like for bare metal installer. And the other one is also possible actually by adding a special repository and some package to install Proxmox on top of Debian and we didn't have any way of automating this. And the nice tool is like after we have created this Vagrant environment with Proxmox at the end we have also this new virtual box image that we can share with people in case for instance we want to provide a demo environment. So now they're going to be some terminal session where we're going to see all the steps I mentioned before. So there's a bit lazy and I don't want to show you all my tip failures. I recorded this in a video screencast. Hope it's fine for you. So we look now at the Vagrant file from the... Oh I think I missed something. I went too fast. Oh you don't see anything. Is it better? Okay. So it's a bit difficult. I agree. So we have here the Vagrant file with a lot of configuration stuff. At the end we will call an unseable playbook. So the unseable playbooks do a lot of things. You have to trust me now because you cannot read. So we add a Debian repository after we install a lot of package. And now we can start with a Vagrant app. So he got this basic base box from the internet. Now he had it already. Now we're starting the virtual box environment. So this is this time we take some time. So you see out of the box he does this port forwarding for SSH. Now I guess virtual box is doing this hardware initialization on starting the Debian boot sequence, system D. And now we're starting with provisioning. So he do all this step of installing Proxmox on top of the base system. So we set a new root password. We add an app repository. I think in this part of afterwards there is not so much right. So it should be readable. Now we install a Proxmox package. So these are all tasks for the unseable manifest. After we create, we install a new kernel and we reboot using key execs. So we don't have to do a full reboot. And that's it. The software has been completely and fully automatically installed on top of Debian. And at the end I have an environment that I can use to develop. That was it. Any questions? So can you hear me? Yeah. So you said that there's no real cryptographic verification of vagrant base boxes yet. But so why should I trust it at all? I mean, so there's a reason why, for example, Debian packages all are signed. So yeah, actually it's a reason why at the moment I'm working on GPG signing the base box that we have. So we have something we can trust for Debian because at the moment it's nothing like this. But it's not built in in vagrant. So one alternative, for instance, what he's doing Ubuntu is he hosts himself the vagrant base box and then you have MDSI to have some kind of checksumming. So yeah, they sign the checksum. But you don't have this. Also, actually there's some kind, it's possible to check some. There's some kind of checksum support inside vagrant, but you have no kind of GPG support. So you have to host the base box yourself and provide this if you want to gain more trust. You can also build yourself a base box. There is a tool in Debian to do that, which is called Bootstrap Viset. But I don't think the latest version, which is actually packaged, works with creating base box. Yeah. Another question. What's the state of the KVM and LXC support or those drivers provisioners? LXC works very well. So I think you need to put some, you need to add this one line of configurations to change. And KVM, it works through libvirtz and I didn't test it, but as far as I know, it's not working so good. And can I have a shared home here in all my vagrant boxes? So I have my use, my shell configuration and all the vagrant boxes. You can add, out of the box, you share the folder where you are, where you started the vagrant environment, but you can add also extra folders to share. You can share any folders you want. Last question. Can I cache the virtual machine after it has been set up so that it won't run the setup procedure every time I started? Actually, it does the setup procedure only the first time. And after, if you specify the option minus, minus provision, it will rerun the setup. But out of the box, it just does this the first time. Thank you. How does vagrant handle distributing the corresponding source code for a given base box? So actually, the vagrant people themselves don't distribute the base box. I don't know. Everybody is free to create your own base box. So what I did for Debian is just like it's inside a git repository and you can rebuild all your steps. You can rebuild all the base box yourself, of course, like we said before. But there's nothing done in this in the site. So if you build a Debian base box, you include the source code for all of the packages inside your git repository? No, no, no, no. Okay. If you use bootstrap vz, for instance, it will use a bootstrap, that bootstrap to fetch the packages, install everything again. You can also use Packer, which is another tool which works through the installer, the Debian installer, to create the base box, basically, if I'm not mistaken. Yeah, I'm using a tool which is called Packer to create the base box. Basically, it's called the Debian installer with a preset file. And at the end, it's just squeeze disk image and that's it you have. So it's a Debian installer, no more, no less. So how Vagrant compares to Docker? Because I've seen that you're using it kind of the same way. And if you want to use Alexi with Docker and Vagrant, then probably the same performance. It's a good question. I'm not a specialist of Docker. I think the different is like with Vagrant, you have a full virtualize. The aim of Vagrant is that you have a full operating system and Docker is meant only for a single application where you have a limited set of installed package. Oh, yeah. One of the main differences in the basic setup is that you use virtual box, which gives you portability. So in the time where you couldn't use Docker on Windows, for instance, it was no go. So with a single Vagrant file, which is close to the Docker file, you could have something portable for Mac, for Windows and so on. Now, another big difference is the layered file system or the onion file system. In Docker, if you have 10 virtual machines, it's 10 times the disk size. Whereas in Docker, of course, you save if you have minimize the difference between your machines. So that's, of course, there are options, extensions, plugins and stuff. So maybe what I'm saying is just the basic difference. And actually, to even add some confusion, you can start Docker environment with Vagrant. So, yes, because Vagrant has different kind of virtualization back end. The standard one is virtual box, but you can also start Docker environment. Yeah, with this boot to Docker. Hey, I want to only share a few notes on running Vagrant with KVM. And basically, it doesn't work at all. It doesn't work at all. Yeah. Okay. It's very hard. And with this LibVit plugin or with a different Vagrant plugin? I'm not quite sure which methods I tried, but I made several attempts and maybe spend a few days or maybe even more. It would be very great if it could be made to work with KVM. What about the packaging of Vagrant in DBN? Is it healthy? Because at some point in time, it got thrown out of testing probably because it was RC buggy. And I thought that upstream provides DBN packages too. So what's the situation? Are there any maintainers? Actually, I think the maintainer of Vagrant, if Antonio would be there, maybe he could answer. Antonio, are you here? No. But I think actually it's quite healthy in DBN because, okay, it's quite healthy in DBN because you have the latest version of Vagrant which is always packaged in a DBN which I checked the last six months ago. Last question? It's more of a comment. I just wanted to add that I have used Vagrant with LibVirt and KVM with kind of six or eight virtual machines. So with the version from Jesse and the LibVirt plugin. So it works. It's not as nice as this virtual box because the 9p file system stuff isn't integrated so well, but it basically works. Okay. Thank you. Okay. Thank you very much.


That's McCracken Johnny universal adjustment bureau. Oh, hi Pat. What's on your mind a beautiful model name of Darcy Blair? Oh, hey wait the girl with a million dollar face. That's the one. Well, you probably got company She's on a lot of people's minds. Well, she's no daydreamer. Oh, go the policy. No At her sure, I'll be right over Exciting adventures of the man with the action-backed expense account America's fabulous freelance insurance Investigator yours truly Johnny dollar And now act one of yours truly Johnny dollars expense account submitted by special investigated Johnny dollar to the home office universal adjustment bureau Hartford, Connecticut Following is an account of expenses incurred during my investigation of the model picture matter Expense account item one a dollar twenty for a taxi from my apartment to your office, Pat Where I picked up Dorothy Blair's address and headed for New York that's item two thirty six twenty I arrived at her apartment just as the doctor left Even with a couple of bandages on her face I think you've got a bargain Pat ensuring it for only a hundred thousand. I guess I'm lucky, Mr. Dollar My doctor says there won't be any permanent scars. Well, just what happened Miss Blair Well, I came home last evening about dinner time. I opened the door to my apartment here and Started to reach for the light switch then suddenly I saw a shape beside me in the dark Before I could do anything He hit me on the side of the head. I think it was a gun. It's done me and I fell to the floor then what I I remember hearing the door slam When I could get on my feet and turn on the light whoever it was it's gone. I see You think it could have been a burglar looking for money or valuables? I Don't think it was a burglar, Mr. Dollar. You mean you have some idea who it was Well Jerry Dunn's me or who's he a fashion photographer a creep, Mr. Dollar. Oh The real article believes me They ought to put that guy's eyes in jail. You model for him before about a year ago I swore I'd never do it again, and I didn't until yesterday Yeah, what go on?  Well, I figured the street would be a lot safer for me than his studio But it didn't turn out that way, huh? No After the second picture he started in again with the same old line, and he's not very subtle believe me so So I walked out on him. He didn't like it But is that enough reason for him to break into your apartment and slug you it wouldn't be for most people But like I say he's a creep Yeah, okay, Ms. Blair. Thanks. I'll have a talk with Dunn's mirror And that was easier said than done I took a cab to his address. That's I'm free a dollar sixty But the studio is locked up tight So I contacted my old friend detective lieutenant Al Rico at 18th precinct headquarters You think you've got troubles Johnny try some of mine on for size all like what out like an unsolved murder I got tossed in my lap. Oh that one. I've been reading about the girl open. Yeah. Yeah. Yeah, Edith summers No lead sure real fat lead except. It's no good her ex-boyfriend Ed Chatsworth lots of motive, but no case alibi airtight So I got troubles now. Tell me yours mine Well, I'm trying to get a lead on a fashion photographer named Jerry Dunn's mirror Dunn's you I Never heard of how come you're interested Dorothy Blair got slugged last evening. Oh, yeah Yeah, the girl with the million-dollar face. I heard about it. She thinks Dunn's mirror might have done it I went up to a studio to have a talk with him, but it was locked up. Well, I'll have a file check But if we had anything hot on him, I think I'd remember. Yeah Well, here was just a chance Excuse me Rico What? Yeah, okay, I'll be right down. It was about your Jerry Dunn's mirror Johnny. Oh Couple of my boys have found him great.  She had company I'd like you to meet Edward Chandler Johnny. Hi. Glad to meet you, Mr. Dollar Dorothy, I wonder if I could talk to you for a few minutes Why? I've got to be running along anyway. Is still okay for dinner, honey. Sure. Eight o'clock. I'll pick you up. Bye, Mr. Dollar Yeah, so long Chandler Dorothy, did you talk to Jerry Dunn's mirror? Now look you say Dunn's mirror tried to get a date with you when he was taking some fashion shots I'd be on the street just that's right.  There's There's nothing you haven't told me Dorothy. Of course not. Why? Well the police just fished Dunn's mirror's body out of the river He was I haven't seen the medical examiner's report yet, but it's a good bet people don't usually go for a swim with all their clothes But who could Johnny you You certainly don't think I had anything to do with it.  Can you prove it? I can prove the part about him taking pictures of me yesterday This Manila on fellow it came in the mail today Here It's from Dunn's mirror studio. He always sends me print See here's one of me in a tweed coat Here's one in a fingertip. Okay. Okay, so he took pictures. I Still want to know why you think it was Dunn's mirror who slugged you if you couldn't see his face in the dark Hi, I Guess because of the way he looked at me yesterday afternoon when I told him to stay away from me not to call me again for a job Well, Johnny believes me you didn't see him after that, huh? Unless of course he was the one who slugged you in the dark No, I didn't have anything to do with With what happened to him and I don't know who did it's the truth Johnny Okay, Dorothy if it is I'll find out sooner or later, but if it isn't I'll find that out too Maybe Dorothy Blair was leveling with me But there were a few pretty important facts. I didn't know Was it really Dunn's Muir who'd slugged her and who killed Dunn's Muir and why? Also, this fellow I'd met at Dorothy's apartment Edward Chandler Where had I seen his face before? Item 5 $1.75 can't fair to Dunn's Muir studio a blonde secretary named Susan Billings was just closing up when I got there She looked pretty dragged out Please please mr. Dollar. I've already told the police all I know Right now. I don't exactly need any more questions. What you need right now Susan is a drink. Come on Feeling better Susan. Oh, yes But I I really don't know anything it would help you mr. Dollar How long did you work for Jerry Dunn's Muir? About a year and you can't think of anyone who would have reason to kill him nobody You know he had quite a reputation for being sort of Eager with some of the models. That was a long time ago, mr. Dollar He'd change not according to Dorothy Blair. I'm not interested in Dorothy Blair lies about Jerry Tell me do you have to know a man named Edward Chandler? I met him at her apartment. No The Jerry Dunn's Muir ever mentioned him not that I remember So you think Dunn's Muir had straightened himself out that I know he had How can you be sure he told me? Oh, you say mr. Dollar? Jerry and I We were going to be married Dorothy had been lying to me about what kind of a guy Dunn's Muir was or else Susan had been living in a dream world Either way, I was fresh out of the I Had it back to lieutenant Rico's office hoping I'd find some there Johnny the only thing we know for sure about Dunn's Muir is that he sure had a weakness for women Yeah, but Susan Billings believes that she was his one true love. I know and I've been thinking about her Maybe she found out about Dunn's Muir's activities and didn't like it Possibility but if she knows more than she's told us she's a pretty good actress The same goes for Dorothy Blair, which reminds me. I want to have another talk with Dorothy I picked up a couple of names out of Dunn's Muir's past I want to see if they mean anything to her want to come along sure but we'll have to hurry hurry Why she has a dinner date with a guy named Chandler at eight o'clock, and it's a quarter two right now. Okay, let's go Your apartment house right ahead isn't that Dorothy coming out the front door? Yeah with Chandler. Come on. We can still hold it What's there? Would you say he was a friend of hers? His name is Chandler. I met him in her apartment this afternoon Johnny Remember when you came to see me today?  Oh Hey, wait a minute. I knew I'd seen that guy's picture somewhere. It was in the paper Dorothy introduced him as Chandler, but his real name is Chatsworth And now it turns out he's a friend of Dorothy As you said either Dorothy had told us all she knew or she was a pretty good actress. Yeah It looks to me like she's a pretty good actress Johnny dollar in a moment act three of yours truly Johnny dollar and the model picture matters Started out as a real simple assignment, but it hadn't stayed that way long All of a sudden we had two murders on our hands and it looked like there was a connection between them Now watching Dorothy Blair leave her apartment with Ed Chatsworth. We realized that she was somehow right in the middle of them Driving off in his car on the tail of him. I won't be necessary The reasons I questioned Chatsworth about the either summers killing. I've had a tail on him No, Johnny what we better do right now is start putting some pieces together and see what they add up to okay The first victim was either summers killed in her apartment the black in arms And you figure that her ex-boyfriend Ed Chatsworth had the motive we heard that Chatsworth wanted to drop her But she wouldn't drop but you say has an alibi two people swear He was out of the city the day that she was killed. All right, all right Dorothy Blair gets slugged in her apartment. She thinks the photographer guns mirror did it then guns mirror winds up dead that night Right, and now we find out Dorothy and Chatsworth are friends We can stand up Johnny. Yeah, you think Chatsworth was trying to drop either summers for Dorothy If so, maybe they rigged the deal Chatsworth was to get out of town while Dorothy handled it summers Oh, in that case, you're figuring done smear found out about the deal and came to blackmail Dorothy, right? She won't go for it. So he slugs her then either she or Chatsworth or both of them decide to close done smear's mouth for keeps So possibility now. Yeah, it is a possibility, isn't it now drop me off at my hotel and headed back to his office Item six two dollars drinks When I thought about the picture Al and I had built up to explain the killing Well, it was all pretty logical, but somehow I couldn't buy it Maybe like Alan headed that million dollar phase had gotten to me If I could only talk to her alone I thought I could find out if she was lying About ten o'clock. I went back to her apartment. No answer Probably still out to dinner. I was about to leave when she stepped off the elevator. Why Johnny? What are you? Hello Dorothy? I'd like to talk to you. Well, I'm afraid I haven't time right now Mr. Chandler's just parking his car. He'll be up in a few minutes. We Have business your friend will have to wait. I want to talk with you. Why all right for just a minute Don't understand all this Johnny. Well, let's start out calling your friend Chandler by his real name, huh? Why it's chance with I Don't understand. I thought his name was Chandler. Oh, yeah What's this all about John? Oh drop the act Dorothy. I suppose the name Chatsworth doesn't mean anything to you I know it doesn't how about eat it summers wait She was the girl who was killed the day before yesterday. She sure was I read about it in the papers But I didn't know her Johnny. You're sure you and Chatsworth didn't happen to arrange her death Johnny what's this all about and your friend Duns Muir. He wasn't by any chance trying to blackmail you I don't know what you were talking about please Believe me. I could net anything to do with either of those killings Johnny I swear it Okay, okay, Dorothy. I I guess I never could buy it But I don't get this buddy buddy routine you and Ed Chatsworth. I Only met Ed Chatsworth or Chandler. He called himself yesterday. You Let's hear that again. That's right. He said he was organizing a big good motion and wanted to feature me in it Why would he give you a line like that? I didn't realize it was a line He sounded very convincing. He said he wanted to see some of my pictures to see his pictures pictures. Wait a minute Those pictures Duns Muir took of you Ed's coming up any minute to see them He wanted to see some outdoor shots. He said when did Duns Muir take those shots the day before yesterday The day Edith was killed. Where did he take them? we Who moved around from place to play you still have the pictures right there on the table? Come on. Let's take a look Are these all that he took as far as I know Nothing here except you why Hey, wait, wait this shot Looks like the front of an apartment house Part of the name in the picture black Blackton arms the apartment where Edith was killed Johnny Look in the background a man stepping out of the apartment house. Yeah out of focus hard to Hold it. What is it? Is there a service entrance to your apartment? Yeah, somebody just came in get down I Shove her to the floor and hit the light switch none too soon I eased out my gun, but couldn't see a thing and I knew I had to locate him before he located us It was a cigarette lighter on the coffee table. I heaved it toward the kitchen of my aim was pretty good The flash of his gun pegged him for me It turned on the lights It was chance worth all right, I'd hit him in the shoulder, but he'd keep for the state Johnny He's the one who killed us either summer. Yeah, sure He had an alibi rig, but he spoiled it by walking out of her apartment Into the background of that picture Duns Muir took of you Then he's also the one who was in my apartment. He probably recognized you by your face Figured he could find the name of the photographer here slugged you when you came in and I thought it was Jerry Duns Muir Jerry yeah Well, I imagine when Chatsworth comes to we'll find that he killed Duns Muir to get the negative He certainly wanted that picture. Yeah Most pictures don't do people justice But I guess this one will do him all right By the May thirty six dollars eighty cents transportation back home Expense account total a hundred three dollars even remarks Well, there's a little snapper to the story Pat You know that picture Chatsworth was knocking himself out to get He didn't realize it, but his face in the background was far too blurred to make an identification yours truly Johnny dollar Our star will return in just a moment Now here is our star to tell you about next week story next week Well, the darling of me heart comes back to plague me again my old friend make McCarthy so join us Won't you yours truly Johnny dollar?


I think that's a thing that coaches who we're talking to here, but they need to develop an eye and to develop an eye in an event that lasts a second and a half, you've got to be able to slow things down and you've got to be able to identify specifics. Hello everybody, it's Eric Johnson from AirTage For His Nation. I'm sitting down with my great friend, my mentor, Tony Cirelli. You will find in your throwing careers or coaching careers, you're always going to have somebody that has a huge impact on your throwing.  I learned a tongue from him. I still learn from him. He's in town for a meet. Like I said, Tony and I pretty much will agree on pretty much just most things. Terminology is usually our breakdown. How we look at it. Right. And then the only thing we might disagree on is who's better looking. So I just thought you're in town. Obviously we've had the COVID thing. Training's been really tough, especially for you in California.  I just thought I would ask some general questions about training. And again, you know, we used to joke around, how do you get so lucky? I mean, people used to say, how does he get so lucky? And there's nothing lucky about success in throwing. You do have more talented guys that come around. That's the lucky. Every once in a while, somebody who has the talent, Aiden being the perfect example of all the people I coach. He is the first high school kid that I coach that I think has the possibility of being an Olympian. Because all the rest of them, as good as they were, I thought they were all too small. Especially as the years went by, you know, in the late 80s, early 90s, when I started kind of coaching you, some, there were still some smaller people around. But after going to a couple of European championships in Olympics, when you get in that stadium and you see people walk in and say, there's no little guys, there's no short guys. And a funny story, Scott Moser, when he threw his throw out of the blue one day, Jay Sylvester called me, and he just ragged on me because my guy's not big enough. And so he just said, you got to start finding bigger people. He said, Scott Moser looks really good, he's got a good technique, but he's too small. And Moser was what, 6'3? 6'3. Yeah. And he was incredibly strong. Incredibly strong. Great technique, you know, but 6'3 is just, you know, a midget when you get out in the international scene. The American scene, you're not. Right. But how good have we been in the discus over the last 20 years? Yeah, only if, just a handful of guys that have really performed. Casey, who's 6'9? Yeah. Jared and Ion both had, Ion had some success, you know, somewhat, but not actually on the world scene. Yeah, and Jared was a finalist. I think it was Doha. Doha, yeah, like 2000, or Degu. No, that was, yeah, I forget. Right. We should, yeah. So here's what we'll do since that won't be the most inspiring conversation for you, for young throwers. For young throwers. Short, go into something else. And you know what, that's a good question because you've had a lot of success with a number of shorter guys. I've had my share of guys that have done fairly well too and they're not exceptionally tall. And nowadays, even you look at a guy like Joe Kovacs, clearly an exception. Shot looks a different story than the discus. That is 100% true.  It doesn't mean you can't have a good career and you can be good in high school and you can be a good college.  It's just not going to happen. Right. You know, you might be good enough that they might move you to some other position, but you're not playing like a tackle no matter how much you want to. So the same thing, if you're a 6'2 discus thrower that's really, really good, it just hasn't shown since Anthony. Yeah.  Yeah, and that guy. If we can chase the win, you know, the Americans were good at that and get big throws, but as soon as we get into stadiums, we're not very good. Taking it back to just like talking about the shot and the difference or the shot and the discus, but in general, like for young throwers and new coaches, what do you think is the difference between training a brand new thrower who knows nothing versus training, you know, a high school kid versus obviously training them once they're collegiate and older? Well, you know, there's a lot of positives to training somebody who's never done it because you don't have to break any bad habits that they develop from where they came from. So that part of it, like Southern California right coach, there's no discus. Even when they used to have junior high track and field, discus wasn't part of it. So you came into high schools when you started throwing the discus. Okay. Just like in California, you don't get to throw the javelin until you go to college. So you got to pick it up fast. And one of the reasons why there's not a lot of world-class javelin throwers out of California is you're not starting until you're 19 years old. Yeah, it's tough. Can't match the reps. I, you know, I'm kind of thinking about this when you said you wanted to do it. I think for me anyway, it's the system. It's not just the technique. It's not just my philosophies that I put on the kids. It's the system that brings about the excellence. Right. And that's, I think, what a lot of coaches don't have. They know a lot about throwing, but they don't know anything about weightlifting. But they have a fairly good idea about weightlifting, but they don't know anything about throwing. Or they're really good at getting people worked with the terrible technical aspects of things. So you see that in the weight of man throwing in the ring. And I think that's kind of my thing is that I've been able to put together a good system. Right. And so just talking about how big people, I've had five, seven throwers throw over 60 feet and over 180 feet. Right. I've had five, two girls throw 150 feet and 48 feet. They were obviously great athletes, but you don't see people of those sizes making those kind of marks. Right. But I think it was the whole system that brought it together, not anything individually that I did. You know, it's put it all together. I think it makes it. And that's really lacking on the high school level. Obviously there's a lot of college coaches that do that. And I think as much as anything, once again, it's that they put together a good system. Yeah.  And I think that lacks. Right. So fortunately, I have a system. Yeah. I think if you want to be a good coach, it's what you've got to do. Yeah. You have to have a system and you've got to understand your athlete, physically and mentally. If you know about throwing, then you need to go learn about weightlifting. Right. You need to have a great look in your throw scopes and you need to go work on understanding how throws work. Right. And then in between, how much do you work on? How little do you work on? And running as a ball. Right. Other things besides those two things. Right. All have to work together. That's the problem. Like I've said, in any sport, the thing with private coaches is the aspect of, every kid I've ever asked that a private coach, did he ask you what we did today? Right. And the private coach is not asking you when you did it at the high school and he really doesn't understand what you need to get better. Right. Because if you did 50 stadiums and he's doing stadiums today, he's like, okay. You don't need to, yeah. You don't need to do that. Thankfully, I always ask my athletes. Yeah. I have to. Like what do you do? You had to have this squat workout today. Okay. We're not going to try to throw hard, you know. It's like, it's not going to work. Exactly. For people that don't know, for, we did the Tony Tarelli Olympian Throws Clinic was something we built. Tony started it. I kind of got involved about your fifth year. Yeah. And we just did our, what, 29th year. So we've done 23 of these. But taking from that, and then obviously things have changed and all those guys got older and we've gotten older. And then I had started Erité and then Throwing Chain Reaction Program. And we've utilized that system and you've been to those camps and you've had good things to say, which is nice. But, you know, kind of talking about that, because we talk about different terminologies, but you had said, which I was, you know, happy to hear, like, this is exactly what people need to be learning. And so when you're talking about a system, I'll just kind of ask you for your feedback. Like, what did you think of how we break it down? And because the idea is, of course, to teach people how to understand complexity faster, right? See the throw, know how to break it down. When you're teaching multiple people and having a set of guidelines makes it easier for them to understand. Actually, back to you, which was, I had been coaching for 16 years when I started coaching you, but it opened up things for me, being able to go to the elite throwers camp down in San Diego and certain things that I hadn't been exposed to before that, just being in high school. But so that aspect was being you and how he broke it down. You know, wind up for double support, for single support of life. So that's how I do it. And it's not exactly that, but your pillars are basically those positions. And so it's... I'm mechanically astound yet. As long as that is the thing. And as a coach to his athlete, you could say spaghetti and broccoli. To them, that means get on your right leg and they get on their right leg and the cue that works is the cue that works. But a more systematic approach to it is going to help the athlete understand it. Yeah. And I totally see that in their system. So, you know, that's a good point.  But I mean, that was the motivation. You know, people don't know Tony started his camp to help the sport to help it in Orange County and get more coaches. And funny enough, you didn't get as many coaches as kind of... And then it started to get... We started to get more and more coaches. And originally when it first started, I was just doing that. Right. I wasn't really, you know, coaches... Basically was coaches would ask if they could stick around. Yeah. Like, yeah, you know, just bring a couple athletes and you can stick around. Right, right. And then, you know, it was about when you started in that we started including coaches into it. Right. To get bigger. Obviously, that is, I think, one of the things I pulled. That was always the mission of your camp that I became the director of. And then so that just kind of carried into when I created it, it was like, you know, this is about getting the sport better and putting out more information because there's good information out there and then there's some really bad information out there.  People think, oh, it's got a lot of views, it must be good. Yeah. And so that's obviously why we try to put out the content. So that was definitely, you know, something I kind of carried in from you and I thought, okay, with technology, because when you and I started coaching together, there was no YouTube. There was no cell phones were like large and heavy and there was no smartphones. And I think obviously, you know, with that opportunity came like, oh, wait, we can get this information out. I think that's a thing that coaches who we're talking to here, but they need to develop an eye. Right. And to develop an eye in an event that lasts a second and a half, you got to be able to slow things down. Yeah. And you got to be able to identify specific. So just like you want the kids to work on a single thing, you have to look at a single thing. So if you're looking at the right foot, that's all you should be looking at is the right foot and then being able to slow things down, which has always been my, I don't know, through sports or whatever. It kind of seems like we've always been able to do it. But if you can slow things down, it really helps on meeting. Right. Although now you can film and look at it. Back in the day, you couldn't look at the film. No, you can just on your... The coaches couldn't even look at the film. Right. Yeah, they've changed the rules finally. The athlete's been looking at the film. Right. Yeah, because that's what? NFHS? Right. National Federation, right? High schools? Yeah. So that's a big deal. You don't want to look at too much. You don't want to spend too much time doing it. But it's definitely a tool. That's the thing if you see things.


This is Albion Colossus from Spitfire Audio. As you can hear, it can be gentle and refined for those times when all is at one with the world. But unfortunately, those times cannot last forever, which is why this wonderful new plug-in can do this. Hi folks, I'm Mike and I hope you're well. I want to start off with an apology. I'm moving my studio from one location to another at the moment, so I'm just temporarily in the corner of this room. It's not properly sound-treated, so my voice may sound a little bit strange at times. But thankfully, we don't need to be in a treated room to get the most out of the amazing library that we're looking at today. This is from Spitfire Audio and it's Albion Colossus, an incredibly dynamic library, really great for soundtracks, game music, that kind of thing. Now, don't forget, if you're looking at releasing your music anytime soon, do check out the link in the description down below for the sponsor of this video, DistroKid. Let's get started off by taking a look at the range of sounds we get in this library. So I'm a little torn because I know that when we're looking at a library like this, the range and quality of the sounds is really super-duper important, okay? And we should spend some time on that. On the other hand, I actually think with this particular product, it's the way that those sounds are used, which is more important, okay? So I sort of want to focus a little bit more on that. However, we will just take a quick look at the range of the sounds. We'll listen to a couple of them just so you get an idea of the quality. I mean, this is Spitfire Audio we're talking about here. So you can pretty much expect really high-quality recordings, but nonetheless, we'll take a look. Now, when we first load this plugin up, we have a combination loaded up called Anthology. That's got eight different instruments in there. And this sort of indicates to us a bit the range of sounds we're going to get. There's some horns and brass in there. There's some strings. There's some percussion. There's a drum kit in there. And then we have this one you can see here, which is pad. So this gives us an indication of what we can expect here, because these are synth sounds, okay? As well as that, we also have some guitar sounds here. These are long electric guitar sounds. Just have a quick listen to these. Yeah, big, powerful things that we can use to enhance our orchestral sounds, which we're obviously going to hear in a moment. Now, we can switch between all of these using a key switch, which is okay. You can see at the bottom here, we've got some keys highlighted in green there. So that shows us how we can change between different sounds when we're using this combination. We'll get back to key switches later. But I want to go up to the top and then have a look at the full range of actual individual patches that we can load up. We've got a preview button here, so we can have a quick listen to some of these without having to load them up. But starting off, we've got some low strings, okay? These are really lush. I enjoy these a lot. Just have a quick demo. Yeah, you can do a lot with that. Hairpins, for example. There's a lot of different hairpin sounds within this library. These have a sort of a crescendo to them, yeah. They're really, really sort of a motive, I reckon. Have a listen. Yeah, I love those. So it's a few different, you know, long and short sounds there for the low strings. We've got high strings, same again, you know, longs and shorts and some variations in there. By the way, I just want to tell you, I'll load up one of these, the high string hairpins, okay? It's not just those basic sounds with each of these patches. We have some key switches which change the articulations as well. So for example, with this one, this is the hairpins for the high strings. We've got this sort of sound. Got a medium one here. Long one. Yeah, another crescendo one here, okay? So it's not just those sort of basic patches which we have with each of these sounds. So moving on further, we've got some brass sounds in here. Some horns. They're lovely. Also some awesome woodwind sounds I really enjoy. I use the flute as well in that demo at the beginning. We've got some piccolo sounds. A range of percussion sounds, okay? Some really nice percussion sounds in here. Some sort of traditional ones. And then some variations on lows as well. You know, timpani's, all the kinds of things you would expect for percussion, okay? And again, the key switch is in there to switch between different modes with those. We also have some drums. This is more like a contemporary drum kit, you know, kick, snare, toms, cymbals, et cetera, okay? And then we have these guitar sounds. Those long guitar sounds. Short, some effects in there. And a whole bunch of synth sounds, okay? So you can see there's a massive variation in sounds here. And they're kind of leaning towards you making sort of soundtrack music. So things for movies, for TV shows, for games, all of that kind of thing as well. So they're leaning towards that, definitely, rather than just your sort of traditional composition sounds for orchestras, okay? Now, why did I want to sort of go over this rather quickly? Well, the actual sounds that we have have something to do with one of the key features, in my opinion. Because the way that Spitfire Audio recorded this, and they recorded it at the Glasgow Royal Concert Hall, okay? I think in two different spaces, they recorded both a chamber orchestra and a symphonic orchestra. So a chamber orchestra is a much smaller, more intimate orchestra. And the symphonic orchestra is what you normally think of as an orchestra, really big, okay? And it's the fact that they did that, which leads me to the first of the really important features of this plugin, which is called Scale. So I guess one of the keys to creating epic sounds is having the contrast of some softer sounds, okay? And going between the two, because if everything's loud all the time, then sort of nothing's loud, if you know what I mean. Now, we often have the ability to do this in Spitfire Audio products with this dynamics control, which we can see here. As we slide this up and down, we'll go from a softer version of the sound to a louder sound. So let's have a listen to this on this brass sound here. Now, in my opinion there, it's kind of going from very soft to not quite so soft, okay? But it never really gets epic. Let's face it. Now, the first control I'm going to show you here, which is a little bit different from other plugins, really does help towards this contrast between soft and epic sounds. And this is called the Scale control. It's over here. Yeah, you can see me sliding up and down here. Now, this is really important with what I said earlier. Remember, I said they recorded both a chamber and a symphonic orchestra with this control blends between the two, okay? You're going to start to hear a much more stark difference when you use this. Let's have a listen to that demo again. We're going to start off by listening to the chamber orchestra. And now, symphonic. Okay, so we start to get a flavor of some different tones there, okay? And it's definitely starting to sound a little bit bigger. It's not the whole story, but it's a very important control in this plugin, I believe. Now, have a listen to what happens if we link these two controls. We can do that easily here. There's a menu here. Just click on that. And I can link this control to the dynamics control that we were initially using there, okay? So now when we slide the dynamics control, that scale control is going to scale as well, okay? Now we start to get a much bigger difference. Have a listen. Really impressive. I love the combination of just using those two. It's so, so good. However, it's not the full story when it comes to making this plugin sound more and more epic. So another way that we can make sounds more epic is in post-production by applying things like saturation, distortion, and compression. And indeed, we can go to the effects tab here, and we can see we've got a little bit of control over things like compression here. However, what they've done in this plugin really cleverly is give us one control to add in all of those things at once to really add some oomph or some hype. And appropriately, that control is called the hype control. Now, it's actually applied at the moment to this big dial we can see in the middle here. The reason I say it at the moment is because if we click in the middle of this, we can actually apply different things to that control. But by default, hype is applied to this big dial here. Now, before we have a listen to how it's going to change the low strings that I've got loaded up here, let's just recap and see how these strings are affected by the dynamics and scale controls that we looked at already. So we get a good amount of impact when we go to the top of the dynamics and scale controls here. However, hype takes it to a really different level. Let's put that scale up fairly high already with the dynamics. Now, let's add in some hype. There's definitely a lot more depth there. There's a lot more low end to those strings. And I feel like there's a little bit more bite there, a little bit more attack to them as well. Absolutely loving that. And if you do that in the middle of a performance, you can really create some dynamics which creates emotion in music. So it's so, so important. Now, just for fun, what I'm going to do is show you how you can link all of these controls together. We already looked earlier at how you can link the dynamics and the scale control, which I've already got set up here. Now, I've got a controller on my keyboard assigned to the dynamics control. So it's now controlling both. I also have the same controller assigned to this hype control. We can just right click on these controls and learn MIDI CC automation. So you just click that and then adjust a knob on your keyboard and that assigns it. Okay, so let's bring that all the way down. You can see as I adjust the slider on my keyboard, they're all going up together. Let's have a listen to the quite massive difference this all now makes. So you can get so much in terms of, I say, emotion when you're using that range of dynamics. Really, really nice, really, really clever and loving that. You know, I think what we're seeing so far with the scale and hype features is Spitfire Audio have made it really easy to add dynamics with this library without you having to delve into the complexities of doing that and just giving you a couple of sliders to move around so that you can remain focused on the music which you're creating. And in a segue made in heaven, that reminds me of the sponsor of this video, DistroKid, who make it super easy for you to release your music. One of the great things about DistroKid is its simplicity. For the simple price of $19.99 per year, you can upload an unlimited number of original tracks with no extra fees. Those tracks will be distributed on streaming platforms such as Spotify, Tiktok, iTunes, Amazon Music and many more without you needing to open accounts at any of those places. And if $19.99 isn't cheap enough for you, follow the link in the description down below to get a further 7% off right away. I will also get a small commission at no extra cost to you. Thank you. So another control that they've added here isn't so much a dynamics control but it does have a kind of an overall effect on the impact of the sound and that is the depth control. We can see it over here. It's the last slide that we can see here. And this basically controls how close the mics were at the time. So we're just hearing as we slide this up, microphones blended at different positions. Going from extremely close down here, very, very intimate. We don't get so much of the room sound when we have the mics that close to all the way up here which is a lot of room sound. You really hear the particular concert hall that they were in when they recorded this.  Okay, there's quite a big sort of drop off in the closeness of that sound. Just be aware of that as you listen to it. But let's have a listen to the differences in the two sounds. Now you hear there that it becomes much softer, doesn't it, as we hear more of the room. But at the same time, it becomes much wider sounding. Okay, so it's really about blending those two differences there. Now, of course, as you can see, we can also link this. I'm going to link it to the dynamics control again. And just as I had before, I've got one controller on my keyboard for both the dynamics and the hype control, which enables me to push all of the four controls that we've talked about in this video up and down together. And we're going to hear a massive, massive difference, of course. Let's have a listen. So you can hear there that by adjusting that depth control as well, it's sort of softened that really loud and made it much, much wider there. Okay, so a really interesting control to use in combination with the others. You know, Spitfire Audio are renowned for making really high quality libraries, especially when it comes to orchestral sounds.  Check the link down below for a link to this library so you can find out the price on their website there. Now, apart from their paid products, they also do a range of amazing free libraries as well, which you can find in the Spitfire Labs series. I've made a video about my five favorite free libraries from them. You can watch that right here.