text:
Q: User defined component in a senchatouch list item Is there a way to use a user defined sencha touch component (Ext.extend ) as the panel for each item in s a sencha touch list control.

*

*I know I can do this:
{ xtype: 'list', itemTpl" '{data property 1}'}
To produce this
Ext.List
-------------------------------------------
| HTML from itemTpl for listStore Item 1  |
|-----------------------------------------|
| HTML from itemTpl for listStore Item 1  |
|-----------------------------------------|
| HTML from itemTpl for listStore Item 1  |
|-----------------------------------------|

What I'd like to do is this:
MyComponent = Ext.extend( Ext.Panel ) { Items: [ Ext.Component1, Ext.Component2 ] }
Ext.reg( 'mycomponent', MyComponent );

{ xtype: 'list', itemTpl: { Ext.MyComponent } }

to produce something like this
-----------------------------------
| { xtype: 'mycomponent' }        |
|---------------------------------|
|  { xtype: 'mycomponent' }       |
|---------------------------------|
| { xtype: 'mycomponent' }        |
|---------------------------------|

So that every List item in the lists is rendered as my user defined component.
Is this possible?  Is ther an example somewher?

A: Ext.define('Ext.TextField',{
    extend: 'Ext.form.field.Text',
    xtype: 'TextField',
    labelAlign: 'right',
    listeners: {
        beforerender : function(){
            // var tmp = new Ext.util.TextMetrics("asdfasdf");
            this.labelWidth = gTextUtil.getWidth( this.getFieldLabel() ) + 10 + gLeftMargin;
            this.width = this.labelWidth + 100;
        }
    }
});

How to use :
{ xtype:'MTATextField', fieldLabel:'or Other' }

A: You can add any component to any div in Dom using renderTo property. Just add any qualified
<div class='someclass-{id} .wrapper'/>

into your list item template, then
query .wrapper.someclass-{id} and use renderTo creating components during list refresh event. Please don't forget to remove old unused components later. In this case it's on your responsibility. Components added in such way are managed by Component Manager, but have no parent.


With whiter beaches than anywhere else in the world, the vibrant capital city of Calgari, some of the most breathtaking scenery and natural wildlife in Europe (famous for its flamingos) and Italy's very own millionaires-playground equivalent of Monte Carlo in the Costa Smeralda, the island of Sardinia (spelled Sardegna in Italian) in the heart of the Mediterranean Sea is surely one of the most breathtaking and as yet undiscovered destinations in Europe.
All the same, thousands of Italians flock here annually in favour of foreign destinations – indeed, why look elsewhere when Italy's best kept secret is right here on the doorstep? A sun-soaked paradise with the added attraction of its own completely unique culture (Sardi rarely consider themselves in the same category as Italians), this magical island offers holiday makers a new and exciting option with all that the typical Spanish and Greek resorts have to offer but without the kitsch.
The 55km long stretch of coast known as Costa Smeralda – the Emerald Coast, annually attracts the elite of Europe and Arabia and every year hosts the famous Sailing Regatta, the Sardinia Cup; while the island's capital city Cagliari offers a truly beautiful city break for those looking for a spot of culture.


Painters and Decorators based in the North Dorset area. We guarantee a Professional, Clean and Friendly service.
bahçelievler masaj salonları on Hello world!
zone relatively on Hello world!
© 2019 Hugo Hurst Decorating | Proudly powered by WordPress | Semplicemente by CrestaProject WordPress Themes.


text:
Breaking: Godzilla | Avengers Forever #2 | Luke Skywalker | Human Target #4 | Collector's Paradise | star wars | The Waylanders | Robin #10 | Omega | Pokémon TCG | Norco | Captain Nemo | Free Comic Book Day | maher | kirsten dunst
Beck Bennett Archives
Saturday Night Live: Maya Rudolph Returns & She Don't Give a Funt
But that's next month- here's a small taste of what we can expect when Rudolph returns to SNL this weekend: https://www.youtube.com/watch?v=ePcVnt0isz4Video can't be loaded because JavaScript is disabled: Maya Rudolph Is Returning to Host Saturday Night Live! (https://www.youtube.com/watch?v=ePcVnt0isz4) Saturday Night Live's 46th season includes Beck Bennett, Aidy Bryant, Michael Che, Pete Davidson, Mikey Day, Chloe Fineman, Heidi[...]
Saturday Night Live: Daniel Kaluuya, Carey Mulligan Hosting & More
Vincent as musical guest, and April 10 seeing Carey Mulligan (Promising Young Woman) hosting and Kid Cudi performing. Image: NBCU Saturday Night Live's 46th season includes Beck Bennett, Aidy Bryant, Michael Che, Pete Davidson, Mikey Day, Chloe Fineman, Heidi Gardner, Colin Jost, Kate McKinnon, Alex Moffat, Kyle Mooney, Ego Nwodim, Chris Redd, Cecily Strong, Kenan Thompson, Melissa[...]
Saturday Night Live Wrap: Jonas, Warwick, Fauci, Mirror Demons & More
With Saturday Night Live returning on March 27, here's a look at what worked and what didn't with this week's Nick Jonas-hosted episode.
Saturday Night Live Returns March 27 with Maya Rudolph, Jack Harlow
Here's a look at the index cards making it official: Image: SNL Saturday Night Live's 46th season includes Beck Bennett, Aidy Bryant, Michael Che, Pete Davidson, Mikey Day, Chloe Fineman, Heidi Gardner, Colin Jost, Kate McKinnon, Alex Moffat, Kyle Mooney, Ego Nwodim, Chris Redd, Cecily Strong, Kenan Thompson, Melissa Villaseñor, and Bowen Yang[...]
Saturday Night Live: Ego Nwodim, Bowen Yang Go The Voice on Nick Jonas
In the first of two sketches, Jonas is joined by SNL cast members Ego Nwodim and Bowen Yang– who make sure Jonas understands that this could be the break he's been waiting for, kid! Following that, Nwodim and Yang are surprised to learn that Jonas is also the musical guest because their newest single just[...]
Saturday Night Live & Nick Jonas Check In From This Week's Table Read
Earlier this week, he even beat the show when it came to getting the first lead-in post out (impressively beating the intro video)- earning him bonus points with us because we like it when hosts and musical artists offer us looks at the show we wouldn't normally get. Image: Screencap Here's a look at SNL's official "host[...]
Saturday Night Live: Live from (Snowy) New York! It's Nick Jonas!
When you're hosting and serving as the musical guest, we're guessing it's good to have that kind of energy in the tank. Image: Screencap Here's a look at Jonas's post from Monday, clearly enjoying the warm, cozy weather that comes with New York City in February: View this post on Instagram A post shared by NICK JONɅS (@nickjonas) And now[...]
Saturday Night Live Recap: Bad Bunny, Ted Cruz, Ego Nwodim & More
Bad Bunny – SNL (https://www.youtube.com/watch?v=lk7jW7qRZYM) We might be alone on this one, but "The Job Interview" was so absurd that it should've failed from the jump- and then Beck Bennett and Page sell it by how committed they are to the off-the-wall "spec" advertising they're peddling If this was live and one of them broke, the[...]
SNL: Yes, Regé-Jean Page Can Make Eating Cereal Sexy; Bad Bunny Update
pic.twitter.com/ZLl3nkttIK — Saturday Night Live – SNL (@nbcsnl) February 20, 2021 Saturday Night Live's 46th season includes Beck Bennett, Aidy Bryant, Michael Che, Pete Davidson, Mikey Day, Chloe Fineman, Heidi Gardner, Colin Jost, Kate McKinnon, Alex Moffat, Kyle Mooney, Ego Nwodim, Chris Redd, Cecily Strong, Kenan Thompson, Melissa Villaseñor, and Bowen Yang[...]
Saturday Night Live: Bad Bunny Knows Why Regé-Jean Page's Accent Works
pic.twitter.com/ZLl3nkttIK — Saturday Night Live – SNL (@nbcsnl) February 20, 2021 Here's a look back at the promo that was released earlier this week for tonight episode, with Page and Villaseñor feeling inspired by Bad Bunny to try a different take on their names: https://www.youtube.com/watch?v=oiJ1rdgeBAkVideo can't be loaded because JavaScript is disabled: Regé-Jean Page Tries Out a Bad[...]
Saturday Night Live Honors Bad Bunny, Your WWE 24/7 Champ (For Now)
Hmmm… In fact, here's a look at Bad Bunny on Instagram with the title: View this post on Instagram A post shared by @badbunnypr Now here's a look at SNL's posts from earlier today- which left us wondering (A) who will end up WWE 24/7 Champ during the show and (B) how many times will it change hands? If[...]
Saturday Night Live: Goodbye, Regé-Jean Page! Hello, Regé-Jean Bunny!
Spoiler? "Regé-Jean Bunny" actually kinda' works: https://www.youtube.com/watch?v=oiJ1rdgeBAkVideo can't be loaded because JavaScript is disabled: Regé-Jean Page Tries Out a Bad Bunny-Inspired Nickname – SNL (https://www.youtube.com/watch?v=oiJ1rdgeBAk) Saturday Night Live's 46th season includes Beck Bennett, Aidy Bryant, Michael Che, Pete Davidson, Mikey Day, Chloe Fineman, Heidi Gardner, Colin Jost, Kate McKinnon, Alex Moffat, Kyle Mooney, Ego Nwodim, Chris Redd,[...]
Saturday Night Live: Regé-Jean Page is Live From SNL Table Reads
Now things are back on track because we also have a look at Page live for New York at SNL table reads. Images: Screencaps Here's a look at Page hard at work, which means we should be expecting a promo or two on Thursday (maybe Friday?): View this post on Instagram A post shared by Saturday Night Live (@nbcsnl) Saturday[...]
Saturday Night Live Host Regina King Takes Studio 8H Stage in Style
Following up on the intro video, table read image, and promo video (more on that below), SNL posted a brief clip of King entering the main stage from the main center door in slow-motion style in a way we can totally respect because it's exactly the kind of thing we would do. Image: Screencap Now here's a[...]
Saturday Night Live: Positive Thinking Stinks; Valentine's Day Mix-Up
Joined by SNL cast member Beck Bennett, the first promo finds the trio succumbing to the reality of "the power of positive thinking Following that, a misunderstanding between King and Bennett leads to some awkward Valentine's Day confusion. Image: Screencap So here's your look at this week's promos- and make sure to keep an eye on our[...]

redpajama_set_name: RedPajamaCommonCrawl


BEFORE I FALL is the latest teen melodrama directed by Ry Russo-Young and written by Maria Maggenti, based on the 2010 novel of same name by Lauren Oliver. The film stars Zoey Deutch, Halston Sage, Logan Miller, Kian Lawley, and Jennifer Beals. The plot centers on Samantha Kingston (Deutch), a high school senior who finds that she may be living the last day of her life over and over until she gets it right. Samantha Kingston has everything: the perfect friends, the perfect guy, and a seemingly perfect future. And when I say "perfect" I mean flawless. Every house is perfect. Every teen is beautiful (and looks to be in their early 20s). Set somewhere in the Pacific Northwest, there is beauty everywhere. Even the school is pristine with towering glass and beams housing the school cafeteria. When these teens party--they party like a Crate and Barrel advert. What teenager hosts a kegger and hangs tree lights? Further, even the "freak" girl that everyone makes fun of would probably be the Homecoming Queen at any other school in the country. Samantha and all her friends are snatched right out of a CW version of a MEAN GIRLS remake and dropped in here... thinly written teenage stereotypes. After one long day of conflict and a worsening fateful night, Sam wakes up to the same day she had lived before--ala GROUNDHOG'S DAY. To make that comparison isn't a loose one. It is absolutely 100% on the nose. Trapped reliving the same day over and over, she begins to question her own character flaws while alternately untangling the mystery of how she died, as well as the secrets of the people closest to her, and discover the power of how to make a difference. If that isn't enough, she also finds ways to end sibling rivalry, strife with her parents, the pain of a divorce on a teenager, dangers of teenage drinking, how to find true love, beating mean girls syndrome, suicide prevention, and on and on and on. But its primary focus is the anti-bullying campaign it touts.
BEFORE I FALL is an overwrought preachy film set in a world that is so artificial that it feels like a satire of YA films. Although there is likely an audience for this movie and its message, my guess is it falls somewhere in the 11--15 age range and skews heavily female. In a world where bathroom graffiti is pretty and preachy and a teen mean girl can transform into a licenced mediator and counselor for her friends due to a time warp ... we can all appreciate the beauty, instead, of Bill Murray and the original.


The ProLeague was different from the Winner's League in that it was impossible for a sole player to win the series through his efforts alone.
However, with the introduction of the ProLeague ACE match in 2005, it became possible for one player to win two ProLeague games within a single match day.
The very fact a player needed to represent his team for the ACE match despite winning his game meant that the rest of his team only did the bare minimum to open up the possibility of their team winning the series if their ace player had a superlative ProLeague performance on that day by winning two ProLeague matches.
Of course, there is the other side of the spectrum, where a player loses both his ProLeague matches despite the rest of their team carrying their weight, such as Flash losing both his matches in the finals of the last ever Brood War-only ProLeague in 2012, or BeSt losing both his games to Flash in the ProLeague finals that took place in 2011.
However, this blog will remember the times a player won both his scheduled regular ProLeague match, and the following ACE match after his teammates somewhat let the ace player down by failing to secure the series despite the victory from their ace player.
Since no player has won more than 25 ProLeague ACE matches, I will track the records of the most successful ACE match players, and tally up the number of times these players also won their regular ProLeague match to accompany their ACE match victory, thereby completing the perfect ProLeague performance.
To clarify once more, this is a record that is separate from any Winner's League performances, where winning multiple matches within a single series was the norm, rather than a rare occurence. Further more, Starcraft 2 performances will not count, even if one player won multiple matches in a single day for the hybrid ProLeague.
1) The ace player in question needs to be sharp and win both his ProLeague matches across multiple maps that he may have not specialized in, without slipping up even once for that day.
2) The rest of the team needs to be competent enough not to lose the series outright, but be incompetent enough to not fully close out the series to allow the ProLeague ACE match to occur.
Basically, winning two matches in a single ProLeague series was as close as theoretically possible for a great player to replicate the hard carrying feeling of an all-kill within the confines of the regular format of the ProLeague.
Should the ace player even lose one out of the two ProLeague matches he was sent to represent his team under these specific circumstances, he had to face the burden of losing his team the entire series.
One hundred percent win rate across two consecutive ProLeague matches, or outright defeat for his team, was the name of the game here, and without further ado, here are the players who succeeded the most number of times within these circumstances. In case of a tie, whoever completed their record faster will be ranked higher.
Jaedong had experienced double killing against all the ProLeague teams that ever existed in one form or another, except for his own team, and CJ Entus. Jaedong was notoriously strong versus HITE Spakyz and WeMade Fox, and he ruthlessly massacred both teams throughout his ProLeague playing years.
Leta had a fantastic track record of double killing Woongjin Stars, against whom he double killed an amazing six times over the course of his career without even needing to play against them within the Winner's League format. While he was the ace player of HITE Sparkyz from 2008 to 2010, Leta's superlative ProLeague performances, especially his ability drag his team across the finish line despite his team being dead weight (in fact, his teammates such as Justin sold his replays to enemy teams for money), was stuff of legends. There is almost no other player in history who can boast such ProLeague excellence under the most terrible circumstances.
One of Flash's most cherished memories was probably hard carrying his team in the finals for Shinhan 2010/2011 ProLeague finals, where he defeated BeSt twice to seize glory from the brink of defeat, with his teammates having a combined negative record of 2-3 against the SK Telecom T1 players in the finals.
Stork's superlative longetivity has seen him through many great moments, as well as having his share of embarassing moments. One of his greatest ProLeague performances was when he defeated both Anytime and Jaedong to stamp his dominance over Lecaf Oz, one of the most powerful one-versus-one teams of all time due to the strength of their dynamic duo.
Bisu started to hard carry in the ProLeague after his transfer to SK Telecom T1, and his crowning moment was probably his double kill versus KT Rolster in the finals of SK Planet 2011/2012 ProLeague finals.
free was the link between two generations of Woongjin Stars, playing the role of the side kick for the side led by GGPlay, and holding the fort by playing the main ace role while players such as ZerO and Soulkey were given time to develop into fine zerg aces. During his tenure he mainly thrashed some of the more weaker teams such as eSTRO.
EffOrt is the only player on this list to have three ProLeague victories within a single day outside of the Winner's League schedule, made possible by the unique post-season format that was available for Shinhan 2008/2009 ProLeague. EffOrt was able to defeat Samsung Khan players three consecutive times in a single day, to keep CJ Entus' post-season dreams alive. It was one of the most definitive hard carry ProLeague performances ever witnessed by a player within any given day.
EffOrt may have not had the longest of tenure as the ace of CJ Entus, but during his peak, it could be argued that he burned brighter than any other zerg ace outside of Jaedong for this particular metric. He is the only ProLeague ace to make an entry on this list despite having less than 100 ProLeague victories overall.
SK Telecom T1's strength as a team came from the fact that they had two superlative ProLeague aces within a single roster. FanTaSy was especially excellent during the post-season, as exemplified in his performances versus Hwaseung Oz in the finals for Shinhan 2008/2009 ProLeague, where he defeated Jaedong twice to secure the title for SK Telecom T1.
ZerO was a respectable zerg ace who did his duty for his team after free started to suffer from wrist injuries, and faltered as a player. While he did not set the world on fire by any means, he was called upon to carry his team time and time again, and he manned up to that heavy responsibility even if he didn't always succeed under those circumstances.
JangBi is another player on this list who has far more double kill counts compared to what could be expected given his overall number of ProLeague victories. After struggling to adjust to performing to his potential in televised matches, JangBi started to look like one of the very best protoss players in the world before falling into mediocrity after heavy disputes with his coaching staff resulted in him barely playing the game during practice. However, during his short reign of terror circa 2008, he was able to shut down numerous teams with hard carrying performances.
fantastic, loving all the blogs you are posting.
Another interesting look at BW history. But I have just one question.
Is Jangbi's head really that big compared to his body???


text:
package com.goodrobots.service;

import com.goodrobots.Account;
import com.goodrobots.Robot;
import com.goodrobots.Server;
import com.scottbyrns.api.client.APIClient;
import com.scottbyrns.api.client.APIRequest;
import com.scottbyrns.api.client.APIResponse;
import com.scottbyrns.api.client.RequestType;
import com.scottbyrns.utilities.FatalMappingException;
import com.scottbyrns.utilities.JSONObjectMapper;

import java.util.HashMap;
import java.util.Map;

import static junit.framework.Assert.fail;

/**
 * Created with IntelliJ IDEA.
 * User: scott
 * Date: 8/16/14
 * Time: 3:28 PM
 * To change this template use File | Settings | File Templates.
 */
public class AccountServiceImpl implements AccountService {

    private final String ACCOUNT_LOGIN = "/user/login";
    private static String token = "";
    private static Account account;

    @Override
    public Account create(Account account) {
        return null;  //To change body of implemented methods use File | Settings | File Templates.
    }

    @Override
    public Account login(String username, String password) {

        APIRequest apiRequest = new APIRequest(Server.PATH);
        apiRequest.setRequestUrl(ACCOUNT_LOGIN);

        apiRequest.setRequestType(RequestType.JSON_POST);

        Map<String, String> payloadMap = new HashMap<String, String>();
        payloadMap.put("username", username);
        payloadMap.put("password", password);

        String payload = "";

        try {
            payload = JSONObjectMapper.convertEntityToJSON(payloadMap);
        }
        catch (FatalMappingException e) {
            e.printStackTrace();
        }

        apiRequest.addRequestParameter(APIRequest.JSON_DATA, payload);

        try {
            APIResponse<Account> response = (APIResponse<Account>) APIClient.getInstance().<Account>makeRequest(apiRequest);
            Account account = response.getResponseEntity(Account.class);
            AccountServiceImpl.account = account;

            return response.getResponseEntity(Account.class);
        }
        catch (IllegalArgumentException e) {
            fail("An illigal argument exception was thrown.");
        }

        return null;
    }

    @Override
    public String getToken() {
        return AccountServiceImpl.account.getToken();
    }

    @Override
    public String getUsername() {
        return AccountServiceImpl.account.getUsername();
    }
}

redpajama_set_name: RedPajamaGithub


If button label is longer than the width of the button, the file dialog box does not display the entire label. The button is typically about 11 characters wide.
Path of the directory whose contents are initially displayed in the file dialog box.
If start path is valid, but does not refer to an existing directory, this node strips names from the end of the path until the path is a valid directory path or an empty path. If start path is invalid, the last directory viewed in a file dialog box initially appears in the dialog box.
Text to display in the file dialog box next to the custom pattern. If you do not wire a string to pattern, this node ignores this input.
A Boolean value that indicates whether selected path refers to an existing file or directory.


There is a myth, I've heard it, and you probably have, too. Earwigs crawl in your ear when you are sleeping at night---causing a fever and insanity. Umm…..no. The fact is, earwigs do like to burrow! But their burrowing is done in gardens and basements, and yes, they are a big pest for homeowners.
So what exactly is an Earwig? It is a burrowing insect, reddish-brown in color, and usually around a half inch long. They are nocturnal by nature, and usually only found during the summer months, however they are active throughout the year. They have sharp pincers at the ends of their abdomen, usually the pincers are harmless—but can be painful if you get the "business end".
As with any pest, it becomes an issue when they nest in or around your home. During the day, Earwigs will seek shelter under the sidewalks, stones, and the dirt around the homes foundation. This is also where they will nest. Earwigs reproduce in large numbers and pretty quickly can establish a very large colony.
If the infestation of Earwigs is mild or indoors, a chemical called Esfenvalerate is usually what works and is effective. It will be mixed with water, then sprayed. If you do this job yourself, make sure to spray the foundation, inside and out, and treat openings like doors, windows, vents and pipes.


text:
Tom Trantham, Pelzer, SC
The New American Farmer, 2nd Edition»
- + Text Version
Profiles By Region
Max Carter, Douglas, GA
Claud Evans, Okemah, OK
Luke Green, Banks, AL
Alvin and Shirley Harris, Millington, TN
Alex and Betsy Hitt, Graham, NC
Jackie Judice, Franklin, LA
Martin Miles, Stickleyville, VA
Jim Morgan and Teresa Maurer, Fayetteville, AR
Terry and LaRhea Pepper, O'Donnell, TX
Lucien Samuel and Benita Martin, St. Thomas, USVI
Richard and Peggy Sechrist, Fredericksburg, TX
Rosa Shareef, Sumrall, MS
Chuck and Mary Smith, New Castle, KY
Lynn Steward, Arcadia, FL
SARE's mission is to advance—to the whole of American agriculture—innovations that improve profitability, stewardship and quality of life by investing in groundbreaking research and education. SARE's vision is...
Tom Trantham has influenced scores of experienced and beginning dairy farmers through presentations at conferences and as the subject of magazine stories.
Photo by Preston Roland
Tom Trantham
Twelve Aprils Dairy Farm
Pelzer, South Carolina
Updated in 2005
Summary of Operation
75 dairy cows (Holsteins) on 95 acres; on-site creamery and farm store
Management-intensive grazing on 60 acres
Seeded grass and legume pasture divided into 25 paddocks
Problems Addressed
Focus on production, not profit. High feed costs for total mixed ration and low milk prices squeezed Trantham to the point of bankruptcy, despite his impressive herd milking average. "I was advised by financiers that there was no way I could make it," he recalls. "They told me to file for bankruptcy."
It got so bad, a despondent Trantham used to go to bed at night and hope the dairy would burn down.
Tom Trantham was South Carolina's top dairyman who, while producing more milk than anyone else, lost as much money as if he were walking around town with a perpetual hole in his pocket. Despite an annual herd milking average that reached as high as 22,000 pounds, Trantham couldn't pay his bills because his high-production confinement system demanded expensive specialty feeds and other inputs. Most of the costs went into a total mixed ration (TMR) that required as many as 17 ingredients, such as a 20-pound bag of beta carotene that cost $50.
Trantham, who used to manage a grocery store in California, moved east and began dairying in 1978. His original system focused on production — and lots of it. Following the standard practices, he grew forages and bought grain and fed them to his herd of confined cows. He designed a manure collection system and spent uncountable hours milking to keep up the herd average. His low return and debt load brought him to his knees and took a toll on his marriage.
The expensive TMR supplemented the forage he grew each season and stored in his silo. The work was endless, and the bills were monumental. Those costs were made more difficult to offset by plummeting milk prices.
His financial quagmire ended when he switched to management-intensive grazing (MIG). Although he produced a lot less milk — he dropped to a 15,000-pound herd average one season — he could pay his creditors and even stash away some profit because his input costs were lower. Trantham has documented as much as a 42-percent reduction in input costs in his best grazing year. "I was down in milk production, but I was able to pay my bills," he says. "I kept doing things less conventionally, and yet things kept getting better."
Focal Point of Operation — Pasture management and on-site creamery
When Trantham ran out of money or credit to buy fertilizer in 1994, he took an old manure spreader from the back of his barn and treated one of his pastures. That April, the field was lush with native grasses and young weeds. That April, lamb's quarter and other young weeds appealed to Trantham's cows. After he turned them out in the pasture, they grazed rapidly and efficiently.
"I said to myself, 'If farmers could have 12 Aprils, they could make it on pasture,' " he says. The idea took hold: Given the optimum growing conditions of South Carolina's April, pasture species could sustain a healthy herd of milkers.
To this day, Trantham continually refines and enhances his pasture system, seeking those perfect April conditions every month of the year. In succession, Trantham seeds grazing maize, sudangrass, millet, small grains, alfalfa and clover, experimenting with new varieties if they seem to fit. Variables such as weather determine that no two years are exactly alike, but on average he makes five to seven plantings a year, seeding six to eight paddocks with the same crop on successive dates.
When Trantham first went into MIG, he created 7- to 10-acre paddocks with wire fencing. Working with SARE-funded researchers at nearby Clemson University, he devised a forage seeding system relying on small grains, sorghum and alfalfa to offer his cows succulent growth every month in new pastures.
"You take a calendar and put down when to plant what forage, when it'll be big enough to graze and for how many days," he says. "I tried berseem clover last year, and it grows fantastic in the winter. I grew black oats, it looked like carpet. You have to think about what's going to grow in your area."
Trantham recommends that producers talk to local researchers and extension agents about what grains and forages grow well at various times of the year.
"I find the earliest thing I can plant, the latest thing I can plant and the things that grow well in between," Trantham says. "You'll find there's something that will grow in 12 months" in most areas. "The buffalo survived all year long."
He joined a SARE-funded group that toured dairy farms in Ireland in 1999 and came home with plans to shrink his paddocks. His 70 acres of grazing used to be divided into eight paddocks, but now he has 25 paddocks ranging from 2.5 to 3.2 acres that are grazed for only one day at a time.
"I used to be opposed to moving fences daily because of the increased labor," he says. "But in Ireland I found out that if you put a herd in 10 acres, they will walk that entire pasture eating only the best forage. That first milking will be great but production will decrease from there, until the herd is moved again."
In 2002, Tom and his wife, Linda, and Tom's son, Tom Trantham III, opened Happy Cow Creamery at the farm. Trantham converted his old silo into a milk bottling plant, and opened an on-farm store where customers purchase milk and other farm products. The creamery has become so popular that they have been bottling milk up to three times a week, and are serving customers from across South Carolina and surrounding states.
Economics and Profitability
Clemson researchers compared Trantham's management-intensive grazing to his former confinement system and found a 31 cents per cow per day savings under a grazing system. In 1994 and 1995, the herd grazed 437 days, leading to a $15,805 savings for Tom's 70 cows.
Grazing translates to considerably more income for Trantham. When he was 23, he managed a market in California for $16,000 a year, a respectable 1960s-era salary. Throughout eight years as a conventional dairyman in South Carolina, Trantham never netted as much as he had earned as market manager. After switching to management-intensive grazing, he began netting $40,000 annually. "That's an extra good year," he admits. "And that's on top of the low cost of living here."
Trantham's goal: To milk 60 cows and earn $60,000 a year, with fewer hours of work. "I'm going to do it, too," he says. The store should help.
From October 2002 to October 2003, sales at the creamery increased 307 percent, Trantham says.
When Trantham grew his own feed, he spread about 150 pounds of purchased fertilizer each year — even when fertilizer labels called for 125 pounds. "I spent thousands of dollars to put out more chemical fertilizer than needed because I had to be the top producer," he says.
In 16 years as a grazier, Trantham has purchased commercial fertilizer just once for a new alfalfa field. Allowing the manure to be spread by the herd as they rotate through paddocks has contributed to soil testing high in fertility without purchased inputs. A soil tester told Trantham his soil was the highest quality with no deficiencies, something he had never seen in his 30 years in the business.
The manure no longer poses a containment problem for Trantham. He directs manure-laden wastewater — from washing down the milking parlor twice a day — into a lagoon, which he mixes with well water and sprays on newly planted or freshly grazed paddocks. The water is filled with high levels of nutrients from the animals themselves. It's a far cry from Trantham's past practice of dumping truckloads of manure in his cornfields.
"It was excessive, with runoff and pollution knocking on my door," he says. "In the future, we won't be able to farm like that."
On the fields, cow pies last no more than a week. Cows graze "like crazy" two weeks later.
Community and Quality of Life Benefits
Trantham went from a life of despair to one where he is challenged to hone a profitable system year after year. He takes great pleasure when he opens a new paddock gate and watches "his girls" graze with gusto. "I feel like I'm goofing off instead of working because what I do is so enjoyable," he says. "Cows grazing with that intensity will make some milk."
Trantham has influenced dozens of beginning dairy producers by holding up his farm as an example. Frequent tours and pasture walks have prompted at least a few dairy producers to try grazing systems. He has reached national audiences by speaking at conferences around the country, where he has shown slides depicting green pastures and contented cows to rapt audiences that seem to appreciate his sense of humor as well as his system. In 2004, he and Linda began promoting farm tours as another revenue source.
In 2002, Tranham was named winner of SARE's Patrick Madden Award for Sustainable Agriculture.
Dairy operators considering switching to pasture-based systems should not make a cold-turkey plunge. A producer can realize savings, Trantham says, by turning his herd out on good pasture for just one month.
"The first day I went to 'April' in November, I saw a reduction in input costs that day," Trantham says. "Switching to 12 Aprils is not like taking a drastic chance. It's like tiptoeing into cold water. Once you're in, it's not bad."
A newcomer to MIG should talk to other graziers and take pasture walks. After absorbing all you can from others, take a walk in your own pasture and see the possibilities. Plant a forage crop and buy fencing. Beginning graziers should consider grazing for a few months of the year to introduce the system. "Before you buy your Lincoln, you're going to have to drive to town in a Chevrolet," he says.
Responding to customers, who line up outside the crowded store on Saturdays, waiting for room to enter, Trantham and son, Tom, plan to open another store in or near the city of Greenville. The original store is open six days a week. "It's incredible how our business has grown," Linda Trantham says.
Profile written by Valerie Berton
330 McKelvey Road
Pelzer, SC 29669
trandairy@aol.com
More profiles from the Southern region
New American Farmer home
You are reading the SARE book The New American Farmer, 2nd Edition.
Order this publication.


"Yuulong" is situated 45 minutes from Melbourne on the south east side of Beaconsfield Upper with breathtaking views to French Island and the Toomuc Valley. The house is encompassed by 2 acres of 100 year old gardens and has been host to wedding's and celebrations since the turn of the century. "Yuulong" is renowned for its hospitality.
Lis Gunness the owner and operator of Yuulong is a keen cook and can produce quality meals of restaurant quality." It was just a sort step from entertaining friends to preparing great breakfasts and dinners for guests." Lis's background is Scandinavian, her family was in the hospitality industry for many years in Melbourne. Scandinavian cuisine is just one of Lis's many talents.
The separate bed and breakfast accommodation is in the west wing of the house, furnished with authentic French Provincial Furniture, but with all mod cons, heating, cooling, side board with tea and coffee making, refrigerator, TV. DVD. and en-suite. Breakfast can be served in your room or on the veranda. Dine in front of the open fire or in the main house in magnificent surroundings.
A special service for the Bride is the Bridal " Salle de Bain " (bathroom) with a glass ceiling, providing excellent light and room enough for your makeup artist, hairdresser and brides maids. A light lunch or morning tea is available.
Take your photo's in the beautiful gardens of "Yuulong", adorable and friendly pets are Chequita a 35year old miniature American horse, Winston, Dushka and Baby, toy poodles who just love attention. Then there are 9 Alpaca's who come when called, all have names and can be hand fed.


text:
For The Love Of Poetry And Sacred Texts with Willis Barnstone
art of conversation
Eve of the Bible
Robert Fitzgerald
Willis Barnstone
Willis Barnstone is a poet, translator, biblical scholar, memoirist, anthologist, teacher, and painter. If we are to grasp his greatest contribution to culture over the course of his professional life, we can focus on his role first and foremost as a poet – a lover of words, both his own and those of others, and on what he believes are sacred words from our earliest written records down to present day mystics and poets. What he is carrying across borders is no less than what his fellow poet Robert Bly calls "News of the Universe." To read his bibliography is like reading the card catalog from the Ancient Alexandrian Library. He describes one of the oldest poems from the Bible, "Let there be Light," and says that reading is like having a conversation with men and women of other centuries. (hosted by Phil Cousineau)
Willis Barnstone is a poet, translator, biblical scholar, memoirist, anthologist, teacher, and painter. He is a former O'Connor Professor of Greek at Colgate University, Distinguished Professor of Comparative Literature at Indiana University, a Guggenheim Fellow, and winner of numerous literary awards, including the Emily Dickinson, Lannon, and W. H. Auden awards. In 2015 he was recipient of the Fred Cody Lifetime Achievement Award. He is translator of the Greek Lyric Poets, a literary historical version of the New Testament, and poets as diverse as Sappho, Rainer Maria Rilke, Jorge Luis Borges, Antonio Machado, Wang Wei, and St. John of the Cross.
Barnstone's life's work includes over 75 books including:
With Borges on an Ordinary Evening in Buenos Aires: A Memoir (University of Illinois Press 1999)
The Poems of Jesus Christ (W.W. Norton & Company 2012)
Poetics of Ecstasy: Varieties of Ekstasis from Sappho to Borges (Holmes & Meier Pub 1983)
The Poetics of Translation: History, Theory, Practice (Yale University Press 1995)
Sappho and the Greek Lyric Poets (Pantheon 1988)
The Other Bible (HarperOne 2005)
The Apocalypse (editor, translator) (New Directions 2000)
The Gnostic Bible (Shambhala 2009)
The Restored New Testament: A New Translation with Commentary, Including the Gnostic Gospels Thomas, Mary, and Judas (W.W. Norton and Company 2009)
A Book of Women Poets from Antiquity to Now (editor with Aiki Barnstone) (Schocken1992)
To learn more about the work of Willis Barnstone go to www.willisbarnstone.org.
What is the difference between writing poetry and writing prose
Why reading is like having a conversation with men and women of other centuries
How we have misread and misheard the words of Jesus
What is best way to learn a language
What makes a good translation of poetry from one language to another
How the first woman, Eve, is the hero who brought us knowledge
Why restoring the Latin, Greek, Aramaic, and Hebrew names in the Bible are important
A poem on Adam and Eve as they live the first morning of the globe
His time spent with Jorge Borges
How Jack Kerouac's book On the Road was first written in French
Host: Phil Cousineau Interview Date: 3/9/2015 Program Number: 3535
Music Break 3: Track 01 Simsimay Panima
Poetry: Breaking the Heart Open with Margaret Barkley
Poetry: Metaphors for the Soul with Margaret Barkley
Our Lazy Feelings are Protective and Instructive with Devon Price, Ph.D.
Earthmusic with Paul Winter
Music For All Creatures with Paul Winter
Looking for The Deeper and Greater Unities with Michael Meade
A Musician for All Seasons with Paul Winter
A Trailblazer Of Earth Music with Paul Winter
Living In The Full Wingspan Of Our Wild Twin with Martin Shaw, Ph.D.
The Business Of Stories Is Waking Up with Martin Shaw, Ph.D.


WHAT A LOVELY CAR THIS REALLY IS!! FULL BMW SERVICE HISTORY!!!
We are proud to offer for sale this beautifully presented BMW 125i! Fantastic 3.0L straight six engine delivers fantastic performance and is effortless to drive thanks to the superb automatic gearbox. Immaculate condition throughout, this car has a Full BMW Service history and just had the benefit of 4 brand new Bridgestone tyres.


G3 Series Fw73 Power Station 5 out of 5 based on 17 ratings.
more We're looking at four Dell G laptops spread across three series: G3 (15-inch and 17-inch), G5 (15-inch), and G7 (17-inch) – pricing starts at $749 (G3 15), $799 (G3 17), $799 (G5 15), and $849 (G.
SKU: Power Station – G3-FW73 Categories: Aura Series, Commercial, Fitness, Free Weights, Strength Tags: Commercial, Free Weights, Matrix, Strength Add to quote The product is.
2001: A Space Laptop – The only consolation I made is the installation of a G3 processor.
or the Space Station and you will see pale blue Velcro patches everywhere. Both the Laptop and its expansion unit have a series of.
If you need a brighter screen with an even greater 4K resolution, a mobile workstation like the Dell Precision 15 5000 Series is an option.


LA DAGRARACING DISTRIBUISCE I RICAMBI ROTAX PER MOTORI MOTOCICLISTICI.
ALCUNI RICAMBI SONO ESAURITI ANCHE IN ROTAX, PER QUESTO LA DAGRARACING SI ADOPERA PER REPERIRLI PRESSO VECCHI MAGAZZINI, CONCESSIONARI E DISTRIBUTORI. SI ADOPERA ANCHE PER ESEGUIRE LA RICOSTRUZIONE DI ALCUNI DI ESSI ED APPRONTA ANCHE KIT PER MIGLIORARE LE PRESTAZIONI.
VENGONO PUBBLICATI IN PARTICOLARE I RICAMBI IN ESAURIMENTO E LE PARTI SPECIALI, TUTTAVIA SONO DISPONIBILI MOLTI RICAMBI PER CUI NON ESISTATE A RICHIEDERE LA DISPONIBILITA'. A TAL PROPOSITO TI RICORDIAMO CHE REGISTRANDOTI POTRAI ACCEDERE ALLA SEZIONE MANUALI E CATALOGHI, DOVE POTRAI SCARICARE GRATUITAMENTE I CATALOGHI RICAMBI PER MOLTI MOTORI.
PER OGNI INFORMAZIONE O RICHIESTA NON ESISTATE A CONTATTARCI, VI RISPONDEREMO NEL PIU' BREVE TEMPO POSSIBILE.


text:
Most Important Story of the Week and Other Good Reads – 28 June 2019: The Office Is Leaving Netflix
EntertainmentStrategyGuy	on June 27, 2019
A "Most Important" column on a Thursday? What's going on with the Entertainment Strategy Guy's usual Friday column? Well, an out of town wedding, which means I'll be on the road tomorrow. So enjoy an early bite at the entertainment biz apple.
Also, next week, with a birthday, Fourth of July, and some household projects lined up, posting will be light again. However, I have a lot of fun ideas planned for July, so keep checking in.
Most Important Story of the Week – The Office Is Leaving Netflix (in 2021)
Imagine that you have a favorite restaurant. A fancy small plates restaurant with a named chef. The first time you go, the meal is incredible. Almost all the dishes are delicious. (The service is impeccable too.) And for how much food you get, well, the price isn't too bad!
Naturally, this becomes a restaurant you visit often.
Fast forward a bit. A year or two later. The small plate place has changed its entire menu. It's a bit more adventurous. You try a few plates, and well this time there are a few dishes that are misses. Meanwhile, your old favorites are gone. (The service is still impeccable.) Do the portions seem a bit smaller? Man, this bill is kinda pricey for what we got.
Naturally, you don't go as often anymore.
Since this is a business strategy site, let's take the above two scenarios and put them in terms of the old quality drivers: the product–in this case the food–isn't quite as good. Though part of the product–the service–is the same. Meanwhile, the price for the food (both in terms of quantity delivered and quality of dish) is much lower. Hence, you don't go as often because it isn't as valuable.
You see the Netflix analogy, right?
One part of Netflix's product is just fine: the user experience. They're way out in front of everyone else in streaming. But the prices are going up, starting in the US and expanding to the EU. These prices are going up right as the quality of the product (in terms of both size of offering and quality of individual titles) is about to potentially fall off a cliff facing. Starting about two years ago–and continuing for the next half decade or so–Netflix has lost or will lose theatrical movies from Disney and Universal, new shows from The CW, library TV content from Disney, Fox, and others (including The Office which was widely speculated about online) and more.
Let's not pretend that losing thousands of hours of the most valuable content is nothing. You can't lower quality while raising prices and say, "This will have no impact." Signs are Friends and The Office are Netflix's most valuable TV series in terms of hours viewed; I continue to believe that Disney has the most popular movies being made because…they do. (See box office.) Moreover, the biggest shows and movies aren't just bigger by a little bit–long time readers know where I'm going with this–they are MULTIPLES more important. (Article explaining that here.)
As we move into the next wave of the streaming wars, the value of a content library will be increasingly important in separating the services. Consider this (hypothetical) situation with (made up) numbers. Netflix has a service that most customers value at a "5". Disney offers a service most customers value at a "4". But Netflix costs twice as much as Disney's service…so how many keep both? How many cut the cord for Disney? What if HBO ends up with a service customers (hypothetically again) value at an "8", but it costs even more than Netflix? What if NBC and Hulu are free…but have better content valued at "3"?
I don't know! That's a complex equation with too many variables to compute. Then we'll have to repeat the exercise country by country around the world. But whereas we know one key piece in that equation absolutely—price per month isn't a secret—we're left guessing on how much less valuable the Netflix library will be after The Office, Friends and Disney movies (after Dreamworks movies, Fox TV series and others have already left) depart the platform. So will this hurt Netflix? Yes. How much? It remains to be seen.
(Here is where I wish I could link to my article explaining how to value content libraries (versus series, which I did here), and my take on which service has the most valuable content library. But, um, I haven't written those yet. Yes, I'm on it. I'll do what I can.)
Other Contenders
Kanopy Dropped by New York City Public Libraries
Tag: Business, Disney, Hollywood, Netflix, Streaming, The Office
Most Important Story of the Week and Other Good Reads – 21 June 2019: Overall Deals…Explained!
Here's a fun factoid about the news:
JJ Abrams hasn't actually closed his deal with Warner Media for $500 million.
By the news coverage I read, I assumed he had. And by coverage, of course, I mean Twitter and Linked-In headlines. It's only when you read Lesley Goldberg's actual story that you find out that the deal is in "final negotiations", not actually signed, sealed and delivered. Still, let's call it 94% that it happens, so the biggest piece on the showrunner chess board has been officially removed, so it's my….
Most Important Story of the Week – JJ Abrams/Bad Robot Land at Warners Bros.
Like a giant NBA trade—cough Lakers cough Anthony Davis cough—everyone wants to immediately determine if this free agent signing was a good deal.
Unfortunately, I can't tell you that.
Someday, I hope to evaluate all these deals like a Zach Lowe of entertainment business, but we're currently at an information deficit. Consider what we don't know about the deal…
Length?
Type of projects included?
First look or true overall?
Overhead paid?
Fees for TV and Movies?
That's a lot to not know! And while I'd love to trot out my POCD framework for all overall deals—it's a pretty flexible framework and it fits easily here too—we just can't determine if the price was too high without knowing what they're paying for. Then, on the TV Top Five podcast, Lesley Goldberg even admits that the $500 million is really just an estimate.
(Here's a good summary of who has overall and first look deals and with whom, but not price tags, lengths or type of deal by Variety. And it's from 2018.)
Instead, I think there is still a lot of confusion about overall deals in general. So today I'm providing a mini-explainer on the key pieces of an overall deal, and how they can impact the bottom line. Let's start with the "what" you get in an overall deal, because it differs.
The Differences between Showrunners, Creators, Executive Producers and Development Executives
Have you ever looked at Steven Spielberg's IMDb page? Here's his IMDb clip for just producing for 2019 and beyond:
Holy cow. Here's one of the showrunners of Game of Thrones for comparison, David Benioff, for his entire producing career:
Those two IMDb extremes capture the range of participation in a producing/overall deal. On one end of the spectrum, you have the showrunner, who is in the trenches everyday ensuring the writing gets done and the product is great. Benioff & Weiss, Michelle and Robert King's on The Good Wife and Vince Gilligan on Breaking Bad are examples of this.
On the other end of the spectrum are famous producers who lend their name as "executive producers" to a whole host of projects. Spielberg, Ridley Scott, and the emerging Jordan Peele are all examples of famous directors who still make movies, but find time to attach their names to a host of projects as executive producers.
Understanding the differences in these titles and roles explains a lot of the value a creative can add to the final TV or film project, meaning it's likelihood to succeed. Which reminds me of my "creative to business" spectrum. The less involved the showrunners are, the more "business" they become, and hence less value they add to the ultimate quality. So here are the definitions keeping that in mind:
Showrunners – A showrunner is the person who runs the day-to-day operations of a TV series. This includes managing the writing of the series–either supervising the writer's room, or sometimes by writing all the episodes–overseeing day-to-day production, sometimes hiring of directors, and producing the show.
Value – Immense, but limited in output (about one show/film a year)
Creator – Usually, a showrunner is a creator of a given TV series. But commonly, some of the great TV showrunners launch a TV series as the creator, but then pass day-to-day showrunning to another writer, while continuing as an executive producer. The epically prolific Greg Berlanti follows this framework. He has creator credit on most of his shows, but in many cases hasn't written an episode in years. Shonda Rhimes also fits this mold, though with her and Ryan Murphy I don't know their day-to-day involvement in all their shows.
Value – Big, and potentially for multiple show launches simultaneously.
Producer/Executive Producer – These are the fuzziest terms in the list of definitions I'll give you. For this reason, the Producers Guild of America has actually worked to define the roles of producers on TV series to try to limit the list of people being called producers who aren't actually producing something. To get the "p.g.a." after your name on a project, you actually have to be heavily involved making a show or movie happen.
This is opposed to "executive producers", which means an executive who oversees a project. Again, look at that Spielberg list of projects. Is he really reading the scripts of all those projects? Add the fact that some top tier actors and directors insist on EP credit (with bonus producer payments), then the value of an EP ranges from vital to totally unnecessary.
Value – A huge range, but mostly little value added to final project, besides increasing odds of initial greenlight.
Development Executives – The development executive is the person at the studio who helps pick out and shepherd projects from pitch to pilot to series and beyond. But you don't give overall deals to development executives, so why are they included? Because the difference between a development executive and many executive producers is just a matter of perspective. In some of these overall deals, they're really just elevated development executives.
Value – Great development execs are worth their weight in bitcoin; the rest are average, meaning interchangeable.
Additionally, some overall deals are with directors who can direct projects, but everyone knows what a director does.
When you ask, "Is the JJ Abrams deal a good deal?", the question should be, "To do what?" How many movies is he directing? How many shows is he creating? How many is he writing? How many will he just EP and slap his name on it? I don't know, but then it begs the next question: does Warner Bros own these projects, or just get the first look?
The Difference Between a First Look Deal and an Overall Deal
How Can the NCAA Maximize College Baseball and Softball Revenue? My Unasked for Recommendations & Other Thoughts
As you probably know by now, when I write a long article for another website, I inevitably have some leftover thoughts that I put up on my my own website. So first, head to Athletic Director U to read my framework for looking at revenue growth and then read my first option, growing college baseball and softball. After you read those, today I'll answer these additional questions:
– Should the NCAA invest more?
– Why did I include softball?
– What are some ideas to grow college baseball and softball?
– How would you negotiate the next round of rights?
Should the NCAA invest more in baseball?
My tentative plan is to avoid making "go or no go" decisions until after I've looked at 4 or 6 different opportunities. (We'll see how long the series goes.) After I've evaluated that many, I'll try to rank them by net present value and/or qualitative factors. So I don't want to prematurely make any calls here.
But I feel pretty confident that the NCAA should lean more into college baseball. With other opportunities—take e-Sports or international growth—the learning or expertise likely just isn't present. That means you'll need to build institutional capabilities, which is fundamentally hard. Or, like with gambling, it may go against the organization's charter. (And I use NCAA as a fill in for all colleges, universities and conferences.)
I don't have that hesitation with college baseball. The NCAA can build these sports bigger, and, unlike other ventures I'll explore, I can say the baseball investment has the smallest costs.
Why did I include softball?
Two reasons. First, philosophically I'm a big supporter of Title IX. I'm inclined to try to put women's athletics on par with the men's wherever possible.
But this is a business website. So the real answer is money. College softball gets playoff ratings as big and often bigger than college baseball. Depending on whether or not the Olympics is featuring softball—and it depends, it will be back for 2020—these are arguably the best softball athletes in the world playing. And the cities/university fanbases tune in. Especially the legions of young fans who play softball. There is also some chance of synergies between the two sports and baseball and softball can benefit each other by growing, which I wouldn't say for some other sports necessarily.
What are your unasked for recommendations?
In some ways, I saved the most fun part of my exploration of college baseball for my own website. Why not include these gems in the original? Well, they're pretty much my gut thinking on the topic. So I don't have a lot of tables or charts or numbers to justify my thinking.
Also, as I mentioned in the introduction, I love the "marketing framework". The key step is identifying the target segment you want to reach, then positioning the product to them. That allows you to develop the "marketing mix", often called the 4Ps. If I want to do this right, run that analysis first.
But that takes a lot of time to do right, and I had some ideas I just wanted to get out there.
Gamify the Baseball Experience
I love being able to take off work for the first two days March Madness. For a few years in a row, my wife and I had schedules that enabled us to do this together. It was a phenomenal experience. Nothing is more fun than constant basketball games ending in buzzer beaters. (Can you imagine if the US made the first two days of March Madness a national holiday? All our lives would be better.)
In addition to the games, though, part of the appeal is filling out a bracket and seeing how well it does. That's right, the simple act of picking winners and losers emotionally invests me in colleges I may have never heard of. Even if UCLA isn't playing. (Some years I fill out a survivor's bracket too, and get even more invested in that.)
Can college baseball get to the same thing? Sure. It would be a bit tougher because the individual game match-ups are complicated by the double elimination format, but you still have the start of a massive bracket to fill out. If you can make filling out baseball/softball brackets a "thing", that can only help ratings.
Notice, I did use the term "gamify" versus "gambling". I think you can create the same thrill of winning various pools without having to teach all of America how to wager on college athletes. (And my initial thinking is that even as the NBA and NFL get comfortable with gambling, college sports is a different arena entirely.)
Shorten the games
This is one of those touchy subjects I'm hesitant to even type. But let's start with a personal example.
Game 2 of UCLA-Michigan was a win or go home game. It started at 6pm. Three hours later we were just leaving the sixth inning. A few extra innings later, and it ended at 11pm in dramatic fashion. So a fun, dramatic game, but five hours is a long time. I could have gone and played a round of golf in that time. (If the sun was up.)
This seems to be the most common recommendation for improving college baseball. Both pace of play and the length of games could be sped up/shortened without really hurting the game. I'm not a baseball traditionalist, but I already complain about the pace of play in both college football and basketball, so I think all NCAA sports could be improved in this regard.
Build out from the SEC
One of the underlying themes of the evidence is that right now college baseball's growth is being driven by the SEC. They're the schools that are out in front in revenue and ratings in football, and apparently are adopting college baseball faster than the rest. (The gold standard is LSU.)
When in doubt, I recommend making your strengths stronger. Keep reinforcing the growth in the SEC states, and it will expand to Texas, the midwest and eventually all of the country. Whatever tactics they're using to work, other conferences can copy. Part of the SEC's success may just be that it's sunny enough to play baseball during winter, which is another potential improvement. (The Big 10 schools apparently are hindered by this.)
How Would You Negotiate the Next Round of Rights?
At first, I had my sports rights recommendations lumped in with the above growth opportunities, but I realized they were a subtly different area. So I split them out.
Really, this is how the NCAA monetizes its product. Sure, gate revenue is good. And sponsorships are something. But we know that the bat that hits the ball here is the giant paychecks from ESPN. So the NCAA needs to constantly maximize the revenue from this source.
Thinking about the future negotiations—and media rights deals—is crucial for the NCAA. So here are my initial thoughts on baseball I may try to quantify in future articles.
Separate baseball and softball from the rest of the NCAA playoffs.
This is really the point when I think individual sports can justify themselves as "the third revenue generating sport": when they can stand on their own as their own negotiated deals.
If you can separate out college baseball and softball from the rest of the NCAA playoffs, as opposed to a total content deal, I think the NCAA could get a higher price overall. (I'd add, if you separate out college baseball and softball, you can still have women's basketball—the third highest sport in terms of ratings—prop up the rest of the post season sports.) I have to do some modeling on this, but the idea is you can get more bidders for more sports, which increases the odds the bidders are maximizing each bid.
Shorten the length of the contracts.
If you think sports rights are going to keep increasing in the near future—and everyone is predicting that—why would you get into decade long deals? How much money are you leaving on the table between negotiations?
I first thought of this with the Pac-12. If they had done 6 year deals with Fox and ESPN, then the Pac-12 would be getting a price boost right now, instead of in 2022. Even if the price had been subtly lower for a shorter term in 2010, that would easily be made up for right now.
Take bids from everyone, but go with biggest audience builder.
This is a topic that's worth twelve different articles, probably, but when it comes to picking a digital partner, value the money the most, but think about growing the audience as well. This would clearly give ESPN a lead track, but consider if another channel can commit to more marketing or feature a sport even more because of its new profile. Could Fox Sports pair their MLB coverage with NCAA baseball coverage? Also, for all the hype of digital only platforms like Apple and Amazon, pairing digital with linear will maximize the total reach, even if the price is less. Again, ESPN has an advantage here.
Final question: any last piece of advice?
Don't hire consultants to do strategy. In my opinion, 95% of the time, businesses should own their own strategy. Strategic thinking is why you pay top executives as much as you do. If you don't have the capabilities in-house, I'd ask your highest paid executive, "Why not?" If you don't have a team building out these models and writing these reports, save your money from hiring consultants and build a team to do it.
Category: Analysis, Pac 12 and College Sports
Read My Latest at Athletic Director U – Where should the NCAA look for growth?
When Athletic Director U asked me, "What do you think of college baseball?" I'll be honest, I didn't have an angle. Sure, it could grow, but how much? And compared to what? Then, I read an article about eSports. Apparently the NCAA–technically a consultancy hired by the NCAA–was exploring whether to bring eSports under the NCAA fold. I thought, "Huh, baseball or eSports?"
That's a fun challenge, thinking about growth and deciding between opportunities how to think about growth. So in true "Entertainment Strategy Guy idea spiral fashion", I didn't just write an article about college baseball, but developed the idea to write a series on how the NCAA could look at generating revenue. The goal is to explain my approach to looking at new businesses and to explain some business frameworks along the way.
Over the next few months, I'll look at college baseball, international growth, eSports, women's basketball (and other rising sports) and maybe a few more topics. But before I do that, I needed to explain my approach. It's a framework that isn't unusual for my regular readers—see my Game of Thrones articles here—but I wanted to explain it again.
Check it out over at Athletic Director U, "Where Should the NCAA Look for Growth?"
And if you're new to my site, follow me on Twitter, Linked-In or subscribe on WordPress for regular updates. My goal is to explain the business of entertainment, using fun examples like Star Wars or college sports. If you'd like to reach out, my contact information is on a page up top.
Category: Analysis, Other, Pac 12 and College Sports
Tag: Athletic Director U, NCAA
Most Important Story of the Week and Other Good Reads – 14 June 19: AT&T-Time-Warner Approval Decision Turns One
This week, The Starters (an NBA talk show and wildly popular podcast) was cancelled by…well we don't know who. The Washington Post identified a few potential suspects. It could have been Turner or NBA TV–for the usual ratings reasons–or it could have been their corporate overlord, AT&T, mandating cuts across all businesses to pay off debt. (For a good read on how influential The Starters are, Business Insider has the story.)
Just because I'm a huge fan of these guys doesn't mean this is the most important story of the week. But it does remind us that AT&T may still have no idea how to build brands in the streaming wars. You're trying to launch a platform…which needs to acquire a lot of new subscribers…and you're cancelling a cheap show with a devoted fan base that amplifies it on social media? Gotcha.
In another sense, it's just a small ramification among all the huge ramifications of AT&T/Time-Warner merger had on entertainment. Which was approved a year ago this week by one (unelected) judge (legislating from the bench). (That's me being slightly cheeky on politics.) Let's reflect on that massive story with a bit of distance, focusing on the true consequences of that merger.
Most Important – AT&T and Time-Warner Merger and the Ramifications
Let's be clear on the official, Entertainment Strategy Guy take, on this issue: the decision to allow these two companies to merge was huge. It was big. Not unprecedented, but big. (I mean, Comcast and NBC-Universal was unprecedented, though Comcast had tried to buy Disney in the early 2000s.) Though the impact it had on future mergers was much smaller than anticipated, as I've written a ton on.
First, it caused Disney to pay more for 21st Century Fox.
This is one of those instances where you just have to marvel at what happened. As soon as the dust settled, Comcast genuinely saw a greenlight to grow. So Comcast put in an offer on 21st Century Fox that eventually forced Disney to increase their bid to $71.3 billion, an increase of about $20 billion dollars.
This boost likely turned the deal from a no-brainer win for Disney to an open question. The economics lesson is the "winner's curse" in auctions. Meaning, if the value of something is an unknown future value of X, but each bidder has a different value on that X, the more bids you accept, the more likely someone is to overpay to win the auction. Did Disney have to overpay to win the deal?
Maybe. At $50 billion, I think they make up the value even if they don't launch a game-changing streaming platform. At $70.3 billion? Well, that's $20 billion in free cash flow–discounted over time–that you need to add. That's a tougher sell. Even if Hulu allows them to launch a transformational subscription service, they still could have done a version of that without Fox. But the raising in price made Disney worried about debt. So…
Second, after it raised the price on Disney, Comcast bought Sky.
Bundle this with "another merger that was in process that Comcast hopped in on". Fox was looking to expand its stake in Sky, and Disney was hoping keep Sky in the deal. Then Comcast came in still looking to buy something. Without the AT&T verdict that caused Disney to increase its asking price, this deal doesn't go through.
Though, after swallowing this additional piece Comcast now has enough debt that it can't do anything else. I mean, it had to spend another 26 billion pounds to buy Sky. And as has been written, the debt loads of all of entertainment conglomerates are now so heavy that this has weighed down future M&A. Of course, not for AT&T exactly…
AT&T Buys the Rest of Otter Media.
As the dust settled from the merger, conveniently AT&T bought out the rest of its stake in Otter Media–a collection of OTT brands–from The Chernin Group. Arguably, Otter was really valuable to AT&T since it has subscription video know-how and brands to throw together with Warner Media. And now that the heads of Otter Media are in charge of all the streaming video, well that little move mattered. That didn't stop AT&T, though, from cleaning house…
AT&T Cancels a Bunch of OTT/Video Services.
Film Struck? Gone.
Drama Fever? Gone.
Super Deluxe? Gone.
Machinima? Rebranded and repurposed.
I applauded these decisions at the time for a larger corporate behemoth, though few customers loved it. In my mind, this strategic decision made sense because as I counted up once, AT&T had over 20 streaming services and was planning to launch more, including DC Universe. So between DirecTV-Now, HBO Now, and everything from Otter Media, well AT&T needed some focus. Maybe they will have that…
AT&T/Warner-Media Announced a New Streaming Service.
Now that you have all this content in one place, AT&T's master plan was unveiled to launch its own Disney+/Netflix style streaming service. Since then, the price and the content and the number of tiers and the launch date and the distribution plan have all been up in the air. Or have changed multiple times. And whether or not it shuts down more OTT services or bundles them together.
Everyone Left Warner-Media.
Does Richard Plepler leave HBO if AT&T doesn't buy Warner-Media? Probably not. What about David Levy? Does Bob Greenblatt come in? Likely no to both.
So AT&T's acquisition started a parade of executives that has only continued, with more HBO executives and then the head of Warner Bros. (Fine, that last one probably would have happened anyways.) Some executives will always leave after a merger; all of the top executive team, though? That seems like too much.
Add this all up: How big was this?
Huge. Monumental in the industry, and some of the ramifications are yet to come.
(This very long read from Nilay Patel at The Verge is still worth reading even a year later.)
Lionsgate Does a Library Output Deal with Hulu AND FX
This is the type of synergy we were looking for when Disney swallowed the Fox. As a deal, it finely threads the needle in keeping value in the traditional linear channels, while also helping boost the streaming platform. Of course, the juiciest number–the dollar value–still hasn't been revealed. (Meanwhile, you also have to wonder how valuable the Lionsgate catalogue will be, coming in as the sixth or seventh best studio recently in box office terms and this doesn't even include the John Wick films…)
Sky Plans to Double Its Original Content Investment
How Much Money Did HBO Make on Game of Thrones – Director's Commentary Part III: Sanity Checking the Model
Today, is the "sanity check" of my Game of Thrones article guessing how much money it made. I've explained where the numbers came from, the high and low cases and all my math. But does this make sense? Can we double check my work? Sure. Again, this is in an FAQ format.
Last big area. Double checking your work. Did you do that?
Yeah, I went through the model a few times. I actually woke up in the night it published in a cold sweat worried I had added or subtracted a line wrong and checked the model in the AM right before it published. I didn't find anything.
I'll add, building the high and low cases after the fact caused me to go through the model at least twice more line by line. Still no mistakes found, so the numbers add up correctly. (If you disagree with the inputs, that's a different question.)
(Though, I could tell stories about models not adding up and really, really, really well paid executives missing it. I mean, REALLY well paid executives.)
That's not what I meant. Is there anyway to triangulate if these numbers are right?
Ahh. As I think I mentioned elsewhere, getting actual profit participation statements from talent would be the best place to start. Some of the agencies or management companies or talent themselves would have these, and they'd give us the nitty gritty details. HBO, though, wouldn't admit that the series drove subscribers growth in those statements. We'd need HBO's analysis of subscribers and trends for that, but that won't get shared outside of HBO.
To be clear, you don't have those?
No, I don't. (I don't think anyone else does. At least, they won't go on the record about it.)
What other methods could we use sanity check your model?
I tried to double check my work in a few different ways. The first was to try to find other estimates.
One of my biggest disappointments of this process was that so few people had tried to do this similar calculation. I think the biggest hold up for journalists proper is that it requires estimating and guessing for a lot of pieces, and most websites/newspapers deal in cold hard facts. (Or other people guessing.) The best articles still tend to to talk "top line" costs, and really just say that Game of Thrones cost a lot, and sold lots of merchandise, without quantifying either. Here are some of the better examples:
2011 – The Hollywood Reporter, "Game of Thrones by the Numbers"
2012 – Slate, "How HBO and Showtime Make Money Despite Low Ratings"
2014 – Yahoo, "The Burning Question: How Does Game of Thrones Thrive?" (though caution, this has the terrible "mutliply number of subscribers by months GoT is on)
2017 – The Conversation – "How Game of Thrones Became TV's First Global Blockbuster" (Also, not really answering the same question, but a great read.)
2017 – Marketplace, "Let's Do the Numbers on Game of Thrones"
Also, this pops up all the time on Quora, and the answers historically are either just revenue totals or way off. (However, I've started hopping in some of the threads to correct the record.)
Finally, I just today found this Wikipedia article on "the most highest grossing media franchises". Like this morning.
Was the Wikipedia article on total revenue helpful?
In some ways, absolutely. In others, not.
Let's start with the not. This Wikipedia article cites an article that misquotes a New York Times article, confusing HBO's annual profit with Game of Thrones profit, which is how they estimate the series earned $4 to 5 billion in subscription revenue. Also, the video games and book sales are likely on the low end, and merchandise isn't included. However, they pointed me to The-Numbers.com for physical disc sales—a website I used in my Star Wars series—and well, I wish I had found these specific pages before. (I couldn't find them after a bunch of searching.)
So you updated your Game of Thrones home entertainment numbers?
Oh, no. But their estimates were mighty close to mine and I think it shows both the difficulty and fun of trying to get these estimates right. (When I dive back into Star Wars—around December this year #ClickBait—I'm going to tie The-Numbers estimates to that series too.) Anyways, I pulled the last 8 years of top 100 titles sold in physical disks (Blu-Ray and DVD) and calculated how much GoT earned. For fun, here's a few other TV titles I saw too:
This is another data point that Game of Thrones is just a monster across every other category. The two other arguably biggest shows in TV at the time didn't even make it past 2013 with sales. However, to put TV disc sales in context, they're still dwarfed by movie sales. Here's Harry Potter and Star Wars this decade:
Let's take those numbers, and compare them to my estimates, and see how close I was:
On the one hand, my numbers get to a gross revenue about twice as high, though my exact sales figures are nearly exact. Exact!
Huh. What happened?
Well, to start, my initial number is lower, while my decay is similar. My sales figures after season four factor raised the price too, compensating for the idea of selling box sets. Or multiple seasons. I also estimated the sales in the last year.
Moreover, The-Numbers numbers have some limitations. First, these are US only numbers. Game of Thrones, as we've mentioned before, is huge overseas, including the UK, Australia and Germany, and Europe has a stronger home entertainment market than the US.
Second, these are only top 100 lists. We don't have, for example, sales of previous seasons. (They never rated high enough to make the top 100, meaning they have a ceiling of $10 million in 2015, which is pretty high when you think about it.) Also, the biggest unit sales were for individual seasons. We don't know how many box sets were sold in any given year for past seasons.
Third, this year is the year of the whole series box set. And I have 2 million units projected to sell for it this year and going forward. And even with the decline in home entertainment sales (see my later question on this), I still think it will be a thing. (I think entire Star Wars and Marvel Cinematic Universe box sets will be a thing too.)
Would you change your home entertainment estimates then?
Probably, I would drive my base case up by a little bit. I'd use this as the base case for the US—for new series sales. Then I'd have a library sales figure with some box sets driving up the US average. Then, I'd factor in international sales. However, I think the number would get pretty close to the estimates I already have. I'd consider moving down the top estimate to as well. However, these tweaks wouldn't drastically change the model as HBO was only keeping 20% of these sales in my model.
How has the decay in physical discs impacted this analysis?
Sure, yeah, home entreatment is declining. It still $23 billion in total retail sales, which is more than streamers are displacing. In other words, the studios and all of entertainment will feel this loss at some point. Here's the total home entertainment sales by year:
Category: Analysis, The Business of Game of Thrones
Tag: Carousel, Financial Modeling, Game of Thrones, HBO, Home Entertainment
Most Important Story of the Week and Other Good Reads – 7 June 19: The Trade War Moves to Hollywood
EntertainmentStrategyGuy	on June 7, 2019
This week felt important for the news. Sure, we didn't have any official announcements of new streaming services or any giant mergers, but between censorship, antitrust and trade wars, the world of politics is smashing (back) into the garden of media/tech. And the biggest government intervention was far away from Hollywood…
Most Important Story of the Week – The Trade War Moves to Hollywood
If you want a flippant response, "This is how you trade war." For the catch up, China is surreptitiously telling distributors to avoid booking US films into the Chinese market. China has tight control over their film industry and this is their latest salvo in response to President Trump's trade war. Here's the key quote in Variety (but read the whole thing):
Industry insiders stress that there is nothing in writing – no officially published decree – putting a freeze on U.S. content. The Chinese government tends to exercise such controls internally and unofficially, which allows it to publicly deny the existence of any restrictions and to make exceptions when it suits them. Three years ago, when China blocked South Korean films, pop bands and other cultural exports out of anger over Seoul's decision to deploy U.S.-made missiles, it took six months before Beijing publicly acknowledged the policy.
Frankly, it's a smart move. Movies really aren't as high stakes in total dollar value as something like oil or finance, but customers care way more about them. And some powerful people who are friends with the President will be directly impacted (Bob and Rupert). But the ramifications extend from there.
Franchise Movies
This headline from Scott Mendleson sort of explains it all:
Avengers: Endgame Grossed Less Of Its Money In America Than Any Marvel Movie (Box Office)
And that's Marvel's highest grossing film of all time in the US. Yet, overseas is even bigger, including at least $600 million from China. As the studios make more and more franchises and more and more animated films, they rely on this overseas gross, and frankly that support is bolstered by China.
As the article makes clear, the big tentpole franchises like Spider-Man, Secret Life of Pets 2 and others will likely slide through the de facto ban. There is too much money at stake for both sides. However, the challenge–if China does want to hurt the major studios–is to just make it harder to collect money from China, which is already hard. Studios collect a smaller percentage of box office than other countries (25%) and China sometimes make it hard to take capital out of the country. They could add in a few new taxes, and this could hit bottom lines, even if they films do air in China. So even as box office grosses climb, the actual revenue coming back to California stays flat.
Independent Studios
Instead, these are the type of films who will feel the pinch. China is growing in importance not just for the huge franchise films, but even smaller pictures. In some cases, they presell China foreign sales rights, so that becomes a key source of funding. If China starts restricting films like this, well that's just another economic headwind for independent and middle budget films to content with.
Other Movie Industries
China will still need foreign films. China has a cap on "revenue sharing" films at a loose 34 per year. (And there are some ways to make co-productions with Chinese backing or talent or locations that can get around these quotas.) Of course, China is also feuding with Australia, Canada and the UK, so they will not be easy replacements for US films. So my gut is that Bollywood, Japan and South Korea could have an advantage here.
China's Film Industry
Or you know what? Just make more movies at home. And they need it since apparently they've been in a slump since actress BingBing was arrested on tax avoidance charges and the industry. This move by China could just be good ol fashioned protectionism than anything else. I'm still curious when we have our first break out Chinese film in the American market. (The biggest Chinese language film was Crouching Tiger, Hidden Dragon, according to Box Office Mojo.)
Listen, Europe, I don't want to tell you how to run your trade wars. And you made nice with President Trump after the last trade war talk, and you're just waiting until he leaves office. This little maneuver with China won't really impact your box office. I mean, Europeans don't care if Chinese moviegoers can see the latest Star Wars. But if President Trump spur of the moment changes his mind on his trade war with Europe (the way he just did with Mexico), here's my unasked for advice: adopt China's tactics.
But not with movies–again, you're too small for that to matter–but for streaming video.
Europe secretly bristles that Netflix and Amazon and other streamers are all foreign owned, hence the law requiring European content on the streamers. Well, if Trump puts unilateral tariffs again, announce tariffs on streaming video for Amazon, Netflix and Youtube. Sure, that hurts Silicon Valley, not the heartland, but it will hurt the US stock market more. (You may ask for the logic or rationale for this, but it's a trade war started by an irrational actor. Logic doesn't matter.)
Speaking of the streamers…
Here's the thing about Netflix's growth: None of it is in China. That's kinda crazy when you think about it. They're adding 9 million subscribers every month, but none are in the world's biggest market. Amazon has been similarly stymied in the Middle Kingdom. (I'm not sure about Youtube and Twitch.) If China is ready to block US movies, you better believe they'll take the same approach to the streamers. Which isn't a change from the status quo, but a trade war won't help their long term prospects.
The biggest casualty of the trade war may be the desire of massive conglomerates to get even bigger. As Tara Lachapelle asked, "Would you do a mega deal in this environment?" Not if the market is ready to tank at the next sign of a slowdown. Moreover, with all the China-America squabbling, that takes one huge potential source of money off the table. A few years back, the cool thing was to grab Chinese money (Legendary, STX, Relativity). This obviously complicates that or makes it impossible.
Long Read of the Week – Esports
When I used to read the LA Times as a paper back in the 1990s, as a child, I felt like "extreme" or "action" sports–everything from skateboarding to BMX bikes to anything else on wheels–was the hot new sport. I can't prove this strawman with links because the internet doesn't work so great for articles that long ago.
But my inherent skepticism of people touting the next thing that will kill the NFL (and other leagues) starts with the memory of breathless predictions about the inevitable conquest of extreme sports over the NFL. That was a thing in the 90s. So when I hear that esports will kill the NFL, I think maybe not.
Listen, esports is clearly a growth industry. However, when valuations start to get frothy, and investors drop tens of millions on negative cash flow businesses, well, then I naturally revert to bear status. I think esports will be a fixture of entertainment going forward, but I can believe that and believe that 1. The NFL won't die and 2. An Overwatch team isn't worth $50 million dollars.
So I loved this article from last week by Cecilia D'Anastasio about esports. Read the whole thing, but here are my key takeaways.
Measurements Are Still All Over The Place


Energy security is one of the major global challenges of the 21st century. Many of the richest energy-producing regions of the world, such as the Middle East, Russia and Central Asia, are unstable and torn with conflict. New fast-growing energy consumers, such as China, are significantly changing the geopolitics of energy resources. Billions of the world's poorest suffer the insecurity of energy poverty or fail to benefit from the abundant energy resources that enrich political elites and companies. And our planet is increasingly under pressure because of our continued dependence on fossil fuels. It is easy to see why energy security has risen to the top of the political agenda and looks set to stay there. In this book, Roland Dannreuther offers a new and comprehensive approach to understanding energy security. Drawing on the latest research in security studies, he treats energy security as a value that is continually in dynamic conflict with other core values, such as economic prosperity and sustainability. The different physical properties of the key energy resources – coal, oil, gas, nuclear and renewables – are of course critical for the differing manifestations of energy insecurity. But it is the social, economic and political contexts, developed over time and place, which are essential for a fuller appreciation of contemporary energy challenges. In highlighting the history and politics of energy security and the critical role played by power and justice in framing these debates, this incisive and cutting-edge analysis is a go-to introduction for students grappling with the complexities of energy security today.


I know how plasmids and restriction enzymes work to change the dna of a bacteria cell, but I do not really understand how a bacteriophage works to edit the genome of a cell. Is it related to crispr since its a virus which inserted genetics in bacteria? Also, is it during the lysogenic or lytic stage that the bacteriophage alters the DNA?
As explained in the Wikipedia page that you have linked to, transduction is the name given to a particular phenomenon whereby phage can be used to move bacterial DNA between cells.
Depending upon the phage, some aberrant or infrequent process can result in the packaging of host cell DNA into a phage particle during a lytic cycle. The resulting defective phage particle is still infective however, and when it infects a new host cell it injects the bacterial DNA that it is carrying. This DNA can then recombine with the host DNA.
So, for example, if the second host was a lacZ mutant but the parent host was lacZ⁺, then it would be possible to select lacZ⁺ in the second host.
Transduction was an important tool in E. coli genetics. Phage P1 can be used for general transduction, which means that any piece of DNA can be moved. As I said in my comment: anything that can happen will happen.
Not the answer you're looking for? Browse other questions tagged genetics bacteriology virology or ask your own question.


Linux Admin CourseLinux Administrator Duties and OverviewInstallation Planning and PartitioningLinux Installation LabAdministering Users and GroupsAssuming Other System Login IdentitiesFile System Security - Permissions and Access Control ListsLinux System Processes - Identifying and controllingcron and at - Scheduling ProcessesLinux Printing with CUPSInstalling and Removing Linux SoftwareLinux Fi..
LINUX Online Training Course Content: Introduction to Linux What is Linux? Then What is Unix?A Graphical View of Unix HistoryBrief Linux HistoryLinux System ConstructionComparing Linux to UnixComparing Linux to Windows/DOSVarious Linux DistributionsCommon Linux Resources Installing Linux Hardware Requirements What You Need Before InstallingThe Install Process Getting Started Logging In Basic Linux..
Linux is an Open Source OS. Is it doesnt software of a computer, that enables the application and the computer to access the devices upon computers to perform desired features. The term &ldquoLinux&rdquo to refer typically the Linux Kernel. Linux is nearly 100 % free OS with numerous sources of distribution which can be mainly used in desktop computer devices. This supports a lot of networking protocols including TCP/IP along with supply the extension intended for high speed network.
We have trainers enrolled from Benchfolks who provide TOTALLY real-time, practical as well as positioning focused Linux training in Philadelphia. The training course is from basic level training to advanced level coaching and it is totally aimed to obtain placement and certification as well in the end of the course. The particular trainers are Linux licensed professionals with more real-time encounter in live projects. The courses centers are equipped with the perfect atmosphere to learn with all essential services. We are additionally charging really competitively on the market which works well for to bring more professionals in to the industry.
The Linux course in Philadelphia will begin together with Administering Open Source System (Linux Systems), Installation Process, Exactly what GNU/Linux?, Create and how to utilize virtual machines, Red Head wear Enterprise, Basic Linux control, Create text files utilizing vim, Manage local Apache groups and users, document system permission with Command access, Control access documents with (ACL)access control listings, Partitions, Add disks in addition to Linux file systems, Deal with logical volume management (LVM) storage, Install and update deals, Manage and Monitor concern of Linux, Schedule upcoming Linux tasks: Crond, Control/Managing services and daemons, Maintain and secure OpenSSH, Evaluate and store system logs, Configure and secure OpenSSH, Control and troubleshoot often the RHEL boot process, Management services and daemons, Take care of Red Hat Enterprise Cpanel networking, Connect to network-defined customers: LDAP connectivity, Configure plus troubleshoot basic IPv6 marketing, Configure link aggregation and even bridging, Limit network conversation with basic firewall, Deal with network security: SELinux, Afford DNS for servers, Launch email delivery: Relay email messages to SMTP gateway, Supply block-based storage: iSCSI focus on and initiator, Configuring NFS and CIFS/Samba (SMB) machine, Configure MariaDB databases, Present Apache HTTPD web support, Write simple shell pieces of software using Bash, Bash conditionals and control structures, case study and a project.
Our training companies have carried out training for a lot more than 100 students with outstanding feedback from all. Typically the trainers also have to have various class timings which match everyone who wants to learn with their own timings. You can also get Linux online training in Phoenix from the comfort of your house using one-to-one basis. Training could be reserved on common weekdays together with weekends based on the past or present students demand. Another highlight is fast-track Linux training our trainers will also be willing to present more Linux training for corporates that workers of their company will be advantages with.
You may also choose to take upward Linux certification exam validates the exact efficacy of system administrators and engineers in dealing with Linux resourcefully. The qualifications will help candidates to aspire for rewarding job opportunities. By opting for our well structured training candidates can obtain knowledge to enter the profitable domain of Linux and earn the certification.


Charge your Lightning or Micro USB device without feeling tethered to the wall with this 6.5ft flat cable. This new space saving low-profile cable design is perfect around furniture or on the go.
17 x 13 3/8 x 11 7/16"