Podcasts about XLS

Trigésimo segundo episodio dedicado a la temporada 1985-86 de la NBA. Continuamos el repaso de los playoffs con la serie de primera ronda de la Conferencia Oeste disputada entre Houston Rockets y Sacramento Kings. Comparamos equipos, jugadores y entrenadores; revisamos uno a uno los partidos, además de sacar conclusiones de la eliminatoria. Hablamos asimismo sobre el dominio por parte de las Torres Gemelas (Akeem Olajuwon y Ralph Sampson), la adaptación al puesto de base de Robert Reid, el buen rendimiento de Lewis Lloyd y Rodney McCray, la ayuda de Jim Petersen y Mitchell Wiggins, la mala actuación de Reggie Theus, los puntos de Eddie Johnson y Mike Woodson, el trabajo de LaSalle Thompson, los buenos minutos de Larry Drew, y muchos otros temas. Análisis de la fase regular 1985-86 de: - Rockets: https://go.ivoox.com/rf/140846608 - Kings: https://go.ivoox.com/rf/138623177 ------ Contacto y redes: - iVoox (Era baloncesto): https://www.ivoox.com/podcast-era-baloncesto_sq_f1687000_1.html - XLS con todos los audios: https://docs.google.com/spreadsheets/d/1k9YiJkMkIMwONwX1onZZTBHBffYVtnlgT2oBebypG0A - Twitter: @erabaloncesto - YouTube: https://www.youtube.com/@erabaloncesto - Blog: https://erabaloncesto.home.blog - erabaloncesto@gmail.com ------ Sintonía: - Cornflowers (Dee Yan-Key): freemusicarchive.org/music/Dee_Yan-Key/Vacation_Days/01-Dee_Yan-Key-Cornflowers ------ Creado y presentado por José Manuel Gómez y Manuel Álvarez López. Publicado el 04 de mayo de 2025.

Trigésimo primer episodio dedicado a la temporada 1985-86 de la NBA. Continuamos el repaso de los playoffs con la serie de primera ronda de la Conferencia Oeste disputada entre los Dallas Mavericks y los Utah Jazz. Comparamos a equipos, jugadores y entrenadores; revisamos uno a uno los partidos, además de sacar conclusiones de la eliminatoria. Hablamos asimismo sobre la ausencia de Adrian Dantley y sus problemas con Frank Layden, el duelo entre interiores (Karl Malone vs. Sam Perkins y Mark Eaton vs. James Donaldson), la buena anotación de Mark Aguirre y Rolando Blackman, los fallos de Thurl Bailey, el excelente rendimiento de Bobby Hansen, la irregularidad de los bases de ambos equipos (Stockton, Rickey Green, Brad Davis y Derek Harper) y muchos otros temas. Análisis de la fase regular 1985-86 de: - Mavs: https://go.ivoox.com/rf/139910307 - Jazz: https://go.ivoox.com/rf/139525291 ------ Contacto y redes: - iVoox (Era baloncesto): https://www.ivoox.com/podcast-era-baloncesto_sq_f1687000_1.html - XLS con todos los audios: https://docs.google.com/spreadsheets/d/1k9YiJkMkIMwONwX1onZZTBHBffYVtnlgT2oBebypG0A - Twitter: @erabaloncesto - YouTube: https://www.youtube.com/@erabaloncesto - Blog: https://erabaloncesto.home.blog - erabaloncesto@gmail.com ------ Sintonía: - Cornflowers (Dee Yan-Key): freemusicarchive.org/music/Dee_Yan-Key/Vacation_Days/01-Dee_Yan-Key-Cornflowers ------ Creado y presentado por José Manuel Gómez y Manuel Álvarez López. Publicado el 20 de abril de 2025.

Trigésimo episodio dedicado a la temporada 1985-86 de la NBA. Iniciamos el repaso de los playoffs con la serie de primera ronda de la Conferencia Oeste disputada entre los Denver Nuggets y los Portland Trail Blazers. Comparamos a equipos, jugadores y entrenadores; revisamos uno a uno los partidos, además de sacar conclusiones de la eliminatoria. Hablamos asimismo sobre las lesiones que perjudicaron a los Nuggets, la falta de brillantez de Alex English, Fat Lever y Clyde Drexler, la defensa de T. R. Dunn, los puntos anotados por Kiki Vandeweghe, la decepción con Mychal Thompson, el pundonor y buen hacer de Calvin Natt, el sorprendente rendimiento de Kenny Carr, Danny Schayes y Blair Rasmussen, la maestría de Doug Moe y muchos otros temas. Análisis de la fase regular 1985-86 de: - Nuggets: https://go.ivoox.com/rf/140325598 - Blazers: https://go.ivoox.com/rf/139122077 ------ Contacto y redes: - iVoox (Era baloncesto): https://www.ivoox.com/podcast-era-baloncesto_sq_f1687000_1.html - XLS con todos los audios: https://docs.google.com/spreadsheets/d/1k9YiJkMkIMwONwX1onZZTBHBffYVtnlgT2oBebypG0A - Twitter: @erabaloncesto - YouTube: https://www.youtube.com/@erabaloncesto - Blog: https://erabaloncesto.home.blog - erabaloncesto@gmail.com ------ Sintonía: - Cornflowers (Dee Yan-Key): freemusicarchive.org/music/Dee_Yan-Key/Vacation_Days/01-Dee_Yan-Key-Cornflowers ------ Creado y presentado por José Manuel Gómez y Manuel Álvarez López. Publicado el 06 de abril de 2025.

Soon available on all major digital music stores & streaming platforms! March 28th, 2025 Former Hyper Reality UK hard trance powerhouse artist D10 joins forces with GND to unleash 'Justice' – a relentless, hard-as-nails banger primed for the dancefloor. The original mix is a full-throttle ride, packed with a filthy reverse phatt bass, crisp percussion, an epic breakdown, and a vocal that lingers in the air like a battle cry. Expect massive build-ups, atmospheric ambience, and synth work that strikes with laser precision. On remix duties, Chaos Theory makes a label debut with an absolute roof-raiser. This top-drawer hard-hitter injects stuttering vocal bits, aggressive synths, and enough tension to deliver a hard trance treatment oozing raw energy. Returning after a decade-long hiatus, E-Klipse delivers a pristine, atmospheric hard-hitter, crafting a masterfully detailed remix with crisp production, high-intensity acid stabs, clever edits, vocal FX, outstanding synth work, and a euphoric, hands-in-the-air breakdown that leaves a lasting impact. This release has it all, offering a lethal dose of energy for every hard trance fanatic. Let justice be done! We hope you like it and are most curious to receive your feedback! Like it, share it, and be part of a new reality! Release Date all digital music stores & streaming platforms: March 28th, 2025 HRR101 is supported by Adam Mohican, Alan Wilson, Ariel Beat, Arptryx, BaseBear, C.O.L.D., Christina Ashlee, Criostasis, Dark Star / MPDSTXX, DJ Ephex, DJ Holocaust, DJ Husband, DJ Spaceman, Dj Thera, Felix R, J.O.E., Jake Ayres, Jake Nicholls, Johan N. Lecander, Mark EG, Matt Handy, Mind Control, Mindflux, Miyuki, Mynax, Nostic, PAWEL C., Rainer K, Remnis, Rick Guyez, Rocco Jonsson, Stabij, Steven Tranzor, The Sixth Sense, Thomas Lloyd, Tony Dex, TrickyDJ, Wolf Raven, XLS and many more.

Soon available on all major digital music stores & streaming platforms! March 28th, 2025 Former Hyper Reality UK hard trance powerhouse artist D10 joins forces with GND to unleash 'Justice' – a relentless, hard-as-nails banger primed for the dancefloor. The original mix is a full-throttle ride, packed with a filthy reverse phatt bass, crisp percussion, an epic breakdown, and a vocal that lingers in the air like a battle cry. Expect massive build-ups, atmospheric ambience, and synth work that strikes with laser precision. On remix duties, Chaos Theory makes a label debut with an absolute roof-raiser. This top-drawer hard-hitter injects stuttering vocal bits, aggressive synths, and enough tension to deliver a hard trance treatment oozing raw energy. Returning after a decade-long hiatus, E-Klipse delivers a pristine, atmospheric hard-hitter, crafting a masterfully detailed remix with crisp production, high-intensity acid stabs, clever edits, vocal FX, outstanding synth work, and a euphoric, hands-in-the-air breakdown that leaves a lasting impact. This release has it all, offering a lethal dose of energy for every hard trance fanatic. Let justice be done! We hope you like it and are most curious to receive your feedback! Like it, share it, and be part of a new reality! Release Date all digital music stores & streaming platforms: March 28th, 2025 HRR101 is supported by Adam Mohican, Alan Wilson, Ariel Beat, Arptryx, BaseBear, C.O.L.D., Christina Ashlee, Criostasis, Dark Star / MPDSTXX, DJ Ephex, DJ Holocaust, DJ Husband, DJ Spaceman, Dj Thera, Felix R, J.O.E., Jake Ayres, Jake Nicholls, Johan N. Lecander, Mark EG, Matt Handy, Mind Control, Mindflux, Miyuki, Mynax, Nostic, PAWEL C., Rainer K, Remnis, Rick Guyez, Rocco Jonsson, Stabij, Steven Tranzor, The Sixth Sense, Thomas Lloyd, Tony Dex, TrickyDJ, Wolf Raven, XLS and many more.

Soon available on all major digital music stores & streaming platforms! March 28th, 2025 Former Hyper Reality UK hard trance powerhouse artist D10 joins forces with GND to unleash 'Justice' – a relentless, hard-as-nails banger primed for the dancefloor. The original mix is a full-throttle ride, packed with a filthy reverse phatt bass, crisp percussion, an epic breakdown, and a vocal that lingers in the air like a battle cry. Expect massive build-ups, atmospheric ambience, and synth work that strikes with laser precision. On remix duties, Chaos Theory makes a label debut with an absolute roof-raiser. This top-drawer hard-hitter injects stuttering vocal bits, aggressive synths, and enough tension to deliver a hard trance treatment oozing raw energy. Returning after a decade-long hiatus, E-Klipse delivers a pristine, atmospheric hard-hitter, crafting a masterfully detailed remix with crisp production, high-intensity acid stabs, clever edits, vocal FX, outstanding synth work, and a euphoric, hands-in-the-air breakdown that leaves a lasting impact. This release has it all, offering a lethal dose of energy for every hard trance fanatic. Let justice be done! We hope you like it and are most curious to receive your feedback! Like it, share it, and be part of a new reality! Release Date all digital music stores & streaming platforms: March 28th, 2025 HRR101 is supported by Adam Mohican, Alan Wilson, Ariel Beat, Arptryx, BaseBear, C.O.L.D., Christina Ashlee, Criostasis, Dark Star / MPDSTXX, DJ Ephex, DJ Holocaust, DJ Husband, DJ Spaceman, Dj Thera, Felix R, J.O.E., Jake Ayres, Jake Nicholls, Johan N. Lecander, Mark EG, Matt Handy, Mind Control, Mindflux, Miyuki, Mynax, Nostic, PAWEL C., Rainer K, Remnis, Rick Guyez, Rocco Jonsson, Stabij, Steven Tranzor, The Sixth Sense, Thomas Lloyd, Tony Dex, TrickyDJ, Wolf Raven, XLS and many more.

Vigésimo noveno episodio dedicado a la temporada 1985-86 de la NBA en el que resumimos lo sucedido en la fase regular. Tras el estudio pormenorizado de cada uno de los equipos en los programas precedentes, en este repasamos el desarrollo del curso en su conjunto (sin incluir los playoffs que serán objeto de audios específicos). Hablamos sobre el progreso mes a mes de la competición, el Partido de las Estrellas, las estadísticas individuales y colectivas, los premios y otros temas. ------ Contacto y redes: - iVoox (Era baloncesto): https://www.ivoox.com/podcast-era-baloncesto_sq_f1687000_1.html - XLS con todos los audios: https://docs.google.com/spreadsheets/d/1k9YiJkMkIMwONwX1onZZTBHBffYVtnlgT2oBebypG0A - Twitter: @erabaloncesto - YouTube: https://www.youtube.com/@erabaloncesto - Blog: https://erabaloncesto.home.blog - erabaloncesto@gmail.com ------ Sintonía: - Cornflowers (Dee Yan-Key): freemusicarchive.org/music/Dee_Yan-Key/Vacation_Days/01-Dee_Yan-Key-Cornflowers ------ Creado y presentado por José Manuel Gómez y Manuel Álvarez López. Publicado el 16 de marzo de 2025.

Vigesimoctavo programa dedicado a la temporada 1985-86 de la NBA en el que finalizamos el repaso de la fase regular de todos los equipos. En este analizamos a Los Angeles Lakers; tanto las expectativas como el desarrollo del curso, los movimientos en la plantilla, el ataque y la defensa, los jugadores, las estadísticas individuales y colectivas, y algunas curiosidades. ------ Contacto y redes: - iVoox (Era baloncesto): https://www.ivoox.com/podcast-era-baloncesto_sq_f1687000_1.html - XLS con todos los audios: https://docs.google.com/spreadsheets/d/1k9YiJkMkIMwONwX1onZZTBHBffYVtnlgT2oBebypG0A - Twitter: @erabaloncesto - YouTube: https://www.youtube.com/@erabaloncesto - Blog: https://erabaloncesto.home.blog - erabaloncesto@gmail.com ------ Sintonía: - Cornflowers (Dee Yan-Key): freemusicarchive.org/music/Dee_Yan-Key/Vacation_Days/01-Dee_Yan-Key-Cornflowers ------ Creado y presentado por José Manuel Gómez y Manuel Álvarez López. Publicado el 09 de marzo de 2025.

Vigesimoséptimo programa dedicado a la temporada 1985-86 de la NBA en el que continuamos el repaso de la fase regular de todos los equipos. En este analizamos a los Houston Rockets; tanto las expectativas como el desarrollo del curso, los movimientos en la plantilla, el ataque y la defensa, los jugadores, las estadísticas individuales y colectivas, y algunas curiosidades. Bill Fitch supo sacarle lo máximo a este equipo liderado por Las Torres Gemelas (Akeem Olajuwon y Ralph Sampson) a pesar de los problemas con las drogas de John Lucas (esta vez, definitivos para su salida de la franquicia). Los otros dos jugadores importantes de la plantilla fueron Rodney McCray y Lewis Lloyd, con Robert Reid aportando desde el banquillo. Otros míticos integrantes de la plantilla eran Craig Ehlo, Allen Leavell, Mitchell Wiggins, Jim Petersen y Granville Waiters. Hablamos sobre todo lo anterior y mucho más. ------ Contacto y redes: - iVoox (Era baloncesto): https://www.ivoox.com/podcast-era-baloncesto_sq_f1687000_1.html - XLS con todos los audios: https://docs.google.com/spreadsheets/d/1k9YiJkMkIMwONwX1onZZTBHBffYVtnlgT2oBebypG0A - Twitter: @erabaloncesto - YouTube: https://www.youtube.com/@erabaloncesto - Blog: https://erabaloncesto.home.blog - erabaloncesto@gmail.com ------ Sintonía: - Cornflowers (Dee Yan-Key): freemusicarchive.org/music/Dee_Yan-Key/Vacation_Days/01-Dee_Yan-Key-Cornflowers ------ Creado y presentado por José Manuel Gómez y Manuel Álvarez López. Publicado el 02 de marzo de 2025.

Available on all major digital music stores & streaming platforms! February 28th, 2025 As 2025 begins, Hyper Reality Records proudly celebrates 100 stunning Hard Trance releases and 10 years of championing the genre. Since its inception in 2014, the label has been a beacon for fans and artists, reviving and evolving the classic German Hard Trance sound with passion and authenticity. From throbbing reversed basslines to searing 303 acid riffs, Hyper Reality has consistently delivered high-energy anthems that dominate dancefloors worldwide. Over the past decade, the label has become home to exceptional talent, shaping its unmistakable sound and solidifying its reputation as a driving force in the Hard Trance community. The 100th release, crafted by label boss Nostic and titled 'Living in a Hyper Reality', is a 4-track EP that reflects the label's ethos and explores the concept of hyperreality. With 4 diverse mixes, it showcases Nostic's signature style and the expansive dimensions of the Hard Trance sound. As we mark this milestone, we thank fans and artists who have been part of this journey. Here's to 100 releases, 10 unforgettable years, and the limitless possibilities ahead. Welcome to the sound of Hyper Reality! We hope you like it and are most curious to receive your feedback! Like it, share it, and be part of a new reality! Release Date all digital music stores & streaming platforms: February 28th, 2025 HRR100 is supported by Adam Mohican, Alan Wilson, Alter:Ego, Ariel Beat, Arptryx, BaseBear, Ben Corner, Christina Ashlee, Conisbee, Criostasis, Dark Star / MPDSTXX, Dizmaster, DJ Husband, DJ Spaceman, Dj Tech, Felix R, Hakka, Hex, J.O.E., Jake Nicholls, JimZima, Johan N. Lecander, J Rogers, KORHAL, Louk, Mark EG, Matt Handy, Mind Control, Mindflux, Mynax, PAWEL C., Pete Kingwell, Rainer K, Remnis, Rennz/Distorted Dreams, Rick Guyez, Rocco, Tony Dex, TrickyDJ, Wolf Raven, XLS and many more. - ## Get this EP on Vinyl or CD!! ## - https://elasticstage.com/hyperrealityrecords/releases/living-in-a-hyper-reality-singleep - ## Get your exclusive 120-page collector's printed booklet - Celebrate 10 years and 100 releases of Hyper Reality Records! ## - https://www.hyperrealityrecords.nl/shop/merchandise/printed-booklet/

Available on all major digital music stores & streaming platforms! February 28th, 2025 As 2025 begins, Hyper Reality Records proudly celebrates 100 stunning Hard Trance releases and 10 years of championing the genre. Since its inception in 2014, the label has been a beacon for fans and artists, reviving and evolving the classic German Hard Trance sound with passion and authenticity. From throbbing reversed basslines to searing 303 acid riffs, Hyper Reality has consistently delivered high-energy anthems that dominate dancefloors worldwide. Over the past decade, the label has become home to exceptional talent, shaping its unmistakable sound and solidifying its reputation as a driving force in the Hard Trance community. The 100th release, crafted by label boss Nostic and titled 'Living in a Hyper Reality', is a 4-track EP that reflects the label's ethos and explores the concept of hyperreality. With 4 diverse mixes, it showcases Nostic's signature style and the expansive dimensions of the Hard Trance sound. As we mark this milestone, we thank fans and artists who have been part of this journey. Here's to 100 releases, 10 unforgettable years, and the limitless possibilities ahead. Welcome to the sound of Hyper Reality! We hope you like it and are most curious to receive your feedback! Like it, share it, and be part of a new reality! Release Date all digital music stores & streaming platforms: February 28th, 2025 HRR100 is supported by Adam Mohican, Alan Wilson, Alter:Ego, Ariel Beat, Arptryx, BaseBear, Ben Corner, Christina Ashlee, Conisbee, Criostasis, Dark Star / MPDSTXX, Dizmaster, DJ Husband, DJ Spaceman, Dj Tech, Felix R, Hakka, Hex, J.O.E., Jake Nicholls, JimZima, Johan N. Lecander, J Rogers, KORHAL, Louk, Mark EG, Matt Handy, Mind Control, Mindflux, Mynax, PAWEL C., Pete Kingwell, Rainer K, Remnis, Rennz/Distorted Dreams, Rick Guyez, Rocco, Tony Dex, TrickyDJ, Wolf Raven, XLS and many more. - ## Get this EP on Vinyl or CD!! ## - https://elasticstage.com/hyperrealityrecords/releases/living-in-a-hyper-reality-singleep - ## Get your exclusive 120-page collector's printed booklet - Celebrate 10 years and 100 releases of Hyper Reality Records! ## - https://www.hyperrealityrecords.nl/shop/merchandise/printed-booklet/

Available on all major digital music stores & streaming platforms! February 28th, 2025 As 2025 begins, Hyper Reality Records proudly celebrates 100 stunning Hard Trance releases and 10 years of championing the genre. Since its inception in 2014, the label has been a beacon for fans and artists, reviving and evolving the classic German Hard Trance sound with passion and authenticity. From throbbing reversed basslines to searing 303 acid riffs, Hyper Reality has consistently delivered high-energy anthems that dominate dancefloors worldwide. Over the past decade, the label has become home to exceptional talent, shaping its unmistakable sound and solidifying its reputation as a driving force in the Hard Trance community. The 100th release, crafted by label boss Nostic and titled 'Living in a Hyper Reality', is a 4-track EP that reflects the label's ethos and explores the concept of hyperreality. With 4 diverse mixes, it showcases Nostic's signature style and the expansive dimensions of the Hard Trance sound. As we mark this milestone, we thank fans and artists who have been part of this journey. Here's to 100 releases, 10 unforgettable years, and the limitless possibilities ahead. Welcome to the sound of Hyper Reality! We hope you like it and are most curious to receive your feedback! Like it, share it, and be part of a new reality! Release Date all digital music stores & streaming platforms: February 28th, 2025 HRR100 is supported by Adam Mohican, Alan Wilson, Alter:Ego, Ariel Beat, Arptryx, BaseBear, Ben Corner, Christina Ashlee, Conisbee, Criostasis, Dark Star / MPDSTXX, Dizmaster, DJ Husband, DJ Spaceman, Dj Tech, Felix R, Hakka, Hex, J.O.E., Jake Nicholls, JimZima, Johan N. Lecander, J Rogers, KORHAL, Louk, Mark EG, Matt Handy, Mind Control, Mindflux, Mynax, PAWEL C., Pete Kingwell, Rainer K, Remnis, Rennz/Distorted Dreams, Rick Guyez, Rocco, Tony Dex, TrickyDJ, Wolf Raven, XLS and many more. - ## Get this EP on Vinyl or CD!! ## - https://elasticstage.com/hyperrealityrecords/releases/living-in-a-hyper-reality-singleep - ## Get your exclusive 120-page collector's printed booklet - Celebrate 10 years and 100 releases of Hyper Reality Records! ## - https://www.hyperrealityrecords.nl/shop/merchandise/printed-booklet/

Available on all major digital music stores & streaming platforms! February 28th, 2025 As 2025 begins, Hyper Reality Records proudly celebrates 100 stunning Hard Trance releases and 10 years of championing the genre. Since its inception in 2014, the label has been a beacon for fans and artists, reviving and evolving the classic German Hard Trance sound with passion and authenticity. From throbbing reversed basslines to searing 303 acid riffs, Hyper Reality has consistently delivered high-energy anthems that dominate dancefloors worldwide. Over the past decade, the label has become home to exceptional talent, shaping its unmistakable sound and solidifying its reputation as a driving force in the Hard Trance community. The 100th release, crafted by label boss Nostic and titled 'Living in a Hyper Reality', is a 4-track EP that reflects the label's ethos and explores the concept of hyperreality. With 4 diverse mixes, it showcases Nostic's signature style and the expansive dimensions of the Hard Trance sound. As we mark this milestone, we thank fans and artists who have been part of this journey. Here's to 100 releases, 10 unforgettable years, and the limitless possibilities ahead. Welcome to the sound of Hyper Reality! We hope you like it and are most curious to receive your feedback! Like it, share it, and be part of a new reality! Release Date all digital music stores & streaming platforms: February 28th, 2025 HRR100 is supported by Adam Mohican, Alan Wilson, Alter:Ego, Ariel Beat, Arptryx, BaseBear, Ben Corner, Christina Ashlee, Conisbee, Criostasis, Dark Star / MPDSTXX, Dizmaster, DJ Husband, DJ Spaceman, Dj Tech, Felix R, Hakka, Hex, J.O.E., Jake Nicholls, JimZima, Johan N. Lecander, J Rogers, KORHAL, Louk, Mark EG, Matt Handy, Mind Control, Mindflux, Mynax, PAWEL C., Pete Kingwell, Rainer K, Remnis, Rennz/Distorted Dreams, Rick Guyez, Rocco, Tony Dex, TrickyDJ, Wolf Raven, XLS and many more. - ## Get this EP on Vinyl or CD!! ## - https://elasticstage.com/hyperrealityrecords/releases/living-in-a-hyper-reality-singleep - ## Get your exclusive 120-page collector's printed booklet - Celebrate 10 years and 100 releases of Hyper Reality Records! ## - https://www.hyperrealityrecords.nl/shop/merchandise/printed-booklet/

Vigesimosexto programa dedicado a la temporada 1985-86 de la NBA en el que continuamos el repaso de la fase regular de todos los equipos. En este analizamos a los Denver Nuggets; tanto las expectativas como el desarrollo del curso, los movimientos en la plantilla, el ataque y la defensa, los jugadores, las estadísticas individuales y colectivas, y algunas curiosidades. De nuevo, Doug Moe dirigió desde la banda al equipo con maestría. Alex English continuó como el jugador franquicia y uno de los más destacados de la liga. Dan Issel se había retirado y Calvin Natt rindió bien a pesar de jugar tocado. Fat Lever seguía progresando y siendo uno de los bases más completos de la NBA. Wayne Cooper, T. R. Dunn y Bill Hanzlik fueron jugadores importantes. Hubo otros tres que ayudaron: Elston Turner, Mike Evans y Danny Schayes. Hablamos sobre todo lo anterior y mucho más. ------ Contacto y redes: - iVoox (Era baloncesto): https://www.ivoox.com/podcast-era-baloncesto_sq_f1687000_1.html - XLS con todos los audios: https://docs.google.com/spreadsheets/d/1k9YiJkMkIMwONwX1onZZTBHBffYVtnlgT2oBebypG0A - Twitter: @erabaloncesto - YouTube: https://www.youtube.com/@erabaloncesto - Blog: https://erabaloncesto.home.blog - erabaloncesto@gmail.com ------ Sintonía: - Cornflowers (Dee Yan-Key): freemusicarchive.org/music/Dee_Yan-Key/Vacation_Days/01-Dee_Yan-Key-Cornflowers ------ Creado y presentado por José Manuel Gómez y Manuel Álvarez López. Publicado el 23 de febrero de 2025.

Vigesimoquinto programa dedicado a la temporada 1985-86 de la NBA en el que continuamos el repaso de la fase regular de todos los equipos. En este analizamos a los Dallas Mavericks; tanto las expectativas como el desarrollo del curso, los movimientos en la plantilla, el ataque y la defensa, los jugadores, las estadísticas individuales y colectivas, y algunas curiosidades. A pesar de que al inicio de la campaña consiguieron a James Donaldson, no fueron capaces de ser un equipo decente en defensa. Sí eran de lo mejor en ataque gracias a su pareja estelar formada por Rolando Blackman y Mark Aguirre. También debido a su tercer espada, Sam Perkins (quien le había quitado el puesto a Jay Vincent). Los dos bases (Brad Davis y Derek Harper) rindieron bien. El entrenador, Dick Motta, continuaba sin descubrir el talento de Dale Ellis. Llegó el rookie Detlef Schrempf. Los otros debutantes, Bill Wennington y Uwe Blab, no aportaron demasiado. Hablamos sobre todo lo anterior y mucho más. ------ Contacto y redes: - iVoox (Era baloncesto): https://www.ivoox.com/podcast-era-baloncesto_sq_f1687000_1.html - XLS con todos los audios: https://docs.google.com/spreadsheets/d/1k9YiJkMkIMwONwX1onZZTBHBffYVtnlgT2oBebypG0A - Twitter: @erabaloncesto - YouTube: https://www.youtube.com/@erabaloncesto - Blog: https://erabaloncesto.home.blog - erabaloncesto@gmail.com ------ Sintonía: - Cornflowers (Dee Yan-Key): freemusicarchive.org/music/Dee_Yan-Key/Vacation_Days/01-Dee_Yan-Key-Cornflowers ------ Creado y presentado por José Manuel Gómez y Manuel Álvarez López. Publicado el 16 de febrero de 2025.

Vigesimocuarto programa dedicado a la temporada 1985-86 de la NBA en el que continuamos el repaso de la fase regular de todos los equipos. En este analizamos a los Utah Jazz; tanto las expectativas como el desarrollo del curso, los movimientos en la plantilla, el ataque y la defensa, los jugadores, las estadísticas individuales y colectivas, y algunas curiosidades. Llegaba a la franquicia el entonces debutante Karl Malone, quien formaría con el ya integrante de la plantilla John Stockton la pareja mítica. Aunque en este curso el más destacado del equipo fue Adrian Dantley, de nuevo uno de los mejores en ataque de la liga. En defensa eran excelentes gracias al enorme Mark Eaton. El entrenador, Frank Layden, tuvo que lidiar con la lesión de Darrell Griffith, quien se perdió todo el curso. Rickey Green continuó siendo importante en el puesto de base y Bobby Hansen cumplió como escolta titular. Por su parte, Thurl Bailey perdió algo de protagonismo. Hablamos sobre todo lo anterior y mucho más. ------ Contacto y redes: - iVoox (Era baloncesto): https://www.ivoox.com/podcast-era-baloncesto_sq_f1687000_1.html - XLS con todos los audios: https://docs.google.com/spreadsheets/d/1k9YiJkMkIMwONwX1onZZTBHBffYVtnlgT2oBebypG0A - Twitter: @erabaloncesto - YouTube: https://www.youtube.com/@erabaloncesto - Blog: https://erabaloncesto.home.blog - erabaloncesto@gmail.com ------ Sintonía: - Cornflowers (Dee Yan-Key): freemusicarchive.org/music/Dee_Yan-Key/Vacation_Days/01-Dee_Yan-Key-Cornflowers ------ Creado y presentado por José Manuel Gómez y Manuel Álvarez López. Publicado el 09 de febrero de 2025.

Vincent Cashman talks to Paul about the confusion surrounding the court cases challenging the ban on Friday and also the amount of people abandoning their XLs to the wild Hosted on Acast. See acast.com/privacy for more information.

Vigesimotercer programa dedicado a la temporada 1985-86 de la NBA en el que continuamos el repaso de la fase regular de todos los equipos. En este analizamos a los Portland Trail Blazers; tanto las expectativas como el desarrollo del curso, los movimientos en la plantilla, el ataque y la defensa, los jugadores, las estadísticas individuales y colectivas, y algunas curiosidades. En la última campaña del Doctor Jack Ramsay como entrenador del equipo siguió la evolución de Clyde Drexler y el inicio de las graves lesiones de Sam Bowie. Kiki Vandeweghe continuó siendo uno de los mejores enchufadores de la liga, Mychal Thompson no acabó de dar lo esperado, Jim Paxson perdió importancia en la rotación, Darnell Valentine salió de la franquicia a mitad de curso, Jerome Kersey mostró su fuerza, además, llegó Terry Porter. Hablamos sobre todo lo anterior y mucho más. ------ Contacto y redes: - iVoox (Era baloncesto): https://www.ivoox.com/podcast-era-baloncesto_sq_f1687000_1.html - XLS con todos los audios: https://docs.google.com/spreadsheets/d/1k9YiJkMkIMwONwX1onZZTBHBffYVtnlgT2oBebypG0A - Twitter: @erabaloncesto - YouTube: https://www.youtube.com/@erabaloncesto - Blog: https://erabaloncesto.home.blog - erabaloncesto@gmail.com ------ Sintonía: - Cornflowers (Dee Yan-Key): freemusicarchive.org/music/Dee_Yan-Key/Vacation_Days/01-Dee_Yan-Key-Cornflowers ------ Creado y presentado por José Manuel Gómez y Manuel Álvarez López. Publicado el 02 de febrero de 2025.

Vigesimosegundo programa dedicado a la temporada 1985-86 de la NBA en el que continuamos el repaso de la fase regular de todos los equipos. En este analizamos a los Sacramento Kings; tanto las expectativas como el desarrollo del curso, los movimientos en la plantilla, el ataque y la defensa, los jugadores, las estadísticas individuales y colectivas, y algunas curiosidades. Primera campaña de la franquicia en Sacramento, buena en cuanto a la respuesta de la afición, aunque no fue bien en lo deportivo. Reggie Theus fue el mejor del equipo, Eddie Johnson se convirtió en uno de los mejores sextos hombres de la liga, Larry Drew seguía bajando su rendimiento, Otis Thorpe se estancó respecto a su curso de debut, el rookie Joe Kleine no dio lo esperado, el tanque LaSalle Thompson siguió rindiendo bien, tanto Mike Woodson como Mark Olberding saltaron a la titularidad con la temporada en marcha y el equipo mejoró con ellos ahí; por su parte, Terry Tyler fue un buen refuerzo por el que se pagó un precio excesivo. Hablamos sobre todo lo anterior y mucho más. ------ Contacto y redes: - iVoox (Era baloncesto): https://www.ivoox.com/podcast-era-baloncesto_sq_f1687000_1.html - XLS con todos los audios: https://docs.google.com/spreadsheets/d/1k9YiJkMkIMwONwX1onZZTBHBffYVtnlgT2oBebypG0A - Twitter: @erabaloncesto - YouTube: https://www.youtube.com/@erabaloncesto - Blog: https://erabaloncesto.home.blog - erabaloncesto@gmail.com ------ Sintonía: - Cornflowers (Dee Yan-Key): freemusicarchive.org/music/Dee_Yan-Key/Vacation_Days/01-Dee_Yan-Key-Cornflowers ------ Creado y presentado por José Manuel Gómez y Manuel Álvarez López. Publicado el 26 de enero de 2025.

Vigesimoprimer programa dedicado a la temporada 1985-86 de la NBA en el que continuamos el repaso de la fase regular de todos los equipos. En este analizamos a los San Antonio Spurs; tanto las expectativas como el desarrollo del curso, los movimientos en la plantilla, el ataque y la defensa, los jugadores, las estadísticas individuales y colectivas, y algunas curiosidades. Campaña marcada por la salida de la franquicia de George Gervin, leyenda de la liga. También por la grave enfermedad (meningitis) que afectó a Johnny Moore y que casi acaba con su vida. En lo deportivo, el equipo fue de más a menos y los exteriores nuevos (Wes Matthews y Jon Sundvold) no fueron capaces de sustituir al mencionado Moore. Tampoco el entrenador, Cotton Fitzsimmons, consiguió enderezar el rumbo. Sus dos mejores jugadores, Alvin Robertson y Artis Gilmore, disputaron el Partido de las Estrellas. Mike Mitchell no fue el líder esperado. Steve Johnson se incorporó al equipo y rindió bien. Pero el rookie, Alfrederick Hughes, no cumplió las expectativas. Hablamos sobre todo lo anterior y mucho más. ------ Contacto y redes: - iVoox (Era baloncesto): https://www.ivoox.com/podcast-era-baloncesto_sq_f1687000_1.html - XLS con todos los audios: https://docs.google.com/spreadsheets/d/1k9YiJkMkIMwONwX1onZZTBHBffYVtnlgT2oBebypG0A - Twitter: @erabaloncesto - YouTube: https://www.youtube.com/@erabaloncesto - Blog: https://erabaloncesto.home.blog - erabaloncesto@gmail.com ------ Sintonía: - Cornflowers (Dee Yan-Key): freemusicarchive.org/music/Dee_Yan-Key/Vacation_Days/01-Dee_Yan-Key-Cornflowers ------ Creado y presentado por José Manuel Gómez y Manuel Álvarez López. Publicado el 20 de enero de 2025.

Vigésimo programa dedicado a la temporada 1985-86 de la NBA en el que continuamos el repaso de la fase regular de todos los equipos. En este analizamos a Phoenix Suns; tanto las expectativas como el desarrollo del curso, los movimientos en la plantilla, el ataque y la defensa, los jugadores, las estadísticas individuales y colectivas, y algunas curiosidades. Mala campaña para esta franquicia. La salida de Maurice Lucas no fue cubierta por nadie solvente. Walter Davis reconoció sus problemas con las drogas, aunque rindió bien. La estrella del equipo fue Larry Nance. Sin embargo, no hubo más jugadores que destacaran, aunque tenían gente cumplidora: Jay Humphries, James Edwards, Ed Pinckney, Alvan Adams, Mike Sanders y algún otro. Por otra parte, ficharon a Georgi Glouchkov, quien fue el primer europeo sin formación baloncestística estadounidense en saltar a una cancha en la NBA. Hablamos sobre todo lo anterior y mucho más. ------ Contacto y redes: - iVoox (Era baloncesto): https://www.ivoox.com/podcast-era-baloncesto_sq_f1687000_1.html - XLS con todos los audios: https://docs.google.com/spreadsheets/d/1k9YiJkMkIMwONwX1onZZTBHBffYVtnlgT2oBebypG0A - Twitter: @erabaloncesto - YouTube: https://www.youtube.com/@erabaloncesto - Blog: https://erabaloncesto.home.blog - erabaloncesto@gmail.com ------ Sintonía: - Cornflowers (Dee Yan-Key): freemusicarchive.org/music/Dee_Yan-Key/Vacation_Days/01-Dee_Yan-Key-Cornflowers ------ Creado y presentado por José Manuel Gómez y Manuel Álvarez López. Publicado el 12 de enero de 2025.

Decimonoveno programa dedicado a la temporada 1985-86 de la NBA en el que continuamos el repaso de la fase regular de todos los equipos. En este analizamos a Los Angeles Clippers; tanto las expectativas como el desarrollo del curso, los movimientos en la plantilla, el ataque y la defensa, los jugadores, las estadísticas individuales y colectivas, y algunas curiosidades. El nuevo entrenador, Don Chaney, no fue capaz de hacer rendir a los buenos jugadores de los que dispuso; los más destacados: Marques Johnson, Norm Nixon, Cedric Maxwell y Derek Smith. Este último se lesionó gravemente al inicio del curso. La gerencia tuvo trabajo con los traspasos de Bill Walton y James Donaldson, además de las difíciles renovaciones tanto de Norm Nixon como del entrenador. También eligió al número tres del draft, Benoit Benjamin. No rindieron como se esperaba ni Junior Bridgeman ni Michael Cage. Disputó sus últimos encuentros en la liga Jamaal Wilkes. Para más inri, esta franquicia parecía maldita con líos debidos a su cambio de ubicación (de San Diego a Los Ángeles en 1984) y reclamaciones relacionadas con traspasos ya realizados. Hablamos sobre todo lo anterior y mucho más. ------ Contacto y redes: - iVoox (Era baloncesto): https://www.ivoox.com/podcast-era-baloncesto_sq_f1687000_1.html - XLS con todos los audios: https://docs.google.com/spreadsheets/d/1k9YiJkMkIMwONwX1onZZTBHBffYVtnlgT2oBebypG0A - Twitter: @erabaloncesto - YouTube: https://www.youtube.com/@erabaloncesto - Blog: https://erabaloncesto.home.blog - erabaloncesto@gmail.com ------ Sintonía: - Cornflowers (Dee Yan-Key): freemusicarchive.org/music/Dee_Yan-Key/Vacation_Days/01-Dee_Yan-Key-Cornflowers ------ Creado y presentado por José Manuel Gómez y Manuel Álvarez López. Publicado el 06 de enero de 2025.

Decimoctavo programa dedicado a la temporada 1985-86 de la NBA en el que continuamos el repaso de la fase regular de todos los equipos. En este analizamos a los Seattle SuperSonics; tanto las expectativas como el desarrollo del curso, los movimientos en la plantilla, el ataque y la defensa, los jugadores, las estadísticas individuales y colectivas, y algunas curiosidades. El rookie Xavier McDaniel se unió a Jack Sikma y Tom Chambers para liderar a un equipo que no fue capaz de clasificarse para los playoffs. El nuevo entrenador, Bernie Bickerstaff, no fue capaz de hacer ganar al equipo más encuentros que en la campaña precedente. El resto de los jugadores importantes no estuvieron finos: Gerald Henderson, Danny Young, Tim McCormick, Al Wood y otros. Hablamos sobre todo lo anterior y mucho más. ------ Contacto y redes: - iVoox (Era baloncesto): https://www.ivoox.com/podcast-era-baloncesto_sq_f1687000_1.html - XLS con todos los audios: https://docs.google.com/spreadsheets/d/1k9YiJkMkIMwONwX1onZZTBHBffYVtnlgT2oBebypG0A - Twitter: @erabaloncesto - YouTube: https://www.youtube.com/@erabaloncesto - Blog: https://erabaloncesto.home.blog - erabaloncesto@gmail.com ------ Sintonía: - Cornflowers (Dee Yan-Key): freemusicarchive.org/music/Dee_Yan-Key/Vacation_Days/01-Dee_Yan-Key-Cornflowers ------ Creado y presentado por José Manuel Gómez y Manuel Álvarez López. Publicado el 15 de diciembre de 2024.

Decimoséptimo programa dedicado a la temporada 1985-86 de la NBA en el que continuamos el repaso de la fase regular de todos los equipos. En este analizamos a los Golden State Warriors; tanto las expectativas como el desarrollo del curso, los movimientos en la plantilla, el ataque y la defensa, los jugadores, las estadísticas individuales y colectivas, y algunas curiosidades. Ni la alta anotación de Purvis Short, ni el regreso de Joe Barry Carroll de Italia, ni la llegada de Chris Mullin vía draft, ni la mejora de Sleepy Floyd pudieron evitar que estos Warriors acabaran últimos de la Conferencia Oeste. Greg Ballard, Terry Teagle y Larry Smith completaron el septeto de jugadores que más utilizó el entrenador, Johnny Bach; quien no fue capaz de mejorar la defensa del equipo. Además del mal rendimiento deportivo, hubo líos en los despachos que evitaron que algunos buenos jugadores iniciaran el curso. Hablamos sobre todo lo anterior y mucho más. ------ Contacto y redes: - iVoox (Era baloncesto): https://www.ivoox.com/podcast-era-baloncesto_sq_f1687000_1.html - XLS con todos los audios: https://docs.google.com/spreadsheets/d/1k9YiJkMkIMwONwX1onZZTBHBffYVtnlgT2oBebypG0A - Twitter: @erabaloncesto - YouTube: https://www.youtube.com/@erabaloncesto - Blog: https://erabaloncesto.home.blog - erabaloncesto@gmail.com ------ Sintonía: - Cornflowers (Dee Yan-Key): freemusicarchive.org/music/Dee_Yan-Key/Vacation_Days/01-Dee_Yan-Key-Cornflowers ------ Creado y presentado por José Manuel Gómez y Manuel Álvarez López. Publicado el 08 de diciembre de 2024.

The next generation of front-end user interfaces for Oracle Fusion Applications is being built using Visual Builder Studio and Oracle JavaScript Extension Toolkit. However, many of the terms associated with these tools can be confusing.   In this episode, Lois Houston and Nikita Abraham are joined by Senior Principal OCI Instructor Joe Greenwald. Together, they take you through the different terminologies, how they relate to each other, and how they can be used to deliver the new Oracle Fusion Applications as well as stand-alone, bespoke visual web applications.   Survey: https://customersurveys.oracle.com/ords/surveys/t/oracle-university-gtm/survey?k=focus-group-2-link-share-5   Develop Fusion Applications Using Visual Builder Studio: https://mylearn.oracle.com/ou/course/develop-fusion-applications-using-visual-builder-studio/138392/   Build Visual Applications Using Oracle Visual Builder Studio: https://mylearn.oracle.com/ou/course/build-visual-applications-using-oracle-visual-builder-studio/137749/   Oracle University Learning Community: https://education.oracle.com/ou-community   LinkedIn: https://www.linkedin.com/showcase/oracle-university/   X (formerly Twitter): https://twitter.com/Oracle_Edu   Special thanks to Arijit Ghosh, David Wright, and the OU Studio Team for helping us create this episode.   --------------------------------------------------------   Episode Transcript:   00:00 Welcome to the Oracle University Podcast, the first stop on your cloud journey. During this series of informative podcasts, we'll bring you foundational training on the most popular Oracle technologies. Let's get started. 00:26 Nikita: Hello and welcome to the Oracle University Podcast! I'm Nikita Abraham, Team Lead of Editorial Services with Oracle University, and with me is Lois Houston, Director of Innovation Programs. Lois: Hi there! If you've been following along with us, you'll know that we've had some really interesting seasons this year. We covered Autonomous Database, Artificial Intelligence, Visual Builder Studio and Redwood, OCI Container Engine for Kubernetes, and Oracle Database 23ai New Features. Nikita: And we've had some pretty awesome special guests. Do go back and check out those episodes if any of those topics interest you. 01:04 Lois: As we close out the year, we thought this would be a good time to revisit some of our best episodes. Over the next few weeks, you'll be able to listen to four of our most popular episodes of the year.  Nikita: Right, this is the best of the best–according to you–our listeners.   Lois: Today's episode is #1 of 4 and is a throwback to a discussion with Senior Principal OCI Instructor Joe Greenwald on Visual Builder Studio. Nikita: We asked Joe about Visual Builder Studio and Oracle JavaScript Extension Toolkit, also known as JET. Together, they form the basis of the technology for the next generation of front-end user interfaces for Oracle Fusion Applications, as well as many other Oracle applications, including most Oracle Cloud Infrastructure (OCI) interfaces. 01:48 Lois: We looked at the different terminologies and technologies, how they relate to each other, and how they deliver the new Oracle Fusion Applications and stand-alone, bespoke visual web applications.  So, let's dive right in. Nikita: Joe, I'm somewhat thrown by the terminology around Visual Builder, Visual Studio, and JET. Can you help streamline that for us? Lois: Yeah, things that are named the same sometimes refer to different things, and sometimes things with a different name refer to the same thing. 02:18 Joe: Yeah, I know where you're coming from. So, let's start with Visual Builder Studio. It's abbreviated as VBS and can go by a number of different names. Some of the most well-known ones are Visual Builder Studio, VBS, Visual Builder, Visual Builder Stand-Alone, and Visual Builder Cloud Service. Clearly, this can be very confusing. For the purposes of these episodes as well as the training courses I create, I use certain definitions.  02:42 Lois: Can you take us through those? Joe: Absolutely, Lois. Visual Builder Studio refers to a product that comes free with an OCI account and allows you to manage your project-related assets. This includes the project itself, which is a container for all of its assets. You can assign teams to your projects, as well as secure the project and declare roles for the different team members. You manage GIT repositories with full graphical and command-line GIT support, define package, build, and deploy jobs, and create and run continuous integration/continuous deployment graphical and code-managed pipelines for your applications. These can be visual applications, created using the Visual Builder Integrated Development Environment, the IDE, or non-visual apps, such as Java microservices, docker builds, NPM apps, and things like that. And you can define environments, which determine where your build jobs can be deployed. You can also define issues, which allow you to identify, track, and manage things like bugs, defects, and enhancements. And these can be tracked in code review merge requests and build jobs, and be mapped to agile sprints and scrum boards. There's also support for wikis for team collaboration, code snippets, and the management of the repository and the project itself. So, VBS supports code reviews before code is merged into GIT branches for package, build, and deploy jobs using merge requests. 04:00 Nikita: OK, what exactly do you mean by that? Joe: Great. So, for example, you could have developers working in one GIT branch and when they're done, they would push their private code changes into that remote branch. Then, they'd submit a merge request and their changes would be reviewed. Once the changes are approved, their code branch is merged into the main branch and then automatically runs a CI/CD package (continuous integration/continuous deployment) package, build, and deploy job on the code. Also, the CI/CD package, build, and deploy jobs can run against any branches, not just the main branch. So Visual Builder Studio is intended for managing the project and all of its assets. 04:37 Lois: So Joe, what are the different tools used in developing web applications? Joe: Well, Visual Builder, Visual Builder Studio Designer, Visual Builder Designer, Visual Builder Design-Time, Visual Builder Cloud Service, Visual Builder Stand-Alone all kind of get lumped together. You can kinda see why. What I'm referring to here are the tools that we use to build a visual web application composed of HTML5, CSS3, JavaScript, and JSON (JavaScript Object Notation) for metadata. I call this Visual Builder Designer. This is an Integrated Development Environment, it's the “IDE” which runs in your browser. You use a combination of drag and drop, setting properties, and writing and modifying custom and generated code to develop your web applications. You work within a workspace, which is your own private copy of a remote Git branch. When you're ready to start development work, you open an existing workspace or create a new one based on a clone of the remote branch you want to work on. Typically, a new branch would be created for the development work or you would join an existing branch. 05:38 Nikita: What's a workspace, Joe? Is it like my personal laptop and drive? Joe: A workspace is your own private code area that stores any changes you make on the Oracle servers, so your code changes are never lost—even when working in a browser-based, network-based tool. A good analogy is, say I was working at home on my own machine. And I would make a copy of a remote GIT branch and then copy that code down to my local machine, make my code changes, do my testing, etc. and then commit my work—create a logical save point periodically—and then when I'm ready, I'd push that code up into the remote branch so it can be reviewed and merged with the main branch. My local machine is my workspace. However, since this code is hosted up by Oracle on our servers, and the code and the IDE are all running in your browser, the workspace is a simulation of a local work area on your own computer. So, the workspace is a hosted allocation of resources for you that's private. Other people can't see what's going on in your workspace. Your workspace has a clone of the remote branch that you're working with and the changes you make are isolated to your cloned code in your workspace. 06:41 Lois: Ok… the code is actually hosted on the server, so each time you make a change in the browser, the change is written back to the server? Is it possible that you might lose your edits if there's a networking interruption? Joe: I want to emphasize that while I started out not personally being a fan of web-based integrated development environments, I have been using these tools for over three years and in all that time, while I have lost a connection at times—networks are still subject to interruptions—I've never lost any changes that I've made. Ever. 07:11 Nikita: Is there a way to save where you are in your work so that you could go back to it later if you need to? Joe: Yes, Niki, you're asking about commits and savepoints, like in a Git repository or a Git branch. When you reach a logical stopping or development point in your work, you would create a commit or a savepoint. And when you're ready, you would push that committed code in your workspace up to the remote branch where it can be reviewed and then eventually merged, usually with the main Git branch, and then continuous integration/continuous package and deployment build jobs are run. Now, I'm only giving you a high-level overview, but we cover all this and much more in detail with hands-on practices in our Visual Builder developer courses. Right now, I'm just trying to give you a sense of how these different tools are used. 07:52 Lois: Yeah, that makes sense, Joe. It's a lot to cover in a short amount of time. Now, we've discussed the Visual Builder Designer IDE and workspace. But can you tell us more about Visual Builder Cloud Service and stand-alone environments? What are they used for? What features do they provide? Are they the same or different things? Joe: Visual Builder Cloud Service or Visual Builder Stand-Alone, as it's sometimes called, is a service that Oracle hosts on its servers. It provides hosting for the deployed web application source code as well as database tables for business objects that we build and maintain to store your customer data. This data can come from XLS or CSV files, or even your own Oracle database customer table data. A custom REST proxy makes calls to external third-party REST services on your behalf and supports several popular authentication mechanisms. There is also integration with the Identity Cloud Service (IDCS) to manage users and their access to your web apps. Visual Builder Cloud Service is a for-fee product. You pay licensing fees for how much you use because it's a hosted service. Visual Builder Studio, the project asset management aspect I discussed earlier, is free with a standard OCI license. Now, keep in mind these are separate from something like Visual Builder Design Time and the service that's running in Fusion application environments. What I'm talking about now is creating stand-alone, bespoke, custom visual applications. These are applications that are built using industry-standard HTML5, CSS3, JavaScript, and JSON for metadata and are hosted on the Oracle servers.  09:30 Are you looking for practical use cases to help you plan and apply configurations that solve real-world challenges?  With the new Applied Learning courses for Cloud Applications, you'll be able to practically apply the concepts learned in our implementation courses and work through case studies featuring key decisions and configurations encountered during a typical Oracle Cloud Applications implementation. Applied learning scenarios are currently available for General Ledger, Payables, Receivables, Accounting Hub, Global Human Resources, Talent Management, Inventory, and Procurement, with many more to come!  Visit mylearn.oracle.com to get started. 10:12 Nikita: Welcome back! Joe, you said Visual Builder Cloud Service or Stand-Alone is a for-fee service. Is there a way I can learn about using Visual Builder Designer to build bespoke visual applications without a fee? Joe: Yes. Actually, we've added an option where you can run the Visual Builder Designer and learn how to create web apps without using the app hosting or the business object database that stores your customer data or the REST proxy for authentication or the Identity Cloud Service. So you don't get those features, but you can still learn the fundamentals of developing with Visual Builder Designer. You can call third-party APIs, you can download the source, and run it locally, for example, in a Tomcat server. This is a great and free way to learn how to develop with the Visual Builder Designer. 10:55 Lois: Joe, I want to know more about the kinds of apps you can build in VB Designer and the capabilities that VB Cloud Service provides. Joe: Visual Builder Designer allows you to build custom, bespoke web applications made of interactive webpages; flows of pages for navigation; events that respond when things happen in the app, for example, GUI events like a button is clicked or values are entered into a text field; variables to store the state of the application and the ability to make REST calls, all from your browser. These applications have full access to the Oracle Fusion Applications APIs, given that you have the right security permissions and credentials of course. They can access your customer business data as business objects in our internally hosted database tables or your own customer database tables. They can access third-party APIs, and all these different data sources can appear in the same visual application, on the same page, at the same time. They use the Identity Cloud Service to identify which users can log in and authenticate against the application. And they all use the new Redwood graphical user interface components and page templates, so they have the same look and feel of all Oracle applications. 12:02 Nikita: But what if you're building or extending Oracle Fusion Applications? Don't things change a little bit? Joe: Good point, Niki. Yes. While you still work within Visual Builder Studio, that doesn't change, VBS maintains your project and all your project-related assets, that is still the same. However, in this case, there is no separate hosted Visual Builder Cloud Service or Stand-Alone instance. In this case, Visual Builder is hosted inside of Fusion apps itself as part of the installation. I won't go into the details of how the architecture works, but the Visual Builder instance that you're running your code against is part of Fusion applications and is included in the architecture as well as the billing. All your code changes are maintained and stored within a single container called an extension. And this extension is a Git repository that is created for you, or you can create it yourself, depending on how you choose to work within Visual Builder Studio. You create an extension to hold the source code changes that provide a customization or configuration. This means making a change to an existing page or a set of pages or even adding new pages and flows to your Oracle Fusion Applications. You use Visual Builder Studio and Visual Builder Designer in a similar way as to how you would use them for bespoke stand-alone visual applications. 13:12 Lois: I'm trying to envision how this workflow is used. How is it different from bespoke VB app development? Or is it different at all? Joe: So, recall that the Visual Builder Designer is effectively the Integrated Development Environment, the IDE, where you make your code changes by working with both the raw HTML5, CSS3, and JavaScript code, if need be, or the Page Designer for drag and drop, and setting properties and then Live mode to test your work. You use a version of VB Designer to view and modify your customizations, and the code is stored in a Git repository called an extension. So, in that sense, the work of developing pages and flows and such is the same. You still start by creating or, more typically, joining a project and then either create a new extension from scratch or base it on an existing application, or go directly to the page that you want to edit and, on that page, select from your profile menu to edit in Visual Builder Studio. Now, this is a different lifecycle path from bespoke visual applications. With them, you're not extending an app or modifying individual pages in the same way. You get a choice of which project you want to add your extension to when you're working with Fusion apps and potentially which repository to store your customizations, unless one already exists and then it's assigned automatically to hold your code changes. So you make your changes and edits to the portions of the application that have been opened for extensibility by the development team. This is another difference. Once you make your code changes, the workflow is pretty much the same as for a bespoke visual application: do your development work, commit your changes, push your changes to the remote branch. And then typically, your code is reviewed and if the code passes and is approved, it's merged with the main branch. Then, the package and deploy jobs run to deploy the main code to the production environment or whatever environment you're targeting. And once the package and deploy jobs complete, the code base is updated and users who log in see the changes that you've made. 15:03 Nikita: You mentioned creating apps that combine data from Fusion cloud, applications, customer data, and third-party APIs into one page. Why is it necessary? Why can't you just do all that in one Fusion Applications extension? Joe: When you create extensions, you are working within the Oracle Fusion Applications ecosystem, that's what they actually call it, which includes a defined a set of users who have been predefined and are, therefore, known to Fusion Applications. So, if you're a user and you're not part of that Fusion Apps ecosystem, you can't access the pages. Period. That's how Fusion Apps works to maintain its security and integrity. Secondly, you're working pretty much solely with the Fusion Applications APIs data sources coming directly from Fusion Applications, which are also available to you when you're creating bespoke visual apps. When you're working with Fusion Applications in Visual Builder, you don't have access to these business objects that give you access to your own customer database data through Visual Builder-generated REST APIs. Business objects are available only to bespoke visual applications in the hosted VB Cloud Service instance. So, your data sources are restricted to the Oracle Fusion Applications APIs and some third-party APIs that work within a narrow set of authentication mechanisms currently, although there are plans to expand this in the future. A mashup app that allows you now to access all these data sources while creating apps that leverage the Redwood Component System, so they look and work like Fusion Apps. They're a highly popular option for our partners and customers. 16:28 Lois: So, to review, we have two different approaches. You can create a visual application using the for-fee, hosted Visual Builder Cloud Service/Stand-Alone or the one that comes with Oracle Integration Cloud, or you can use the extension architecture for Fusion applications, where you use the designer and create your extensions, and the code is delivered and deployed to Fusion applications code. You haven't talked about JET yet though, Joe. What is that? Joe: So, JET is an abbreviation. It stands for Oracle JavaScript Extension Toolkit and JET is the underlying technology that makes Visual Builder, visual applications, and Visual Builder Extensions for Fusion Applications possible. Oracle JavaScript Extension Toolkit provides a module-based, open-source toolkit that leverages modern JavaScript, TypeScript, CSS3, and HTML5 to deliver web applications. It's targeted at JavaScript developers working on client-side applications. It is not for backend development.  It's a collection of popular, powerful JavaScript libraries and a set of Oracle-contributed JavaScript libraries that make it very simple, easy, and efficient to build front-end applications that can consume and interact with Oracle products and services, especially Oracle Cloud services, but of course it can work with any type of third-party API. 17:44 Nikita: How are JET applications architected, Joe, and how does that relate to Visual Builder pages and flows? Joe: The architecture of JET applications is what's called a single page architecture. We've all seen these. These are where you have a single webpage—think of your index page that provides the header and footer for your webpage—and then the middle portion or the middle content of the page, represented by modules, allow you to navigate from one page or module to another. It also provides the data mapping so that the data elements in the variables and the state of the application, as well as the graphical user interface elements that provide the fields and functionality for the interface for the application, these are all maintained on the client side. If you're working in pure JET, then you work with these modules at the raw JavaScript code level. And there are a lot of JavaScript developers who want to work like this and create their custom applications from the code up, so to speak. However, it also provides the basis for Visual Builder visual applications and Fusion Apps visual extensions in Visual Builder. 18:41 Lois: How does JET support VB Apps? You didn't talk much about having to write a bunch of JavaScript and HTML5, so I got the impression that this is all done for you by VB Designer? Joe: Visual Builder applications are composed of HTML5, CSS3, and JavaScript code that is usually generated by the developer when she drags and drops components on to the page designer canvas or sets properties or creates action chains to respond to events. But there's also a lot of JavaScript object notation (JSON) metadata created at the time that describes the pages, the flows, the navigation, the REST services, the variables, their data types, and other assets needed for the app to function. This JSON metadata is translated at runtime using a large JavaScript extension toolkit library called the Visual Builder Runtime that runs in the browser and real time translates the metadata and other assets in the Visual Builder source code into JET code and assets, which are actually executed at runtime. And it's very quick, very fast, very efficient, and provides a layer of abstraction between the raw JET code and the Visual Builder architecture of pages, flows, action chains for executing code and events to handle things that occur in the user interface, including saving the state in variables that are mapped to GUI components. For example, if you have an Input text component, you need to have a variable to store the value that was entered into that Input text component between page refreshes. The data can move from the Input text component to the variable, and from the variable to that Input text component if it's changed programmatically, for example. So, JET manages binding these data values to variables and the UI components on the page. So, a change to a variable value or a change to the contents of the component causes the others to change automatically. Now, this is only a small part of what JET and the frameworks and libraries it uses do for the applications. JET also provides more complex GUI components like lists and tables, and selection lists, and check boxes, and all the sorts of things you would expect in a modern GUI application. 20:37 Nikita: You mentioned a layer of abstraction between Visual Builder Studio Designer and JET. What's the benefit of working in Visual Builder Designer versus JET itself? Joe: The benefit of Visual Builder is that you work at a higher level of abstraction than having to get down into the more detailed levels of deep JavaScript code, working with modules, data mappings, HTML code, single page architecture navigation, and the related functionalities. You can work at a higher level, a graphical level, where you can drag and drop things onto a design canvas and set properties. The VB architecture insulates you from the more technical bits of JET. Now, this frees the developer to concentrate more on application and page design, implementing logic and business rules, and creating a pleasing workflow and look and feel for the user. This keeps them from having to get caught up in the details of getting this working at the code level. Now if needed, you can write custom JavaScript, HTML5, and CSS3 code, though much less than in a JET app, and all that is part of the VB application source, which becomes part of the code used by JET to execute the application itself. And yet it all works seamlessly together. 21:38 Lois: Joe, I know we have courses in JavaScript, HTML, and CSS. But does a developer getting ready to work in Visual Builder Designer have to go take those courses first or can they start working in VB Designer right away? Joe: Yeah, that question does often comes up: Do I need to learn JET to work with Visual Builder? No, you don't. That's all taken care for you in the products themselves. I don't really think it helps that much to learn JET if you are going to be a VB developer. In some ways, it could even be a bit distracting since some of things you learn to do in JET, you would have to unlearn or not do so much because of what VB does it for you. The things you would have to do manually in code in JET are done for you. This is why we call VB a low code development tool. I mean, you certainly can if you want to, but I would spend more time learning about the different GUI components, page templates, the Visual Builder architecture — events, action chains, and the data provider variables and types. Now, I know JET myself. I started with that before learning Visual Builder, but I use very little of my JET knowledge as a VB developer. Visual Builder Designer provides a nice, abstracted, clean layer of modern visual development on top of JET, while leveraging the power and flexibility of JET and keeping the lower-level details out of my way. 22:49 Nikita: Joe, where can I go to get started with Visual Builder? Joe: Well, for more information, I recommend you take a look at our Develop Fusion Applications course if you're working with Fusion Applications and Visual Builder Studio. The other course is Develop Visual Applications with Visual Builder Studio and that's if you're creating stand-alone bespoke applications. Both these courses are free. We also have a comprehensive course that covers JavaScript, HTML5, and CSS3, and while it's not required that you take that to be successful, it can be helpful down the road. I would also say that some basic knowledge of HTML5, CSS3, and JavaScript will certainly support you and serve you well when working with Visual Builder. You learn more as you go along and you find that you need to create more sophisticated applications. I would also mention that a lot of the look and feel of the applications in Visual Builder visual applications and Fusion apps extensions and customizations come through JET components, JET styles, and JET variables, and CSS variables, so that's something that you would want to pursue at some point. There's a JET cookbook out there. You can search for Oracle JET and look for the JET cookbook and that's a good introduction to all of that. 23:50 Nikita: We hope you enjoyed that conversation. To learn about some of the courses Joe mentioned, visit mylearn.oracle.com to get started. Lois: Before we wrap up, we've got a favor to ask. We've created a short survey to capture your thoughts on the podcast. It'll only take a few minutes of your time. Just click the link in the show notes and share your feedback. We want to make sure we're delivering the best experience possible so don't hesitate to let us know what's on your mind! Thanks for your support. Join us next week for another throwback episode. Until then, this is Lois Houston… Nikita: And Nikita Abraham, signing off! 24:30 That's all for this episode of the Oracle University Podcast. If you enjoyed listening, please click Subscribe to get all the latest episodes. We'd also love it if you would take a moment to rate and review us on your podcast app. See you again on the next episode of the Oracle University Podcast.

Decimosexto programa dedicado a la temporada 1985-86 de la NBA en el que continuamos el repaso de la fase regular de todos los equipos. En este analizamos a los Boston Celtics; tanto las expectativas como el desarrollo del curso, los movimientos en la plantilla, el ataque y la defensa, los jugadores, las estadísticas individuales y colectivas, y algunas curiosidades. K. C. Jones mantuvo al quinteto estelar liderado por Larry Bird (MVP por tercera campaña consecutiva). El segundo espada fue Kevin McHale, quien no paraba de progresar, y el tercer pilar fue Robert Parish. La pareja exterior (Dennis Johnson y Danny Ainge) ayudó a que el equipo obtuviera el mejor récord de la liga. Las dos nuevas incorporaciones ayudaron desde el banquillo, Jerry Sichting jugando como base-escolta y Bill Walton siendo el pívot suplente (mejor sexto hombre de la liga). También como suplente rindió bien el tirador Scott Wedman. Hablamos sobre todo lo anterior y mucho más. ------ Contacto y redes: - iVoox (Era baloncesto): https://www.ivoox.com/podcast-era-baloncesto_sq_f1687000_1.html - XLS con todos los audios: https://docs.google.com/spreadsheets/d/1k9YiJkMkIMwONwX1onZZTBHBffYVtnlgT2oBebypG0A - Twitter: @erabaloncesto - YouTube: https://www.youtube.com/@erabaloncesto - Blog: https://erabaloncesto.home.blog - erabaloncesto@gmail.com ------ Sintonía: - Cornflowers (Dee Yan-Key): freemusicarchive.org/music/Dee_Yan-Key/Vacation_Days/01-Dee_Yan-Key-Cornflowers ------ Creado y presentado por José Manuel Gómez y Manuel Álvarez López. Publicado el 24 de noviembre de 2024.

Decimoquinto programa dedicado a la temporada 1985-86 de la NBA en el que continuamos el repaso de la fase regular de todos los equipos. En este analizamos a los Milwaukee Bucks; tanto las expectativas como el desarrollo del curso, los movimientos en la plantilla, el ataque y la defensa, los jugadores, las estadísticas individuales y colectivas, y algunas curiosidades. Don Nelson volvió a dirigir con maestría al equipo, tanto ofensiva como defensivamente. El tercer mejor récord de la liga contó con un trío estelar: Sidney Moncrief, Terry Cummings y Paul Pressey. Otros cuatro jugadores tuvieron un rendimiento destacado: Alton Lister, Ricky Pierce, Craig Hodges y Randy Breuer. Y aportaron su granito de arena Charles Davis, Jeff Lamp, Mike Glenn, Kenny Fields, Jerry Reynolds y Paul Mokeski. Hablamos sobre todo lo anterior y mucho más. ------ Contacto y redes: - iVoox (Era baloncesto): https://www.ivoox.com/podcast-era-baloncesto_sq_f1687000_1.html - XLS con todos los audios: https://docs.google.com/spreadsheets/d/1k9YiJkMkIMwONwX1onZZTBHBffYVtnlgT2oBebypG0A - Twitter: @erabaloncesto - YouTube: https://www.youtube.com/@erabaloncesto - Blog: https://erabaloncesto.home.blog - erabaloncesto@gmail.com ------ Sintonía: - Cornflowers (Dee Yan-Key): freemusicarchive.org/music/Dee_Yan-Key/Vacation_Days/01-Dee_Yan-Key-Cornflowers ------ Creado y presentado por José Manuel Gómez y Manuel Álvarez López. Publicado el 13 de noviembre de 2024.

Decimocuarto programa dedicado a la temporada 1985-86 de la NBA en el que continuamos el repaso de la fase regular de todos los equipos. En este analizamos a los Philadelphia 76ers; tanto las expectativas como el desarrollo del curso, los movimientos en la plantilla, el ataque y la defensa, los jugadores, las estadísticas individuales y colectivas, y algunas curiosidades. Contamos cómo Charles Barkley se convirtió en esta campaña en el mejor jugador del equipo y una superestrella de la liga. Asimismo, el relevo en el banquillo (entraba Matt Guokas por Billy Cunningham). Moses Malone rindió bien, pero ya no era tan Bestia Parda. Maurice Cheeks era uno de los mejores bases de la NBA desde hace varios cursos. El Doctor J y Andrew Toney estaban de capa caída, uno por edad y otro por lesiones (además de que la franquicia lo trató fatal). Bobby Jones se despedía de la liga. Bob McAdoo reforzó la plantilla en el último tercio de la temporada. Ayudaron también el debutante Terry Catledge, Sedale Threatt y Clemon Johnson. Hablamos sobre todo lo anterior y mucho más. ------ Contacto y redes: - iVoox (Era baloncesto): https://www.ivoox.com/podcast-era-baloncesto_sq_f1687000_1.html - XLS con todos los audios: https://docs.google.com/spreadsheets/d/1k9YiJkMkIMwONwX1onZZTBHBffYVtnlgT2oBebypG0A - Twitter: @erabaloncesto - YouTube: https://www.youtube.com/@erabaloncesto - Blog: https://erabaloncesto.home.blog - erabaloncesto@gmail.com ------ Sintonía: - Cornflowers (Dee Yan-Key): freemusicarchive.org/music/Dee_Yan-Key/Vacation_Days/01-Dee_Yan-Key-Cornflowers ------ Creado y presentado por José Manuel Gómez y Manuel Álvarez López. Publicado el 20 de octubre de 2024.

Decimotercer programa dedicado a la temporada 1985-86 de la NBA en el que continuamos el repaso de la fase regular de todos los equipos. En este analizamos a los Atlanta Hawks; tanto las expectativas como el desarrollo del curso, los movimientos en la plantilla, el ataque y la defensa, los jugadores, las estadísticas individuales y colectivas, y algunas curiosidades. Tras la mala campaña anterior, Dominique Wilkins lideró al equipo a la cuarta posición de la Conferencia Este. Cuando regresó de su lesión, Doc Rivers rindió también de manera excelente. Kevin Willis y Randy Wittman fueron los otros dos jugadores importantes. El entrenador, Mike Fratello, obtuvo lo máximo de la plantilla, incluidos los secundarios: Cliff Levingston, Tree Rollins, Eddie Johnson y Johnny Davis (estos dos últimos protagonistas del traspaso que sacó al primero de la franquicia). El rookie que se supone que debió ayudar más, Jon Koncak, no lo hizo; en cambio, Spud Webb aportó bastante desde el banquillo. Antoine Carr se lesionó y pasó inadvertido. Hablamos sobre todo lo anterior y mucho más. ------ Contacto y redes: - iVoox (Era baloncesto): https://www.ivoox.com/podcast-era-baloncesto_sq_f1687000_1.html - XLS con todos los audios: https://docs.google.com/spreadsheets/d/1k9YiJkMkIMwONwX1onZZTBHBffYVtnlgT2oBebypG0A - Twitter: @erabaloncesto - YouTube: https://www.youtube.com/@erabaloncesto - Blog: https://erabaloncesto.home.blog - erabaloncesto@gmail.com ------ Sintonía: - Cornflowers (Dee Yan-Key): freemusicarchive.org/music/Dee_Yan-Key/Vacation_Days/01-Dee_Yan-Key-Cornflowers ------ Creado y presentado por José Manuel Gómez y Manuel Álvarez López. Publicado el 13 de octubre de 2024.

Duodécimo programa dedicado a la temporada 1985-86 de la NBA en el que continuamos el repaso de la fase regular de todos los equipos. En este analizamos a los Detroit Pistons; tanto las expectativas como el desarrollo del curso, los movimientos en la plantilla, el ataque y la defensa, los jugadores, las estadísticas individuales y colectivas, y algunas curiosidades. Tras una buena actuación en la anterior campaña, especialmente en los playoffs, se esperaba que pudieran rendir casi tan bien que los mejores de la liga. Jack McCloskey, el mánager general, sumó a Joe Dumars (draft) y Rick Mahorn (traspaso) a la franquicia. Isiah Thomas seguía estando en la superélite de la NBA. Bill Laimbeer continuó siendo el otro puntal, además del máximo reboteador de la liga, con Kelly Tripucka asentado en el puesto de tercer espada. Vinnie Johnson, «El Microondas», permaneció como el sexto hombre. John Long perdió su puesto en la rotación exterior. Ken Benson acabó el curso como el mejor ala pívot del equipo. Earl Cureton aportó intensidad. El entrenador, Chuck Daly, no fue capaz de mejorar la defensa y el ataque volvió a ser el arma más poderosa de los Pistons. Hablamos sobre todo lo anterior y mucho más. ------ Contacto y redes: - iVoox (Era baloncesto): https://www.ivoox.com/podcast-era-baloncesto_sq_f1687000_1.html - XLS con todos los audios: https://docs.google.com/spreadsheets/d/1k9YiJkMkIMwONwX1onZZTBHBffYVtnlgT2oBebypG0A - Twitter: @erabaloncesto - YouTube: https://www.youtube.com/@erabaloncesto - Blog: https://erabaloncesto.home.blog - erabaloncesto@gmail.com ------ Sintonía: - Cornflowers (Dee Yan-Key): freemusicarchive.org/music/Dee_Yan-Key/Vacation_Days/01-Dee_Yan-Key-Cornflowers ------ Creado y presentado por José Manuel Gómez y Manuel Álvarez López. Publicado el 06 de octubre de 2024.

Undécimo programa dedicado a la temporada 1985-86 de la NBA en el que continuamos el repaso de la fase regular de todos los equipos. En este analizamos a los Washington Bullets; tanto las expectativas como el desarrollo del curso, los movimientos en la plantilla, el ataque y la defensa, los jugadores, las estadísticas individuales y colectivas, y algunas curiosidades. Llegaba Manute Bol a la liga y el impacto sería inmediato. La nueva lesión de Jeff Ruland volvió a condicionar la campaña de los Bullets. Aunque el equipo se reforzó con Dan Roundfield, no fue suficiente para ir a más. Jeff Malone fue de lo mejor, pero Gus Williams no rindió según lo esperado. Salieron de la franquicia tanto Rick Mahorn como Greg Ballard. El entrenador, Gene Shue, se enfocó de nuevo en defender bien y atacar lento. Cliff Robinson continuó anotando, Frank Johnson se lesionó de nuevo y Darren Daye ayudó. Hablamos sobre todo lo anterior y mucho más. ------ Contacto y redes: - iVoox (Era baloncesto): https://www.ivoox.com/podcast-era-baloncesto_sq_f1687000_1.html - XLS con todos los audios: https://docs.google.com/spreadsheets/d/1k9YiJkMkIMwONwX1onZZTBHBffYVtnlgT2oBebypG0A - Twitter: @erabaloncesto - YouTube: https://www.youtube.com/@erabaloncesto - Blog: https://erabaloncesto.home.blog - erabaloncesto@gmail.com ------ Sintonía: - Cornflowers (Dee Yan-Key): freemusicarchive.org/music/Dee_Yan-Key/Vacation_Days/01-Dee_Yan-Key-Cornflowers ------ Creado y presentado por José Manuel Gómez y Manuel Álvarez López. Publicado el 29 de septiembre de 2024.

Décimo programa dedicado a la temporada 1985-86 de la NBA en el que continuamos el repaso de la fase regular de todos los equipos. En este analizamos a los New Jersey Nets; tanto las expectativas como el desarrollo del curso, los movimientos en la plantilla, el ataque y la defensa, los jugadores, las estadísticas individuales y colectivas, y algunas curiosidades. Micheal Ray Richardson condicionó el buen hacer del equipo, sus problemas con las drogas lo sacaron de la liga. Dave Wohl sustituyó a Stan Albeck en el banquillo al inicio de la campaña. Tanto Buck Williams como Mike Gminski rindieron al máximo. Darryl Dawkins estuvo lesionado durante demasiados encuentros. Albert King y Otis Birdsong no cumplieron con las expectativas. Darwin Cook y Mickey Johnson fueron los secundarios que más ayudaron y Kelvin Ransey se retiraba. Hablamos sobre todo lo anterior y mucho más. ------ Contacto y redes: - iVoox (Era baloncesto): https://www.ivoox.com/podcast-era-baloncesto_sq_f1687000_1.html - XLS con todos los audios: https://docs.google.com/spreadsheets/d/1k9YiJkMkIMwONwX1onZZTBHBffYVtnlgT2oBebypG0A - Twitter: @erabaloncesto - YouTube: https://www.youtube.com/@erabaloncesto - Blog: https://erabaloncesto.home.blog - erabaloncesto@gmail.com ------ Sintonía: - Cornflowers (Dee Yan-Key): freemusicarchive.org/music/Dee_Yan-Key/Vacation_Days/01-Dee_Yan-Key-Cornflowers ------ Creado y presentado por José Manuel Gómez y Manuel Álvarez López. Publicado el 22 de septiembre de 2024.

Noveno programa dedicado a la temporada 1985-86 de la NBA en el que continuamos el repaso de la fase regular de todos los equipos. En este analizamos a los Chicago Bulls; tanto las expectativas como el desarrollo del curso, los movimientos en la plantilla, el ataque y la defensa, los jugadores, las estadísticas individuales y colectivas, y algunas curiosidades. Esta campaña está condicionada por la lesión de Michael Jordan. Debido a lo anterior, el nuevo entrenador, Stan Albeck, se encontró con una situación complicada en el final de la temporada y no supo resolverla bien. La lesión de la superestrella tuvo un impacto considerable y no solamente en lo deportivo. Hubo problemas con los otros dos jugadores más importantes del equipo, Orlando Woolridge y Quintin Dailey. Llegó a la plantilla un mito como George Gervin. El rookie Charles Oakley se adaptó perfectamente al equipo y tuvo un buen rendimiento. Hubo otros fichajes (John Paxson, Kyle Macy y Gene Banks) que se unieron a los jugadores que continuaban (Dave Corzine, Sidney Green, Jawann Oldham y otros). Jerry Krause ya se estaba moviendo desde el puesto de mánager general para crear el equipo campeón alrededor de Jordan y en el camino creándose unos cuantos enemigos. Incluso se dio el primer acercamiento de Phil Jackson a la franquicia. Hablamos sobre todo lo anterior y mucho más. ------ Contacto y redes: - iVoox (Era baloncesto): https://www.ivoox.com/podcast-era-baloncesto_sq_f1687000_1.html - XLS con todos los audios: https://docs.google.com/spreadsheets/d/1k9YiJkMkIMwONwX1onZZTBHBffYVtnlgT2oBebypG0A - Twitter: @erabaloncesto - YouTube: https://www.youtube.com/@erabaloncesto - Blog: https://erabaloncesto.home.blog - erabaloncesto@gmail.com ------ Sintonía: - Cornflowers (Dee Yan-Key): freemusicarchive.org/music/Dee_Yan-Key/Vacation_Days/01-Dee_Yan-Key-Cornflowers ------ Creado y presentado por José Manuel Gómez y Manuel Álvarez López. Publicado el 15 de septiembre de 2024.

Octavo programa dedicado a la temporada 1985-86 de la NBA en el que continuamos el repaso de la fase regular de todos equipos. En este analizamos a los Cleveland Cavaliers; tanto las expectativas como el desarrollo del curso, los movimientos en la plantilla, el ataque y la defensa, los jugadores, las estadísticas individuales y colectivas, y algunas curiosidades. Los Cavs no rindieron tan bien como en la milagrosa campaña anterior. La lesión de Phil Hubbard afectó para mal al equipo que incluso despidió a su entrenador, George Karl, en el tramo final de la temporada. World B. Free y Roy Hinson volvieron a ser los mejores, con buenas actuaciones de John Bagley y Mel Turpin. El rookie Keith Lee no cumplió con las expectativas y el otro, John «Hot Rod» Williams, no pudo debutar hasta el siguiente curso. Aunque no lo suficiente, hubo otros jugadores que ayudaron: Edgar Jones, Ben Poquette, Mark West, Johnny Davis y Eddie Johnson. Lonnie Shelton disputó sus últimos encuentros en la liga. Al finalizar la campaña, despidieron al mánager general, Harry Weltman, y la franquicia se preparó para una nueva etapa. Hablamos sobre todo lo anterior y mucho más. ------ Contacto y redes: - iVoox (Era baloncesto): https://www.ivoox.com/podcast-era-baloncesto_sq_f1687000_1.html - XLS con todos los audios: https://docs.google.com/spreadsheets/d/1k9YiJkMkIMwONwX1onZZTBHBffYVtnlgT2oBebypG0A - Twitter: @erabaloncesto - YouTube: https://www.youtube.com/@erabaloncesto - Blog: https://erabaloncesto.home.blog - erabaloncesto@gmail.com ------ Sintonía: - Cornflowers (Dee Yan-Key): freemusicarchive.org/music/Dee_Yan-Key/Vacation_Days/01-Dee_Yan-Key-Cornflowers ------ Creado y presentado por José Manuel Gómez y Manuel Álvarez López. Publicado el 08 de septiembre de 2024.

Séptimo programa dedicado a la temporada 1985-86 de la NBA en el que continuamos el repaso de la fase regular de todos equipos. En este analizamos a los Indiana Pacers; tanto las expectativas como el desarrollo del curso, los movimientos en la plantilla, el ataque y la defensa, los jugadores, las estadísticas individuales y colectivas, y algunas curiosidades. En esta campaña continuaron ganando pocos encuentros y sin acertar en el draft como debían; tuvieron mala suerte con la lesión de Clark Kellogg, algo que lo alejó del baloncesto de manera casi definitiva; llegó Wayman Tisdale, elegido número dos del draft; se ficharon a dos veteranos como Quinn Buckner y Clint Richardson; seguían en la plantilla jugadores que rindieron bien: Vern Fleming, Herb Williams y Steve Stipanovich; el jugador de segundo año, Terence Stansbury, no despegó y no ayudó como debía; en definitiva, el entrenador, George Irving, no le sacó un buen rendimiento a un equipo flojo. Hablamos sobre todo lo anterior y mucho más. ------ Contacto y redes: - iVoox (Era baloncesto): https://www.ivoox.com/podcast-era-baloncesto_sq_f1687000_1.html - XLS con todos los audios: https://docs.google.com/spreadsheets/d/1k9YiJkMkIMwONwX1onZZTBHBffYVtnlgT2oBebypG0A - Twitter: @erabaloncesto - YouTube: https://www.youtube.com/@erabaloncesto - Blog: https://erabaloncesto.home.blog - erabaloncesto@gmail.com ------ Sintonía: - Cornflowers (Dee Yan-Key): freemusicarchive.org/music/Dee_Yan-Key/Vacation_Days/01-Dee_Yan-Key-Cornflowers ------ Creado y presentado por José Manuel Gómez y Manuel Álvarez López. Publicado el 01 de septiembre de 2024.

Sexto programa dedicado a la temporada 1985-86 de la NBA en el que iniciamos el repaso de las actuaciones de todos equipos en la fase regular. En este analizamos a los New York Knicks; tanto las expectativas como el desarrollo del curso, los movimientos en la plantilla, el ataque y la defensa, los jugadores, las estadísticas individuales y colectivas, y algunas curiosidades. Tal y como había sucedido en el curso anterior, las lesiones condicionaron el rendimiento del equipo entrenado por Hubie Brown. Bernard King y Marvin Webster se perdieron toda la campaña, y Bill Cartwright, casi toda. El número uno del draft, Patrick Ewing, jugó bien, pero también se perdió por lesión demasiados encuentros (32). Hubo más jugadores con demasiados partidos sin saltar a la cancha: Pat Cummings (51) y James Bailey (34). La sorpresa agradable fue Gerald Wilkins, última elección de la segunda ronda del draft. También estaban por ahí Rory Sparrow, Darrell Walker, Trent Tucker, Louis Orr y Ken Bannister. Hablamos sobre todo lo anterior y mucho más. ------ Contacto y redes: - iVoox (Era baloncesto): https://www.ivoox.com/podcast-era-baloncesto_sq_f1687000_1.html - XLS con todos los audios: https://docs.google.com/spreadsheets/d/1k9YiJkMkIMwONwX1onZZTBHBffYVtnlgT2oBebypG0A - Twitter: @erabaloncesto - YouTube: https://www.youtube.com/@erabaloncesto - Blog: https://erabaloncesto.home.blog - erabaloncesto@gmail.com ------ Sintonía: - Cornflowers (Dee Yan-Key): freemusicarchive.org/music/Dee_Yan-Key/Vacation_Days/01-Dee_Yan-Key-Cornflowers ------ Creado y presentado por José Manuel Gómez y Manuel Álvarez López. Publicado el 25 de agosto de 2024.

Quinto programa dedicado a la temporada 1985-86 de la NBA. Analizamos las aventuras de Fernando Martín en la NBA; tanto su primer campus en 1985 con los New Jersey Nets como el de 1986 con los Portland Trail Blazers, incluyendo las distintas vicisitudes que impidieron su fichaje en el verano del 85 y permitieron que entrara en la liga en 1986. Además de por qué se fijaron en él, cómo se desarrolló su temporada allí, sus experiencias dentro y fuera de la cancha, y muchos otros temas. Contamos con la colaboración de Juan Francisco Escudero, autor del estupendo libro «Fernando Martín. La senda de los valientes». ------ Contacto y redes: - iVoox (Era baloncesto): https://www.ivoox.com/podcast-era-baloncesto_sq_f1687000_1.html - XLS con todos los audios: https://docs.google.com/spreadsheets/d/1k9YiJkMkIMwONwX1onZZTBHBffYVtnlgT2oBebypG0A - Twitter: @erabaloncesto - YouTube: https://www.youtube.com/@erabaloncesto - Blog: https://erabaloncesto.home.blog - erabaloncesto@gmail.com ------ Sintonía: - Cornflowers (Dee Yan-Key): freemusicarchive.org/music/Dee_Yan-Key/Vacation_Days/01-Dee_Yan-Key-Cornflowers ------ Creado y presentado por José Manuel Gómez y Manuel Álvarez López. Publicado el 18 de agosto de 2024.

Cuarto programa dedicado a la temporada 1985-86 de la NBA. Analizamos el draft de 1985 que metió en la liga muchos jugadores de calidad: Patrick Ewing, Karl Malone, Chris Mullin, Joe Dumars, Detlef Schrempf, Terry Porter, Charles Oakley, A. C. Green, Xavier McDaniel, Hot Rod Williams, Benoit Benjamin, Manute Bol, Spud Webb y otros. También hacemos nuestros redrafts. ------ Contacto y redes: - iVoox (Era baloncesto): https://www.ivoox.com/podcast-era-baloncesto_sq_f1687000_1.html - XLS con todos los audios: https://docs.google.com/spreadsheets/d/1k9YiJkMkIMwONwX1onZZTBHBffYVtnlgT2oBebypG0A - Twitter: @erabaloncesto - YouTube: https://www.youtube.com/@erabaloncesto - Blog: https://erabaloncesto.home.blog - erabaloncesto@gmail.com ------ Sintonía: - Cornflowers (Dee Yan-Key): freemusicarchive.org/music/Dee_Yan-Key/Vacation_Days/01-Dee_Yan-Key-Cornflowers ------ Creado y presentado por José Manuel Gómez y Manuel Álvarez López. Publicado el 11 de agosto de 2024.

Tercer programa dedicado a la temporada 1985-86 de la NBA. Es el segundo de los dos que analizan las trayectorias de los jugadores que disputaron sus últimos encuentros en la liga en el curso 84-85. En este audio estudiamos las carreras de Truck Robinson, John Drew, Billy Paultz, Phil Ford, M. L. Carr, Billy Knight, Lionel Hollins, Reggie King, Campy Russell y Kevin Grevey. También de otros como Don Buse, Joe C. Meriweather, Charlie Criss, Tom Lagarde, Greg Kelser, Harvey Catchings, Lorenzo Romar, Sam Williams y Alvin Scott. Y de los «españoles» Audie Norris, Rickey Brown, Larry Micheaux, Linton Townes y Joe Kopicki. ------ Contacto y redes: - iVoox (Era baloncesto): https://www.ivoox.com/podcast-era-baloncesto_sq_f1687000_1.html - XLS con todos los audios: https://docs.google.com/spreadsheets/d/1k9YiJkMkIMwONwX1onZZTBHBffYVtnlgT2oBebypG0A - Twitter: @erabaloncesto - YouTube: https://www.youtube.com/@erabaloncesto - Blog: https://erabaloncesto.home.blog - erabaloncesto@gmail.com ------ Sintonía: - Cornflowers (Dee Yan-Key): freemusicarchive.org/music/Dee_Yan-Key/Vacation_Days/01-Dee_Yan-Key-Cornflowers ------ Creado y presentado por José Manuel Gómez y Manuel Álvarez López. Publicado el 04 de agosto de 2024.

This week, we're stanning attack position XLS ghosts. Donate to TRANS LIFELINE! Join our PATREON! Join Katey's PATREON! Follow us on INSTAGRAM!

Segundo programa dedicado a la temporada 1985-86 en la NBA. Es el primero de los dos que analizan las trayectorias de los jugadores que disputaron sus últimos encuentros en la liga en el curso 84-85. En este audio desglosamos la carrera de Dan Issel (apodado «the Horse»), un jugador que triunfó en la ABA en la década de los 70 y que supo seguir anotando como pocos en su salto a la NBA tras la unión de las ligas. ------ Contacto y redes: - iVoox (Era baloncesto): https://www.ivoox.com/podcast-era-baloncesto_sq_f1687000_1.html - XLS con todos los audios: https://docs.google.com/spreadsheets/d/1k9YiJkMkIMwONwX1onZZTBHBffYVtnlgT2oBebypG0A - Twitter: @erabaloncesto - YouTube: https://www.youtube.com/@erabaloncesto - Blog: https://erabaloncesto.home.blog - erabaloncesto@gmail.com ------ Sintonía: - Cornflowers (Dee Yan-Key): freemusicarchive.org/music/Dee_Yan-Key/Vacation_Days/01-Dee_Yan-Key-Cornflowers ------ Creado y presentado por José Manuel Gómez y Manuel Álvarez López. Publicado el 28 de julio de 2024.

Dr. Matt Koester // #FitnessAthleteFriday // www.ptonice.com In today's episode of the PT on ICE Daily Show, Endurance Athlete faculty member Matt Koester discusses the differences between front and rear mount bike trainers, which is preferred for different bike types, as well as budget options.  Take a listen to the episode or check out the full show notes on our blog at www.ptonice.com/blog If you're looking to learn from our Endurance Athlete division, check out our live physical therapy courses or our online physical therapy courses. Check out our entire list of continuing education courses for physical therapy including our physical therapy certifications by checking out our website. Don't forget about all of our FREE eBooks, prebuilt workshops, free CEUs, and other physical therapy continuing education on our Resources tab. EPISODE TRANSCRIPTION MATT KOESTERWhat's up everybody? Good morning and welcome to another episode of the PT on ICE Daily Show. Today I'm going to be your host. I'm Dr. Matthew Koester. I'm one of the lead faculty in the endurance athlete division with a specialty in bike fitting. I am super stoked to hop on here today and talk about probably the most popular question that we get in every live course and one of the most important things when you're getting into fitting for the first time as far as equipment goes. But before we dive into those topics, I want to talk about the opportunities that y'all are going to have to come and find us on the road. with number one being in Denver next weekend. We've only got four seats available for that course, so if you're interested in popping in, it's gonna be in South Denver in the Denver Tech Center area. We are really, really stoked to be heading out there soon, but if that's not gonna work out for you, we have another option, which is gonna be in Bellingham, Washington again, because the last time we were out there, it was completely sold out, the wait list was filling up, and we decided we'd run it back and set up a second course in Bellingham, Washington later this fall. There's gonna be another opportunity as well to see Jason London, who's the original content creator for this course, which is an absolute opportunity in Park City. That's a really cool location. We're gonna be out there in October as well for that course. So if you're looking to get a jump on some of this education and use this stuff in the clinic, the live course is the best way to get through it. So by all means, come find us on the road and check out one of those course options. Now, I said I was gonna talk about probably the biggest question in the course. The biggest one is really the thing that gets you into this. And it's what type of trainer do I need? We have two options in most cases. So to my left and behind me here, we have a front mount trainer, which offers a whole lot of options as far as what bikes can go on. And then we have the tried and true rear mount trainer. And what I want to do today is talk about probably like the biggest pros and cons of each. I want to talk about which one is probably the most appropriate for you and your clinic, depending on what type of bikes you're typically seeing. And then the ones that kind of have, I'd say, more budgetary constraints and or are just limited in availability sometimes. So, to start off first, I want to talk about the rear mount trainer because that is the one that is tried and true. That is going to be, in most cases for us, this green guy here. This is the Curt Kinetic trainer. Now, if I slide that thing forward, You'll see we've got the rear roller, which is basically what compresses the tire and allows you to kind of go through resistance while you're pedaling. You've got this rear cup that basically compresses the back axle of the bike and allows you to keep the bike nice and steady. And then we typically put something underneath the front wheel. Sometimes it's a custom wheel block. Sometimes it's an adjustable wheel block that allows you to lift that thing up and down and change the positions. But with this trainer, one of the things that people really, really love about it is that it's been around forever. They're used to it. When somebody comes into your clinic for a bike fit and they see something like this, they're like, ah, I know what this is. This makes perfect sense to me. I even brought my training skewer, which is typically the axle that they have to replace in the back of the bike if they're going to get on this bike. Because these metal cups here that compress the rear axle when they're tightened up are gonna basically act to lock the bike in place only on the contact points they get to touch. So if those contact points are plastic, which is pretty common as a way to save weight, save money on a bike, you have to replace that either with a training skewer, which just has metal cups on the sides, or in many cases nowadays with how bikes have gotten, these new through axle skewers. So the through axle skewer is typically a lot thicker, it's a lot more robust. It's common on bikes that allows them to put disc brakes on the bikes, which is really more and more ubiquitous these days. So having these options for different through axle skewers allows you to put metal on metal and compress it in the rear end of the trainer. Now depending on what types of bikes or what brands of bikes you're seeing more in the clinic, the skewers that you're going to need are going to change. So they all have various thread types that go on them. Some are very fine, some are medium, some are coarse. Now the Other kicker to this is that even though you might have the thread type dialed in, the distance, so the width of the actual screw itself might change. Last time I checked on the Kirk Kinetic website, which is the name brand for these guys, they had somewhere between, I think, five different options. I think it was like five different ones, three that were the different thread types, and then two more that were XLs for different distances. And each one was running about 50 bucks. So there's a bit of a financial investment to have all the options so that folks can come to see you and have all the options available to them. If you don't have one of these available to you and their bike doesn't have that, you're going to be kind of stuck in a place where you don't have an option with this style of rear mount trainer to throw them on and do the fit appropriately. That could be a bummer. got to have all the pieces. I'll say there's one other option out there, or not one, but two other like styles of these that are completely adjustable. CycleOps makes one, and I'm forgetting the other brand right now, but they basically have plugs and things that you can change in and out to put on. In my experience, they can be a little challenging to work with. They don't always match up exactly the way that I want them to distance wise. I like the tried and true nature of these ones from Kure Kinetic, but if you're in a bind, and you can only afford to grab like one adjustable through axle, I think you can figure it out. You just have to spend more time with it and go through the trials and tribulations of working through it. So, to recap real quick. This guy, tried and true, everybody knows it, everybody's used to it. It's a trainer they spend their entire winter on. The adjustability in terms of having different through axles is definitely a key. You gotta have them, especially nowadays as bikes have gotten more and more modern, going to disc brakes. These through axles are just like almost a non-negotiable So you gotta have all the different types so you can match the different brands and the different bikes that they come in. So, tried and true. Now, we step into one thing that Jason and I have been seeing over probably the last few years that's really become more popular is this front mount trainer. It really started to make its way in probably like a couple years ago in staging areas or like warm up areas for cross country cycling and downhill cycling. Specifically in downhill cycling, you'll see these guys everywhere when it comes to just getting through warmups. What this guy has to offer is two pieces that basically slide together. These two pieces include the front end triangle here, which allows me to remove and add the front fork of the bike. So we take the front wheel off, slide the forks over top of this guy, and snug it up nice and tight. The next piece from there is the rear rollers, where we have to get the tires centered in the rollers so they can smoothly pass back and forth as it's rolling. Cool part about this, they only have one adjustable piece as far as the actual front axle goes. So, and they send it with them. So when you buy this piece, you have everything that you need in order to do the fit. You can put any bike on here, because the front mount options will work for a standard fork, so they'll work for through axles. You can often put their own through axle back into the same bike. When you're talking about the distances here, there's a little track here that allows you to work with different size bikes so that when you overcome that issue, you can even separate them or buy the extenders. It just has to get, you have to make sure they're nice and perfectly aligned. Otherwise the back wheel might want to roll off one side or the other as you get started. So the rear trainer here offers a whole lot of options for being able to just throw a bike on quick. Now, the challenge that comes with that, as you start to get into like, oh, this thing works for everything, is that it kind of has that jack of all trades where it's not quite really any good at one thing. The challenge behind this thing is that it's not near as stable. It kind of sacrifices the stability and the tried and true nature of the rear mount for something that can be a little bit tippy if your patient or client gets on it and you're not paying attention. If they just throw a leg over it, it can kind of pull the weight with it, I'll say I've never had anybody fall off one. I've never had an actual incident, but I can definitely tell you that when I am with a client in the clinic and we're setting up to do a bike fit, I talk to them about getting on and off the bike carefully. I talk to them about how, like, when they're going to transition on, I'm going to grab ahold of the bars just to create that element of stability. But then even once they're up and on, an experienced rider, so I would say a good example of this would be a triathlon athlete. So somebody who's in the Madison area for me, who's doing Ironman Wisconsin and is coming in for a fit, If I throw them on this guy, it will work, and it will be fast to throw it on, but it lacks some of the stability and control that they're used to having when they're on the rear mount trainer that they spend all their time on. So they might hop on this, and they might notice that they just don't feel as confident. They don't feel as great. So they're more thinking about the experience of being on the trainer than they actually are thinking about the fit as they're going through it, which can be a negative. Okay. So there's the negatives to it, and there's the positives to it. From a financial standpoint here, if you were in a clinic where you were going to have to buy things new, and I'm going to kind of make that a subject for a moment, you can't just go on Facebook Marketplace and buy new stuff and throw it in at your organization. This guy's going to run you somewhere between $400 to $500, but it's kind of that jack of all trades. You can put anything on it. There's no bike you need. There's no custom pieces that you have to go through. You can just get any bike on here. The rear mount trainer, gonna be a similar ballpark. In many cases, it'd be like 250 to 450, depending on how nice you go, you can certainly spend more. It's gonna be limited in some ways because you're gonna have to have all of the different through axles to accommodate any different bike that walks in the clinic, but you're gonna have that stability and just steadiness that people really rely on and like when they're riding a trainer at home. So it's familiar, so that's kind of a nice option. If we take a step away from the idea of having to buy new, and you're like, okay, I'm going to budget my way through this in my clinic. And I know that if I buy something used, I can just make sure that it's good quality and it's broken. We started to get changed the tone here a little bit. These are harder to find use, but they are definitely. Hmm. They're harder to find used, you can get a hold of them, but they definitely have deals all the time on new ones. So you can find the ballpark, if you go on Amazon or various websites, you can get anywhere between that $400 to $500 mark. And this is where I would spend the bulk of the money, because you're going to have almost no scenarios in which you can't get the person's bike on the trainer. That is going to get you through more fits, even if it's a little bit less ideal of a setup. On the flip side, if I've invested in this one right here and I've got the money spent, I'm probably going to start looking at Facebook Marketplace because these guys are a dime a dozen. There were so many folks during COVID that were buying up bike trainers and they were going to spend more time on them at home. We saw the same thing with Pelotons and indoor bikes. These things are on Facebook Marketplace, Craigslist if you still go down that rabbit hole. They're everywhere for sometimes like under 100 bucks, maybe 50 bucks sometimes. And then from there, most of your investment on this guy goes towards the actual, through actual skewers that allow you to get all the bikes on. So your investments kind of change a little bit as you go through this. This guy's going to be the most money up front. This guy's definitely going to be cheaper as you go through it. But you got to get more components, more pieces. If I only had one in the clinic, which is kind of the question that people boil it down to, if I only had one, it would be the front mount trainer. and that comes with one more layer to it. I love the ability for a private practice or a clinic to be able to get out in the community and showcase the things that we do on a high level. If I want to go out to our local high schools here and go talk with them about mountain bike fits and making sure they get the best performance, injury rate reduction, all of those things, I can pop out to the local high school on one of their opening practices, which is actually coming up in a few weeks. I can throw up the front mount trainer, and in a very short time, take out their front wheel, put that thing right over top of this guy, pull the back up, and go right through things like seat height, have a quick look at their reach. I can make adjustments to small things on the bike very fast and make quick transitions to the next bike and not have to fiddle around with various components and other changes. So the, not only in the clinic does this kind of become the absolute jack of all trades, getting it on, It also makes some of those like community events that much more approachable and that much easier to go through. So I am always going to lean on this guy, but I will tell you it's nice having both for that occasion when somebody comes in and I'm like, Ooh, I really want the stability of the rear mount trainer for this person to throw it on. But I would say nowadays as I've gotten more and more comfortable with this, those things are few and far between. There are a few more nuances that would definitely go into this. There's more questions that surround them about the live courses. but deciding between which one is right for you. Hopefully this is a helpful conversation, a helpful talk to get you through that decision. Feel free to drop a comment, ask us questions here, send me a DM, but we will be in Denver next weekend. If you're ready to join us, we'll talk this stuff through even more. Thanks, y'all. OUTRO Hey, thanks for tuning in to the PT on ICE daily show. If you enjoyed this content, head on over to iTunes and leave us a review, and be sure to check us out on Facebook and Instagram at the Institute of Clinical Excellence. If you're interested in getting plugged into more ice content on a weekly basis while earning CEUs from home, check out our virtual ice online mentorship program at ptonice.com. While you're there, sign up for our Hump Day Hustling newsletter for a free email every Wednesday morning with our top five research articles and social media posts that we think are worth reading. Head over to ptonice.com and scroll to the bottom of the page to sign up.

Is the XRP ETF Inevitable? | Flare Fassets Beta, XLS-47, & XDC Accelerator -------------------------------- *SUPPORT ON THE CHAIN* -------------------------------- *GET A BADASS YETIS NFT* At XRP.cafe with XRP https://otc.one/mint At Supermojo with a credit card https://otc.one/supermojo GET BADASS YETIS COFFEE https://otc.one/BadassYetisBrew -------------- JOIN THE CHANNEL https://otc.one/join OTC MERCH https://onthechain.shop Support ON THE CHAIN https://otc.one/support ------------------- *ON THE CHAIN* ------------------- SUBSCRIBE TO THE OTC PODCAST: https://otc.one/podcast On The Web: https://onthechain.io Follow OTC on Twitter: https://otc.one/otc Join On The Chain Community on Twitter https://twitter.com/i/communities/1599435678995062788 -------------- *JEFF* Follow Jeff on Twitter: https://otc.one/jeff -------------- *CHIP* Follow Chip on Twitter: https://otc.one/chip Listen to Chip's music http://nojoyyet.com​ -------------- *DISCLAIMER:* _All opinions expressed by content contributors that appear on OTC are solely expressing their opinions and do not reflect the views of OTC, its affiliates, or sponsors. Content contributors may have previously disseminated information on a social media platform, website, or another medium such as a podcast, television, or radio. OTC, Content Contributors, Affiliates, or Sponsors are not obligated to update or correct any information. The content contributors are sharing the information which they believe to be reliable. OTC, its affiliates, or sponsors cannot guarantee the accuracy of the opinion shared, and viewers, readers, and listeners should not rely on it. Opinions expressed are not financial advice. Please consult a licensed financial advisor before making any financial decisions. You must research before you invest in anything. Do not invest based on what someone else is doing or not doing or based on other people's opinions. #XRP #Ripple #cryptocurrency #news

Updates on the scooter club! Updates on the SSR! Updates on MotoGp! we talk about a new bike! Lots of Updates!Best Bike in the World this Week: Cushman AirborneWorst Bike in the World this week: 1980 XLS 1000 RoadsterSupport the showSend emails to contact@nocomotopodcast.com, it doesn't have to be important.

The next generation of front-end user interfaces for Oracle Fusion Applications is being built using Visual Builder Studio and Oracle JavaScript Extension Toolkit. However, many of the terms associated with these tools can be confusing. In this episode, Lois Houston and Nikita Abraham are joined by Senior Principal OCI Instructor Joe Greenwald. Together, they take you through the different terminologies, how they relate to each other, and how they can be used to deliver the new Oracle Fusion Applications as well as stand-alone, bespoke visual web applications. Develop Fusion Applications Using Visual Builder Studio: https://mylearn.oracle.com/ou/course/develop-fusion-applications-using-visual-builder-studio/122614/ Build Visual Applications Using Visual Builder Studio: https://mylearn.oracle.com/ou/course/build-visual-applications-using-oracle-visual-builder-studio/110035/ Oracle University Learning Community: https://education.oracle.com/ou-community LinkedIn: https://www.linkedin.com/showcase/oracle-university/ X (formerly Twitter): https://twitter.com/Oracle_Edu Special thanks to Arijit Ghosh, David Wright, and the OU Studio Team for helping us create this episode. --------------------------------------------------------- Episode Transcript: 00:00 Welcome to the Oracle University Podcast, the first stop on your cloud journey. During this  series of informative podcasts, we'll bring you foundational training on the most popular  Oracle technologies. Let's get started. 00:26 Lois: Hello and welcome to the Oracle University Podcast. I'm Lois Houston, Director of Innovation Programs with Oracle University, and with me is Nikita Abraham, Principal Technical Editor. Nikita: Hi everyone! Today, we're starting a new season on building the next generation of Oracle Cloud Apps with Visual Builder Studio. 00:45 Lois: And I'm so excited that we have someone really special to take us through the next few episodes. Joe Greenwald is joining us. Joe is a Senior Principal OCI Instructor with Oracle University. He joined Oracle in 1992 with an extensive background in CASE tools. Since then, he has used and taught all of Oracle's software development tools, including Oracle Forms, APEX, JDeveloper ADF, as well as all the Fusion Middleware courses. Currently, Joe is responsible for the Visual Builder Studio and Redwood development courses, including extending Fusion Applications with Visual Builder. 01:22 Nikita: In today's episode, we're going to ask Joe about Visual Builder Studio and Oracle JavaScript Extension Toolkit, also known as JET. Together, they form the basis of the technology for the next generation of front-end user interfaces for Oracle Fusion Applications, as well as many other Oracle applications, including most Oracle Cloud Infrastructure (OCI) interfaces.  Lois: We'll look at the different terminologies and technologies, how they relate to each other, and how they deliver the new Oracle Fusion applications and stand-alone, bespoke visual web applications. Hi Joe! Thanks for being with us today. 01:57 Joe: Hi Lois! Hi Niki! I'm glad to be here. Nikita: Joe, I'm somewhat thrown by the terminology around Visual Builder, Visual Studio, and JET. Can you help streamline that for us?  Lois: Yeah, things that are named the same sometimes refer to different things, and sometimes things with a different name refer to the same thing.  02:15 Joe: Yeah, I know where you're coming from. So, let's start with Visual Builder Studio. It's abbreviated as VBS and can go by a number of different names. Some of the most well-known ones are Visual Builder Studio, VBS, Visual Builder, Visual Builder Stand-Alone, and Visual Builder Cloud Service. Clearly, this can be very confusing. For the purposes of these episodes as well as the training courses I create, I use certain definitions.  02:39 Lois: Can you take us through those? Joe: Absolutely, Lois. Visual Builder Studio refers to a product that comes free with an OCI account and allows you to manage your project-related assets. This includes the project itself, which is a container for all of its assets. You can assign teams to your projects, as well as secure the project and declare roles for the different team members. You manage GIT repositories with full graphical and command-line GIT support, define package, build, and deploy jobs, and create and run continuous integration/continuous deployment graphical and code-managed pipelines for your applications. These can be visual applications, created using the Visual Builder Integrated Development Environment, the IDE, or non-visual apps, such as Java microservices, docker builds, NPM apps, and things like that. And you can define environments, which determine where your build jobs can be deployed. You can also define issues, which allow you to identify, track, and manage things like bugs, defects, and enhancements. And these can be tracked in code review merge requests and build jobs, and be mapped to agile sprints and scrum boards. There's also support for wikis for team collaboration, code snippets, and the management of the repository and the project itself. So, VBS supports code reviews before code is merged into GIT branches for package, build, and deploy jobs using merge requests.  03:57 Nikita: OK, what exactly do you mean by that? Joe: Great. So, for example, you could have developers working in one GIT branch and when they're done, they would push their private code changes into that remote branch. Then, they'd submit a merge request and their changes would be reviewed.  Once the changes are approved, their code branch is merged into the main branch and then automatically runs a CI/CD package (continuous integration/continuous deployment) package, build, and deploy job on the code. Also, the CI/CD package, build, and deploy jobs can run against any branches, not just the main branch. So Visual Builder Studio is intended for managing the project and all of its assets. 04:37 Lois: So Joe, what are the different tools used in developing web applications? Joe: Well, Visual Builder, Visual Builder Studio Designer, Visual Builder Designer, Visual Builder Design-Time, Visual Builder Cloud Service, Visual Builder Stand-Alone all kind of get lumped together. You can kinda see why. What I'm referring to here are the tools that we use to build a visual web application composed of HTML5, CSS3, JavaScript, and JSON (JavaScript Object Notation) for metadata. I call this Visual Builder Designer. This is an Integrated Development Environment, it's the “IDE” which runs in your browser. You use a combination of drag and drop, setting properties, and writing and modifying custom and generated code to develop your web applications. You work within a workspace, which is your own private copy of a remote Git branch. When you're ready to start development work, you open an existing workspace or create a new one based on a clone of the remote branch you want to work on. Typically, a new branch would be created for the development work or you would join an existing branch. 05:35 Nikita: What's a workspace, Joe? Is it like my personal laptop and drive?  Joe: A workspace is your own private code area that stores any changes you make on the Oracle servers, so your code changes are never lost—even when working in a browser-based, network-based tool. A good analogy is, say I was working at home on my own machine. And I would make a copy of a remote GIT branch and then copy that code down to my local machine, make my code changes, do my testing, etc. and then commit my work—create a logical save point periodically—and then when I'm ready, I'd push that code up into the remote branch so it can be reviewed and merged with the main branch. My local machine is my workspace. However, since this code is hosted up by Oracle on our servers, and the code and the IDE are all running in your browser, the workspace is a simulation of a local work area on your own computer. So, the workspace is a hosted allocation of resources for you that's private. Other people can't see what's going on in your workspace. Your workspace has a clone of the remote branch that you're working with and the changes you make are isolated to your cloned code in your workspace. 06:38 Lois: Ok… the code is actually hosted on the server, so each time you make a change in the browser, the change is written back to the server? Is it possible that you might lose your edits if there's a networking interruption? Joe: I want to emphasize that while I started out not personally being a fan of web-based integrated development environments, I have been using these tools for over three years and in all that time, while I have lost a connection at times—networks are still subject to interruptions—I've never lost any changes that I've made. Ever. 07:08 Nikita: Is there a way to save where you are in your work so that you could go back to it later if you need to? Joe: Yes, Niki, you're asking about commits and savepoints, like in a Git repository or a Git branch. When you reach a logical stopping or development point in your work, you would create a commit or a savepoint. And when you're ready, you would push that committed code in your workspace up to the remote branch where it can be reviewed and then eventually merged, usually with the main Git branch, and then continuous integration/continuous package and deployment build jobs are run. Now, I'm only giving you a high-level overview, but we cover all this and much more in detail with hands-on practices in our Visual Builder developer courses. Right now, I'm just trying to give you a sense of how these different tools are used. 07:49 Lois: Yes, that makes sense, Joe. It's a lot to cover in a short amount of time. Now, we've discussed the Visual Builder Designer IDE and workspace. But can you tell us more about Visual Builder Cloud Service and stand-alone environments? What are they used for? What features do they provide? Are they the same or different things? Joe: Visual Builder Cloud Service or Visual Builder Stand-Alone, as it's sometimes called, is a service that Oracle hosts on its servers. It provides hosting for the deployed web application source code as well as database tables for business objects that we build and maintain to store your customer data. This data can come from XLS or CSV files, or even your own Oracle database customer table data.  A custom REST proxy makes calls to external third-party REST services on your behalf and supports several popular authentication mechanisms. There is also integration with the Identity Cloud Service (IDCS) to manage users and their access to your web apps. 08:47 Joe: Visual Builder Cloud Service is a for-fee product. You pay licensing fees for how much you use because it's a hosted service. Visual Builder Studio, the project asset management aspect I discussed earlier, is free with a standard OCI license. Now, keep in mind these are separate from something like Visual Builder Design Time and the service that's running in Fusion application environments. What I'm talking about now is creating standalone, bespoke, custom visual applications. These are applications that are built using industry-standard HTML5, CSS3, JavaScript, and JSON for metadata and are hosted on the Oracle servers. 09:27 Are you looking for practical use cases to help you plan and apply configurations that solve real-world challenges?  With the new Applied Learning courses for Cloud Applications, you'll be able to practically apply the concepts learned in our implementation courses and work through case studies featuring key decisions and configurations encountered during a typical Oracle Cloud Applications implementation. Applied learning scenarios are currently available for General Ledger, Payables, Receivables, Accounting Hub, Global Human Resources, Talent Management, Inventory, and Procurement, with many more to come!  Visit mylearn.oracle.com to get started. 10:09 Nikita: Welcome back! Joe, you said Visual Builder Cloud Service or Stand-Alone is a for-fee service. Is there a way I can learn about using Visual Builder Designer to build bespoke visual applications without a fee? Joe: Yes. Actually, we've added an option where you can run the Visual Builder Designer and learn how to create web apps without using the app hosting or the business object database that stores your customer data or the REST proxy for authentication or the Identity Cloud Service. So you don't get those features, but you can still learn the fundamentals of developing with Visual Builder Designer. You can call third-party APIs, you can download the source, and run it locally, for example, in a Tomcat server. This is a great and free way to learn how to develop with the Visual Builder Designer. 10:52 Lois: Joe, I want to know more about the kinds of apps you can build in VB Designer and the capabilities that VB Cloud Service provides. Joe: Visual Builder Designer allows you to build custom, bespoke web applications made of interactive webpages; flows of pages for navigation; events that respond when things happen in the app, for example, GUI events like a button is clicked or values are entered into a text field; variables to store state and the ability to make REST calls, all from your browser. These applications have full access to the Oracle Fusion Applications APIs, given that you have the right security permissions and credentials of course. They can access your customer business data as business objects in our internally hosted database tables or your own customer database tables. They can access third-party APIs, and all these different data sources can appear in the same visual application, on the same page, at the same time. They use the identity cloud service to identify which users can log in and authenticate against the application. And they all use the new Redwood graphical user interface components and page templates, so they have the same look and feel of all Oracle applications. 11:59 Nikita: But what if you're building or extending Oracle Fusion Applications? Don't things change a little bit? Joe: Good point, Niki. Yes. While you still work within Visual Builder Studio, that doesn't change, VBS maintains your project and all your project-related assets, that is still the same. However, in this case, there is no separate hosted Visual Builder Cloud Service or Stand-Alone instance. In this case, Visual Builder is hosted inside of Fusion apps itself as part of the installation. I won't go into the details of how the architecture works, but the Visual Builder instance that you're running your code against is part of Fusion applications and is included in the architecture as well as the billing. All your code changes are maintained and stored within a single container called an extension. And this extension is a Git repository that is created for you, or you can create it yourself, depending on how you choose to work within Visual Builder Studio. You create an extension to hold the source code changes that provide a customization or configuration. This means making a change to an existing page or a set of pages or even adding new pages and flows to your Oracle Fusion Applications. You use Visual Builder Studio and Visual Builder Designer in a similar way as to how you would use them for bespoke stand-alone visual applications.  13:10 Lois: I'm trying to envision how this workflow is used. How is it different from bespoke VB app development? Or is it different at all? Joe: So, recall that the Visual Builder Designer is effectively the Integrated Development Environment, the IDE, where you make your code changes by working with both the raw HTML5, CSS3, and JavaScript code, if need be, or the Page Designer for drag and drop, and setting properties and then Live mode to test your work. You use a version of VB Designer to view and modify your customizations, and the code is stored in a Git repository called an extension. So, in that sense, the work of developing pages and flows and such is the same.  You still start by creating or, more typically, joining a project and then either create a new extension from scratch or base it on an existing application, or go directly to the page that you want to edit and, on that page, select from your profile menu to edit in Visual Builder Studio. Now, this is a different lifecycle path from bespoke visual applications. With them, you're not extending an app or modifying individual pages in the same way. 14:11 Joe: You get a choice of which project you want to add your extension to when you're working with Fusion apps and potentially which repository to store your customizations, unless one already exists and then it's assigned automatically to hold your code changes. So you make your changes and edits to the portions of the application that have been opened for extensibility by the development team. This is another difference. Once you make your code changes, the workflow is pretty much the same as for a bespoke visual application: do your development work, commit your changes, push your changes to the remote branch. And then typically, your code is reviewed and if the code passes and is approved, it's merged with the main branch. Then, the package and deploy jobs run to deploy the main code to the production environment or whatever environment you're targeting. And once the package and deploy jobs complete, the code base is updated and users who log in see the changes that you've made. 15:00 Nikita: You mentioned creating apps that combine data from Fusion cloud, applications, customer data, and third-party APIs into one page. Why is it necessary? Why can't you just do all that in one Fusion Applications extension? Joe: When you create extensions, you are working within the Oracle Fusion Applications ecosystem, that's what they actually call it, which includes a defined a set of users who have been predefined and are, therefore, known to Fusion Applications. So, if you're a user and you're not part of that Fusion Apps ecosystem, you can't access the pages. Period. That's how Fusion Apps works to maintain its security and integrity. Secondly, you're working pretty much solely with the Fusion Applications APIs data sources coming directly from Fusion Applications, which are also available to you when you're creating bespoke visual apps. When you're working with Fusion Applications in Visual Builder, you don't have access to these business objects that give you access to your own customer database data through Visual Builder-generated REST APIs. Business objects are available only to bespoke visual applications in the hosted VB Cloud Service instance.  So, your data sources are restricted to the Oracle Fusion Applications APIs and some third-party APIs that work within a narrow set of authentication mechanisms currently, although there are plans to expand this in the future. A mashup app that allows you now to access all these data sources while creating apps that leverage the Redwood Component System, so they look and work like Fusion Apps. They're a highly popular option for our partners and customers. 16:25 Lois: So, to review, we have two different approaches. You can create a visual application using the for-fee, hosted Visual Builder Cloud Service/Stand-Alone or the one that comes with Oracle Integration Cloud, or you can use the extension architecture for Fusion applications, where you use the designer and create your extensions, and the code is delivered and deployed to Fusion applications code.  You haven't talked about JET yet though, Joe. What is that? Joe: So, JET is an abbreviation. It stands for Oracle JavaScript Extension Toolkit and JET is the underlying technology that makes Visual Builder, visual applications, and Visual Builder Extensions for Fusion Applications possible. Oracle JavaScript Extension Toolkit provides a module-based, open-source toolkit that leverages modern JavaScript, TypeScript, CSS3, and HTML5 to deliver web applications. It's targeted at JavaScript developers working on client-side applications. It is not for backend development.  It's a collection of popular, powerful JavaScript libraries and a set of Oracle-contributed JavaScript libraries that make it very simple, easy, and efficient to build front-end applications that can consume and interact with Oracle products and services, especially Oracle Cloud services, but of course it can work with any type of third-party API. 17:42 Nikita: How are JET applications architected, Joe, and how does that relate to Visual Builder pages and flows? Joe: The architecture of JET applications is what's called a single page architecture. We've all seen these. These are where you have a single web page—think of your index page that provides the header and footer for your web page—and then the middle portion or the middle content of the page, represented by modules, allow you to navigate from one page or module to another. It also provides the data mapping so that the data elements in the variables and the state of the application, as well as the graphical user interface elements that provide the fields and functionality for the interface for the application, these are all maintained on the client side. If you're working in pure JET, then you work with these modules at the raw JavaScript code level. And there are a lot of JavaScript developers who want to work like this and create their custom applications from the code up, so to speak. However, it also provides the basis for Visual Builder visual applications and Fusion Apps visual extensions in Visual Builder. 18:38 Lois: How does JET support VB Apps? You didn't talk much about having to write a bunch of JavaScript and HTML5 so I got the impression that this is all done for you by VB Designer? Joe: Visual Builder applications are composed of HTML5, CSS3, and JavaScript code that is usually generated by the developer when she drags and drops components on to the page designer canvas or sets properties or creates action chains to respond to events. But there's also a lot of JavaScript object notation (JSON) metadata created at the time that describes the pages, the flows, the navigation, the REST services, the variables, their data types, and other assets needed for the app to function. This JSON metadata is translated at runtime using a large JavaScript extension toolkit library called the Visual Builder Runtime that runs in the browser and real time translates the metadata and other assets in the Visual Builder source code into JET code and assets, which are actually executed at runtime. And it's very quick, very fast, very efficient, and provides a layer of abstraction between the raw JET code and the Visual Builder architecture of pages, flows, action chains for executing code and events to handle things that occur in the user interface, including saving the state in variables that are mapped to GUI components. For example, if you have an Input text component, you need to have a variable to store the value that was entered into that Input text component between page refreshes. The data can move from the Input text component to the variable, and from the variable to that Input text component if it's changed programmatically, for example. So, JET manages binding these data values to variables and the UI components on the page. So, a change to a variable value or a change to the contents of the component causes the others to change automatically. Now, this is only a small part of what JET and the frameworks and libraries it uses do for the applications.  JET also provides more complex GUI components like lists and tables, and selection lists, and check boxes, and all the sorts of things you would expect in a modern GUI application. 20:34 Nikita: You mentioned a layer of abstraction between Visual Builder Studio Designer and JET. What's the benefit of working in Visual Builder Designer versus JET itself? Joe: The benefit of Visual Builder is that you work at a higher level of abstraction than having to get down into the more detailed levels of deep JavaScript code, working with modules, data mappings, HTML code, single page architecture navigation, and the related functionalities. You can work at a higher level, a graphical level, where you can drag and drop things onto a design canvas and set properties. The VB architecture insulates you from the more technical bits of JET. Now, this frees the developer to concentrate more on application and page design, implementing logic and business rules, and creating a pleasing workflow and look and feel for the user. This keeps them from having to get caught up in the details of getting this working at the code level.  Now if needed, you can write custom JavaScript, HTML5, and CSS3 code, though much less than in a JET app, and all that is part of the VB application source, which becomes part of the code used by JET to execute the application itself. And yet it all works seamlessly together. 21:35 Lois: Joe, I know we have courses in JavaScript, HTML, and CSS. But does a developer getting ready to work in Visual Builder Designer have to go take those courses first or can they start working in VB Designer right away? Joe: Yeah, that question does often comes up: Do I need to learn JET to work with Visual Builder? No, you don't. That's all taken care for you in the products themselves. I don't really think it helps that much to learn JET if you are going to be a VB developer. In some ways, it could even be a bit distracting since some of things you learn to do in JET, you would have to unlearn or not do so much because of what VB does it for you. The things you would have to do manually in code in JET are done for you. This is why we call VB a low code development tool.  I mean, you certainly can if you want to, but I would spend more time learning about the different GUI components, page templates, the Visual Builder architecture — events, action chains, and the data provider variables and types. Now, I know JET myself. I started with that before learning Visual Builder, but I use very little of my JET knowledge as a VB developer. Visual Builder Designer provides a nice, abstracted, clean layer of modern visual development on top of JET, while leveraging the power and flexibility of JET and keeping the lower-level details out of my way. 22:46 Nikita: Joe, where can I go to get started with Visual Builder? Joe: Well, for more information, I recommend you take a look at our Develop Fusion Applications course if you're working with Fusion Applications and Visual Builder Studio. The other course is Develop Visual Applications with Visual Builder Studio and that's if you're creating stand-alone bespoke applications. Both these courses are free. We also have a comprehensive course that covers JavaScript, HTML5, and CSS3, and while it's not required that you take that to be successful, it can be helpful down the road. I would say that some basic knowledge of HTML5, CSS3, and JavaScript will certainly support you and serve you well when working with Visual Builder. You learn more as you go along and you find that you need to create more sophisticated applications. I would also mention that a lot of the look and feel of the applications in Visual Builder visual applications and Fusion apps extensions and customizations come through JET components, JET styles, and JET variables, and CSS variables, so that's something that you would want to pursue at some point. There's a JET cookbook out there. You can search for Oracle JET and look for the JET cookbook and that's a good introduction to all of that. 23:47 Lois: Joe, thank you so much for joining us today. We're really looking forward to having you back next week to discuss extending Oracle Fusion Applications with Visual Builder Studio. Joe: Thanks for having me. Nikita: And if you want to learn about some of the courses Joe mentioned, visit mylearn.oracle.com to get started. Until next time, this is Nikita Abraham… Lois: And Lois Houston signing off! 24:09 That's all for this episode of the Oracle University Podcast. If you enjoyed listening, please click Subscribe to get all the latest episodes. We'd also love it if you would take a moment to rate and review us on your podcast app. See you again on the next episode of the Oracle University Podcast.

En este episodio nos acompaña don Ramón Trecet; alguien inolvidable para todos los que empezamos a seguir la NBA en la década de los ochenta. Gracias a Óscar Villares se ha podido realizar el audio y él es quien lo lidera. El programa «Cerca de las estrellas» es la excusa para que hablemos de baloncesto tanto del siglo XX como del actual, sobre música, la vida en la postguerra en España, Barcelona 92, Aíto García Reneses, las finales olímpicas perdidas por la selección española, el nacimiento de la ACB y la Euroliga, y bastantes más temas. Un honor para nosotros. ------ Contacto y redes: - iVoox (Era baloncesto): https://www.ivoox.com/podcast-era-baloncesto_sq_f1687000_1.html - XLS con todos los audios: https://docs.google.com/spreadsheets/d/1k9YiJkMkIMwONwX1onZZTBHBffYVtnlgT2oBebypG0A - Twitter: @erabaloncesto - Blog: https://erabaloncesto.home.blog - erabaloncesto@gmail.com ------ Sintonía: - Cornflowers (Dee Yan-Key): freemusicarchive.org/music/Dee_Yan-Key/Vacation_Days/01-Dee_Yan-Key-Cornflowers ------ Creado y presentado por Óscar Villares, José Manuel Gómez y Manuel Álvarez López. Publicado el 03 de diciembre de 2023.

Download MP3: https://bit.ly/3LIGDZX Nostic - The Tablets of Thoth - Album (Mixed by Remnis) Check out this amazing mix by https://soundcloud.com/remnis of Nostic's https://soundcloud.com/nostic new album The Tablets of Thoth!!! Remnis did an excellent job showcasing Nostic's tracks in telling a story and building up the songs with smooth transitions. Enjoy this epic Hard Trance journey!! If you like any of the tracks, please support https://soundcloud.com/nostic by purchasing or streaming his music. Also, check out Remnis SoundCloud profile https://soundcloud.com/remnis Nostic - The Tablets of Thoth - Album is available on all major digital music stores & streaming platforms https://bit.ly/468RyUE Hyper Reality Records label boss Nostic returns with a 2nd full-length album, The Tablets of Thoth! Featuring 11 tracks and almost 80 minutes of blistering hard trance, this album is a journey through psychedelic mysticism, sonic mayhem, and the type of organized chaos Nostic has spent the last 23 years perfecting. Expect dark atmospheres, soaring melodies accompanied by complex harmonies, and endless oceans of acid – all grounded by enough massive kicks to make you stomp a hole in the floor! If you've ever lost yourself on the dancefloor wondering about your existence in the astral plane, this album is for you! And if you haven't? The Tablets of Thoth is the album to help you get there! Available on all major digital music stores & streaming platforms! September 15th, 2023 Also available as MP3 + WAV & CD in the Hyper Reality webshop: https://www.hyperrealityrecords.nl/product-category/music/ HRRLP04 is supported by Adam Mohican, Alan Wilson, Alex Starsound, Alter:Ego (UK), Amber D, Arptryx, Auralight, Ariel Beat, BaseBear, C.O.L.D., Cold Junction, Cognition, Curtsey, D10, DJ Ephex, DJ Ludo, DJ Neon, DJ Spaceman, Eckart Stamer, Ed Lynam, ENEMY-9, Felix R, Geck-o, JimZima, Jake Nicholls, Johan N. Lecander, Kenichiro Nishi, Mark EG, Mole-E, Mosquito, Mr Trance Movement, Mycorave, Nick the Kid, Nutty T, PAWEL C., Rainer K, Remnis, Rennz/Distorted Dreams, Rick Guyez, RJ Van Xetten, Rob Binner, Rocco, The Hard Trance Show, Shamanz, SHOCK:FORCE, Tony Dex, Trickydj, Wavepuntcher, Wolf Raven, XLS and many more. Release Date all digital music stores & streaming platforms: September 15th, 2023 Sequence order of tracks in mixed form: ▪ Nostic - Fusion (Original Mix) ▪ Nostic - The Orbits of Gaia (Original Mix) ▪ Nostic - Shredded (Original Mix) ▪ Nostic - Justified (Original Mix) ▪ Nostic - I Follow You (Original Mix) ▪ Nostic - The Metamorphis (Original Mix) ▪ Nostic - Luminance (Original Mix) ▪ Nostic - Beat Time (Original Mix) ▪ Nostic - Evil Guest (Original Mix) ▪ Nostic - Tribute to Acid (Original Mix) [Extra Free Track when you buy the CD from the Hyper Reality webshop] ▪ Nostic - The Tablets of Thoth (Original Mix) ▪ Nostic - Saga of Aether (Original Mix) Release Date all digital music stores & streaming platforms: September 15th, 2023

In crypto news today Ripple acquires Fortress Trust, new XLS-30 update for XRP ledger, and JPMorgan looks to building a cross border payments token.

I'm digging into the mailbag for today's episode. For the first time in over a year, I asked Trapital listeners and readers to send me their most burning questions about the music industry. I've pulled out nine questions from the bunch to cover on the show. We're covering everything from NFTs to artificial-intelligence-assisted music creation to investing in music catalogs going forward and a whole lot more. I'm hitting you with my honest thoughts on each. Here's a look at the topics:[0:54] State of music NFTs [4:40] Customer problems as a music startup[8:35] Lack of new music superstars [12:07] Future of AI-assisted music creation [17:00] Tradeoff for artists wanting ownership [22:11] Hasbro selling eOne[26:16] Music catalog investing in 2023[29:41] Globalization of hip-hop [33:21] Emerging artists as startup founders Trapital's first-ever Cultural Report for 2022: https://trapital.co/culture-report/Listen: Apple Podcasts | Spotify | SoundCloud | Stitcher | Overcast | Amazon | Google Podcasts | Pocket Casts | RSSHost: Dan Runcie, @RuncieDan, trapital.co Sponsors: MoonPay is the leader in web3 infrastructure. They have partnered with Timbaland, Snoop Dogg, and many more. To learn more, visit moonpay.com/trapital Check out The Drop, REVOLT's weekly newsletter to stay ahead of the latest news in hip-hop and Black culture. To learn more, visit revolt.tv Enjoy this podcast? Rate and review the podcast here! ratethispodcast.com/trapital Trapital is home for the business of music, media and culture. Learn more by reading Trapital's free memo.TRANSCRIPTION[00:00:00] Dan Runcie: If you're an owner of I.P., often times that I.P. may be the most valuable thing that you have. But does it always make sense for you to then be the ones that produce it? Of course, there's unique examples of this, right? I think Disney is a company that clearly does both, but Disney is such a unicorn in what it does in so many ways, and we've all seen that flywheel of what they've done, and that flywheel is so relevant because it's hard to see another company that could really do that to that level. But it's more likely than not that if you are an I.P. owner or it's probably in your best financial interest to partner with a company that you can leverage their production because they are skilled at being a production company to do that thing.[00:00:46] Dan Runcie: Hey, welcome to the podcast. I'm your host and the founder of Dan Runcie. This podcast is your place to gain insights from the executives in music, media, entertainment, and more who are taking hip hop culture to the next level. [00:01:04] (Intro) Dan Runcie: From you, the listeners who make Trapital, exactly what it is. So this is a mailbag question where you all sent in your best questions. Some of you emailed them, some of you posted them on socials, but I looked at the questions and picked the best ones, and this is a mailbag episode. It's been a while since we did one of these, so it felt good to do one. I actually wanna do these more often just because I think the questions were really great and we're able to address a bunch of topics that we'll get into A.I, the future of music, globalization, ownership, and all the topics that we love to break down on capital and a few ones. So let's jump in.[00:01:41] (Pre Roll Ad Moonpay) [00:02:11] Dan Runcie: All right. Today we have our one and only Mailbag episode from Trapital. It's been a while since we did one of these. I feel, maybe at some point earlier this year we did a mailbag, so it was finally good to dig back in, hear from folks and be able to answer the questions that a lot of you have been thinking. This podcast has grown quite a bit this past year and was in the 1% for the most shared podcast according to Spotify wrap, so that was pretty good. Some applause for that. And I wanted to bring in some of the questions from some of the avid listeners and readers we have. So I posted in social media, posted in the newsletter, and this is a roundup of the best ones. Covered a bunch of topics. We're gonna talk about the future of A.I and music, the state of NFTs, globalization, ownership, and a whole lot more. So let's dive into the first question we have here. So, Ken Penn wants to know what is the current state of music NFTs and our major labels as interested in them as they were? So first for some clear context, a lot of people have been asking questions about this because the general trends of N F T discussions from last year to this year is not quite what you would expect. A lot of people saw that Bloomberg report that came out earlier in 2022, I think they said, N F T transactions were down 97% from the peak that they were at in 2021. And if you type in the word NFTs in Google Trends, you'll probably see a slope that looks quite downward. That is very true, and that's clearly where that is. But I think there's a big difference between that, which I think 97% of that was the hype and a lot of the crap that you likely would only see at the height of the pandemic when money was flowing like crazy. Think about the time when like Pet rocks were being sold and Logan Paul was buying his NFTs or trying to sell his NFTs for whatever. If that was the top of the market, then I think we're seeing things level off a bit more now because you are still seeing partnerships from the major labels and from a lot of artists. I look at Warner Music Group. Warner's been active, more active than any other major label, I think, when it comes to active investments and being forward-looking and being public about those investments. And it was just six, seven weeks ago that they had formed a partnership with Open Sea, which is one of the largest platforms out there to be able to trade in as a marketplace to be able to buy and sell NFTs. So you also have other deals that we've seen. Universal Music Group recently hired two SVPs that are focused on web three with a pretty strong focus on NFTs themselves. And more broadly, you have companies like Public Pressure that just raised $6 million to continue to build in this space. I have said this a few times in this podcast, but I think that Web three and NFT specifically, you had to get through the.com era. You had to get through that heads.com phase of people just starting shit because it sounded like it was something that was gonna resonate, but after a lot of that didn't work out. You obviously had the.com bubble burst. That era still gave us Google, it still gave us Amazon and all these other companies that have still continued to be successful and be some of the biggest companies in the world today. And I think there was a very strong chance that we will still have that with this current wave. It may look slightly different in music, but I still think that we're gonna see, and we have seen more of the true opportunities, whether it's on the artist side of artists that are selling actual NFTs that their fans would find valuable and that others will wanna buy into as well. And I think you'll see this on the major label side with more investment going into acts that can actually reap the rewards from it. One of the biggest deals of 2022 when it comes to N F T sales was Snoop. and what he was able to do, just capturing that momentum. After the Super Bowl. We wrote, or I covered a lot of this in the culture report that Trapital put out will include a link to it in the show notes if you haven't checked it out yet, but still a lot of upside on NFTs. I do not see it quite as much as the bubble that I think was clearly there in 2021. A lot of that quarantine rapid growth needed to calm back down a bit, and I think NFTs are one of the areas that were hit a lot harder than others, but I still think that there's plenty of upside for people that actually wanna build and don't just wanna do grifter, whatever the hell else people were trying to buy itself time. Another question here is from David from Santa Monica, and this was actually a reply to a newsletter that I recently put out where I was talking about some of the cost challenges that music startups and music tech companies will face as in regards to working with customers and customer service and working and dealing with unprofitable customers and wanting to move further up. Mark's question was whether or not I had any data on the customer service costs that these companies have. And I wanna answer that question in a slightly different way. It's less about customer service in the same way that you know, you or I may go call Comcast or may call Xfinity when we're having an issue with our cable or our internet, but it's more so you are a client or customer that is trying to use this particular service, whether it's free or you're relying on it to grow your own business, and you are now having some challenges, you're having some type of question. The thing is a lot of the companies, especially a lot of the distribution platforms, started off being available to everyone, but I think they realized how expensive it is to serve the clients and to serve the customers who are not driving the most business possible. It's no different than a lot of people see when they're working with client services. Overall, your $2 million clients in a lot of ways can be so much more enjoyable to deal with and work with than your $2,000 clients or $2,000 clients will chat a nickel and a dime. They have a bunch of questions about this, that, and the third, but your clients that have a bit more money, they normally come in a bit more clear and confident with what they're looking for, and it can lead to better business in the long run. And I think to a lot of extent, the same is true with a lot of the artists that you end up serving or a lot of the customers that a lot of these platforms end up serving because a lot of their time gets spent with customers that just don't justify the ROI of how much it costs to have that person on staff continue to work and continue to coach and work directly with someone who's just not generating enough revenue to be able to justify the spend. And if you think about how a lot of the companies focus on these things, especially if you're being built out like a tech customer success. This is a role where whether even at the high individual contributor, or the middle level manager role, you're talking, you know, $150, $200,000 plus for someone that can do that roll on annual basis. I mean, I'm thinking of myself, it was six years ago at this point, I was offered a customer success role from a startup that has, you know, now been acquired. I believe the offer was right around that $150, or maybe it was a little bit more than that K range. And that's how much you're paying to have one person that is dedicated to not just you, but to other clients.But if you were to fractionize my time, let's say that, you know, I was someone that was making $160k a year and I had 12 to 16 clients per year that I was serving, you have to justify, okay, is it worth $10k of the company's time to be able to continue to serve this person if that's what I'm spending my timeline, and we all know that it's less likely that it's gonna be an even split. So that's where these things I think, can often come into play, which is why I think you've seen a lot of the distribution services and a lot of the others start to be more selective over time. And they start to have cut-offs in terms of who they're willing to serve and who they're not willing to serve. And that's one of the reasons why I think we see that shift where, especially in music distribution, it ends up leaning itself towards just having a low cost option, like Distrokid or a tunecore where it essentially doesn't cost much at all to upload the services, but it's a bit more do it yourself or you get something that is a bit more boutique. But by being able to join the boutique offering, it's much more selective as a result. So the next question here is from Arthur from Twitter. He didn't specifically say his name, but it was a good question here. He asked, who gets more blame for the lack of consistent superstar X, labels or customers? The answer is neither. The answer is technology. If you're trying to blame anyone, I personally don't call it blame. I more so call it the driving factor, but this is more about technology. Technology was the driving force that lowered the barriers to entry for artists to be able to create more music than they've ever created, and to be able to release it the way that they've done it. And because they're releasing music the way that they've done it, it then becomes harder and much more noisier for new artists to be able to enter the scene and be able to hit the same heights that they did. And because of the increased number of options that are there, it makes it even easier for powers that be to continue to invest more in what they already see proven. Whether that is your superstar artist or ones who have already proven themselves that seem like they'd be most likely to be the next next bets, whether that's your Taylor Swift or your Adele, or your Beyonce on the proven side or on the artist coming up, whether it's someone like, Olivia Rodrigo, or like Blast, or Billie Eilish or someone like that. So these things that are, I think, a big factor just based on where things are and barriers continuing to be lower and lower. And there's been countless reports on just how difficult it is and how record labels are starting to feel like it's having a harder time to break new stars in the way that they once did. It's harder to have new superstars reach the levels that they did. I think you see this in some of the analysis that's been done on charts and stuff like that too. It's a lot of the same names that have been household names for over a decade that are continuing to stay there and it's harder for the new artists to really come through. So I guess if there's anyone to blame for that, we can blame the founders and the product managers from the companies that enabled the barriers actually to happen in the first place. I know a lot of people disagree. I do think it's a good thing that people have more options than ever just in terms of the artist's perspective, but just because I think that it brought a lot of flexibility. But with that, there's always trade-offs like any new technology brings. There's good with that. There's bad that comes with that. I do think that the pros and the cons outweigh them. I do think that the pros do outweigh the cons with that, but still very aware of the downsides of the current timing. This next question is from Joe Edwards and he asked, what is the ultimate potential of GPT-3? This is a hot topic right now, I think for a lot of folks, and it's a question that I think everyone from record labels to attorneys, to emerging artists are trying to figure out, but here's my perspective. I think that GPT-3 is a great tool that will be able to give songwriters an extra tool that they can have by their side. I think we recently heard Bruce Springsteen on a podcast talk about how he could use A.I., whether it's something like something that can help jog his memory or jog his thoughts, specifically if he's having a better writer's block and how difficult that can be for a songwriter. You just wanna be able to have a few things that can aid your process of bringing thoughts together. The pen that comes from that would ever truly replicate something that Bruce Springsteen would wanna put out himself. But just give it how advanced these tools get and how better and better they get. It's likely gonna provide someinspiration that can be helpful. That said, I think it would be more helpful to help existing artists, and I'm a bit less bullish right now on new artists coming up. I think we all saw what happened with Capitol Records and FN Meka and that whole mess, while I don't think that that's all A.I. driven, part of that's driven by the people that were running it. I do think that that is an inherent challenge that some people may be a bit weary of, at least for now. But one place that I do think A.I. and GPT-3 specifically could be unique for is for giving certain artists or certain people the ability to access a sound catalog or an ability to access a group of songs that they can use to then scour to figure out what they can then glean from that to be able to create the new songs that are able to create lyrics that they could use in the future. The reason I highlight this is because I'm sure if you're trying to use a song that is based on a song that is owned by a major record label, the record labels and their lawyers will come after you, and it is something that I know that is already top of mind for. But there's a lot of music out there, a lot of music that people would want to hear that isn't owned or controlled by the major record labels. And I think in the same way that you saw platforms like Epidemic Sound or Splice and others be able to create, whether it's monthly subscriptions or other types of opportunities to buy access to a right to use any of the songs in the catalog. I think you could see something very similar to that happening with A.I. and GPT-3 specifically, because yes, if GPT-3 tries to scour all of the songs available, that is a legal nightmare. But if you're an artist and you wanna be able to pay $10.99 a month or whatever it is, to be able to access this tool where you could type. Any prompt that could help spur your thought, that could be a very great use of $10.99, especially if that gives you the ability to make the next album from your bedroom that could be nominated and win a bunch of Grammys or sell, or, you know, do a bunch of commercial success or just have enough success for you to be a standalone successful musician in your own right. Because I do think a lot of those things are likely to appeal more so to independent artists. I also think that we'll see some potential with GPT-3 with an artist that breaks out on TikTok in general, I almost feel like it's inevitable that there's gonna be some artist in 2023 that has some song that goes viral on TikTok, and people are gonna be like, oh, where did the idea for the song come come from? And the artist is gonna say, oh, I just typed in a prompt. Write me a song about X, Y, Z. And here's what came up. Because we already started to see little hints of how artists would use name generation or using tools to come up with things, right? You've all heard the story about how Lil Nas X used insights from Reddit and insights from Twitter to create Old Town Road and how he essentially engineered that song to reach a type of success that it did grant. A lot of that was outside of his influence, just given things going viral after the whole country music controversy. But a lot of the things leading up to that point were influenced by him. And I think even on a more simpler side, artists like Childish Gambino and Post Malone, I'm pretty sure that both of them got their names from some random computer generators. So there's been things like that that we've seen and I think we'll continue to see more of that. And I think even the answer to this question is gonna continue to evolve. So you could ask me this question in a year. I think I could probably have this as an end of the year podcast question for some time now. And their law used to be something new to glean. The next question here is from Mercedes G. She wants to know why don't artists prioritize ownership even though artists have been pushing ownership for decades? So this question is a bit nuanced because I do think that there are a lot of artists out there that do push ownership, and they are clear that they wanna be able to own their masters and own their publishing and understand the value. I think the challenge comes though, when it becomes a trade off and that trade off is likely offering the artist something that they couldn't have otherwise had because owning your masters and owning all those things sounds great and it sounds great if we assume that the artist could have reached the same heights that they could without giving up something in exchange.The thing is, when an artist is starting to pop and they are already experiencing what some of the challenges are, being able to really hit that next level and whether that is something that they want to do because of some of the things I answered with earlier questions. With more and more music coming out, it's harder for everyone to break out. It's especially harder for artists that are already signed to two record labels to break through. That means it's gonna be even hard for an artist that doesn't have the major label resources behind them to break out as well, which could make them even more likely to wanna then sign with the major record label, especially if they are cutting you a check. I'll look at a few examples of younger artists as well. Look at an artist like Lil Dirk or even NBA Young Boy, I'm pretty sure little Dirk. Posted that he had gotten a 40 million deal recently this year. And I think Dirk is someone that has been popular. I mean, it's several years ago at this point that he was on double XLS freshman list, but even as an independent artist, it could have taken him quite a bit of time to ever hit that amount of money, especially if he's trying to cash it in on the moment that he has. So it's one thing to push ownership and it's another thing to still be able to say, you know what, no, I'm good. I don't want that check. Let me continue to do what I'm doing. When someone offers you an eight figure check that's right in front of you. And I think there's a bit of that human element that can sometimes get a bit lost cuz it's easy for the people in the pita gallery playing Monday morning quarterback to go say, oh, why would you do that deal? Or us to focus on some of the survivorship stories of Master P turning down a million dollar record label deal. Different people that may have offered it to him. Because for every success story like Master P, there are other people that turned those same type of deals down but it didn't take off the way it did for P and then they go back to the record label and being like, oh, hey, could I still get that deal? And the record label's like, no, like the moment passed and the only reason you're coming to me is because you don't feel like you have the momentum that you had before. So there's a few factors here that I think are important to consider, and there is that human element that I think just changes. It's one thing to be a Twitter pundit and put your thoughts out there, but it's another thing to really still say no when a company that you know, they're rolling out the red carpet for you their show, they're presenting the seven, eight figure check, whatever it is, and then you still saying, no, I'm good. And then I think you even see us at the highest levels as well. You look at the deals that you know, someone like Drake or the weekend, you're more so hitting now into the nine figure deals and these artists are more likely to be able to continue to have ownership, but they're still licensing their masters or licensing their music out to the major company. So there's still some trade off there. It's very rare that you ever are really seeing superstar artists that still are hitting those superstar artists levels that is like, you know what? I'm good. Let me just go release everything independently. Cause I think at the end of the day, if you are a priority on these labels, and if you are still getting the best that you can get, you're more likely to figure out, okay, what trade-off is commensurate at what level? And that doesn't mean there wasn't a better way that could be done optimally. My explanation here is more of an explanation of the entire landscape of less of an advocacy for one position or another. But I do think in general, just given how much harder it is for record labels to be able to truly, I think, focus and invest on that artist development piece because they're expecting artists to come to them when they've already hit zero to 60. I think it really puts the onus on the artist to be like, okay, are you happy at 60? Because if you're happy at 60, you may not need the record label, and maybe you think you could get to 70 or 80 yourself, but it may take some time. But if you're trying to get to a hundred, it's gonna be really hard for you to do that independently. So a lot of it requires some questioning on where you wanna go, how far you wanna go, and why that may or may not be as important to you. [00:22:52] (Mid Ad): Today's episode of The Trapital Podcast was brought to you by Revolt. Revolt is on a mission to curate and share the best of the best in hip hop culture and social justice. You may remember a couple months back I had the CEO of Revolt, Detavio Samuels on the podcast scene. He talked all about the mission and where things are going, and I think this is one leading company that is elevating what's happening in black culture. It was launched by Sean Diddy Combs back in 2013, and the multi-platform Network offers breaking news videos, artist interviews, exclusive performances, and original programming. They have content for everyone, like Asset over liabilities and original podcast with the host of Earn Your Leisure that gives you a behind the scenes look into the business investments of artists like Soulja Boy and Rick Ross. They also have the Drop Revolts weekly newsletter and curation of the latest in hip hop and black news, and they have the black print where sits down with innovators and change makers laying the ground up for the next generation for the culture. You can learn more and sign up for Revolt's newsletter, the drop@revolt.tv.[00:24:00] Dan Runcie: All right, this next question here is about a specific deal that's going on, but it's gonna be a good one to answer. JB from Atlanta asked, now that Hasbro has sold E-One's TV and film division, could quality control be a potential buyer? So a few things to unpack here. Earlier in November, Hasbro announced that it will be selling its TV and filled divisions of the comp company. Note that this news, three years after Hasbro had initially acquired all of Entertainment One, which included its music division. And then I think it's been about a year now. My time may be off, but it's been about a year plus now that it had rolled off its music division, which then became Monarch, which is run by Chris Taylor and that team. You may remember them because they were the team that was involved with the selling and the acquisition of Death Row records and then that deal with Snoop Dog. But Hasbro overall has kind of been in this, oops, maybe we should have done this deal when they went and bought E-One. And I think the big takeaway away for Hasbro has been that if we want to leverage the IP that we have, and as many of you know, Hasbro toy companies, so it has the IP there, but it also has some brands that were in that production, like Peppa Pig and things like that. They can still own the IP, but they don't have to own the in-house production to be able to then leverage that IP and make it happen, and then when you own those divisions, it just can be so costly to try to do that. So they got a lot of pressure from Wall Street and other analysts to sell that division and focus on what they do. If you're an owner of an IP, Oftentimes that IP may be the most valuable thing that you then have, but does it always make sense for you to then be the ones that produce it? Of course, there's unique examples of this, right? I think Disney is a company that clearly does both, but Disney is such a unicorn in what it does in so many ways, and we've all seen that flywheel what they've done, and that flywheel is so relevant because it's hard to see another company that could really do that to that level. But it's more likely than not that if you are an IP owner or it's probably in your best financial interest to partner with a company that you can leverage through their production because they are skilled at being a production company to do that thing. So that was a lot of the reason why that sale happened in the first place. Now let's talk about the QC part of this. I would be very surprised if Quality Control was to go on and buy a TV and film division because I also look at Quality Control as an IP. I mean just given the ownership structure, they may joint own some of that with Motown, give the joint venture there. But they are IP owners that can then use that to leverage, whether it's the brand or the story of your little baby Migos and even the rise of coach K and P and and things like that. And while QC does do investments, like I know they're involved with SoundCloud and they have a few other things going. I would be very surprised if they went on to acquire a type of, you know, studio themselves. I know that QC does have a film division, but my impression of that has always been more so, yeah, let's stay quiet, let's have that something that we could have that small and manageable in-house, but if they still have a big release, I think they would probably wanna go to shop that and market the same way that any other big time producer would want if they wanted to push something further. No different than, I think you kind of saw with the Little baby documentary that eventually went on, Amazon was released on Amazon Prime a couple of months ago. So I would be surprised there, if anything, I mean, I think QC is one of these record labels that may be looking for an outside investor itself, but I'm not quite sure what the Motown relationship, just given the joint venture ownership there and how that may look, whether or not who the actual company is that owns, whether it's the brand or the artist or anything like that.Moving forward from that. All right. Couple more questions here. So is music investing specifically, like in catalogs, is music investing still a good idea in 2023? And my answer is yes, but not in some of those 2021 pandemic era evaluations. And that's because I think what I liked about the catalog boom is that it brought awareness to something that I think a retail investors in the niche knew, but a lot of others weren't focusing on, is that there's a lot of value to be had with owning some of these catalogs because there's certain artists that I think do have the potential to just feel similar to a evergreen stock or something like that continues. Provide consistent revenue that isn't correlated with the economy time and time again. But I think there's a few things that happened that people may have missed. One, there is a decay curve with all of those assets. And even as much as people wanna tell you that the Beach Boys or Michael Jackson or the Beatles are timeless, everything has a decay curve. I mean, you could even go back, you know, decades, even. Frank Sinatra or Elvis. I know that you know that the movie that came out recently, but even folks like that, the discussions that are happening now about those people aren't anywhere near the type of discussions that you may have heard, at least when I was growing up, and that just shows you how much has changed in several decades since then. So, and I think the music listening would've probably aligned with that as well. So there's that, and I just think that the valuations that were being paid for a lot of these things probably just wouldn't happen again. One, because interest rates are nowhere near as low as they were, but I think even regardless of interest rates, there was a lot of overpaying for those assets just given the excitement. So smart on a lot of the artists for cashing out when they did and getting a lot of those returns because at least from what we've seen from a lot of the reports, You've seen some of these financial time stories talking about Hypnosis. And Hypnosis has at least from what the returns have been from their catalog has not been able to generate returns that a lot of the investors feel satisfied with and feel are in line with what they had, which is why I think you started to see more challenges there. There was almost an entire year period where the company didn't make an investment, and I think you've seen a lot of things ring true for others. There are still catalog sales happening. It just may not happen at the particular dollar amount that people wanted. For instance, there was Pink Floyd deal that was being talked about for a while. It's still being talked about. I believe they wanted $500 million, but based on some of the recent findings that had come out, the offers that they started to get were much smaller than they would've liked. So people are still interested in buying Pink Floyd. It may not be for the amount of money that the rights holders wanna sell it for, but there's still interest there, and I think that rings true all the way up and down the board. Listen, it wasn't even just music investing. The quarantine era of the pandemic led to a lot of sales for things happening that just probably wouldn't happen in the same way today. All right. Another question here is how does the globalization of hip hop Influence its business and cultural impact? And this question came from chat GPT. Someone had submitted this question and then it came back as, oh, what do you think is a good question to ask about the business of music or the business of hip hop? So this is a fun one. I know I've written about it a few times, but for the sake of brevity, I'll tackle it in two ways. First, A lot of the Western hip hop artists were able to reach a much bigger audience as a result of globalization, and I think it made it easier for some of them to launch global brands as a result. I look at folks like Rihanna and folks like Jay-Z. Look at some of the deals they've done with, whether it's ACE of Spades for Jay-Z, or the Fenty partnerships with Rihanna. These partnerships are tied in with European companies and there has to be some relevance for how big you are seen in Europe and other areas for those things to really have an impact. And I think you saw that compound as well. When you look at someone like Rihanna and Fenty Beauty, being able to enter Africa and just given the ethos of that brand being able to be inclusive and have shades for all skin tones, it makes perfect sense to be able to do it in Africa, which you just think about the beauty industry. This is an entire continent of people, especially women. Different complexion and skin tones that were largely overlooked by the many other major brands. So being able to have that influence there directly ties into an artist like Rihanna, you know, years, decades earlier, being able to tour in these places and being able to have her name out there, being able to be seen in that way. So I think it affects it from that perspective. And of course, Jay-Z, Rihanna are more so people at the top of that chain that are billionaires, but I think it really made a large impact on everyone else on the other side, I think it's made a huge impact on international artists too, because we've seen in so many other places that hip hop has truly been that connective tissue. It's really been that gateway that can help. Raise and elevate the voice of the unheard or elevate the voice of the people that may not have either gotten a chance to get their word out there or can really speak to some of the challenges that are happening. And that's the way that hip hop started. You look at Public Enemy, they saw themselves as the black CNN. They were trying to voice what's really happening. You listen to songs like Grandmaster Flash, The Message. This is what's going on in the streets of New York right now. And I think that if you listen to a lot of hip hop from other areas and you hear things translated, you're hearing a lot of that. And even someone like Bad Bunny, how he speaks about some of the challenges and the oppression that's happening in Latin America, or even things that are happening in Puerto Rico specifically, or even how we spoke out about disaster relief and even L G B T Q issues. It's not a coincidence that this is a hip hop artist that is doing this in their own language and that's happening. So I think we've just continued to see more and more influence and we'll continue to see how hip hop continues to be such a big driver. And it's not just Latin America. You're seeing it in France and you're seeing it elsewhere. And as globalization of music more broadly has made it more possible for artists in local languages to truly rise up. I think you're gonna see more and more of that coming from hip hop in a lot of those local language areas. All right. And the last question we have here is from Quai Bangs who asks, do I notice similarities in emerging artists that follow the start-up path to start-ups themselves? And I definitely do see a lot of those. And I like the question because I've been hearing so much from founders in the space and start-ups in other companies about two things. Truly identifying and seeing artists as founders, not just as the creative talent behind what they're doing, but they are the ones that are the founding person of this company that if successful as it can be, it'll be a company built around them to then help focus and really benefit and speak to their strengths and address their weaknesses as well. No different than a start-up would be who is that? Who are your co-founders that you're gonna find that may not be on the talent side, but can help with the business? Or if you wanna do it all yourself, who are the people that can be around you to at least help support in that way? And I think that you've seen some of those things happen, from time and time again. You look at the start of Dreamville, I very much do. Ibrahim Hamad and Jay Cole as two people that are in line with being able to do that and continuing to push forward, which I think has been pretty strong, seeing how they've been able to do that over the past decade. Plus, you look at any of these record labels and I think you're more likely than not going to see some type of tandem there. We talked about Quality Control. I think you see a lot of that too, and I think no different than a start-up may try to get equity for what they're doing. I think you're seeing certain artists start to explore this as well, whether they're trying to explore on chain, we're trying to sell tokens or they're trying to get a more formal structure in place. I recently had the investor, Cooper Turley, Cooper Tupa on the podcast, and he was talking about this as well, and how he's investing in companies that are looking at this investing artist specifically so that he can take an equity stake out of the artists themselves and be a bit, you know, less dilutive than a record label that may wanna take 80% of the cut moving forward in exchange for in advance. So there's plenty of trade-offs there. I think it's an interesting thing to continue to explore, but I think that it is a sign of what that path to the future looks like. Cuz I think that artists, our founders, at the end of the day, how they go about that, you know, is one thing or another. And who wears that CEO hat. Whether it's someone that artist proactively puts in place or it's someone. It ends up being at the record label that they signed to, or it's their manager. There's so many ways that these hats can be worn, so you'll be interested to see how it plays out. But wow, that was fun.That was a quick bunch of rapid fire questions there, but this was really great. I hope you enjoyed it and I hope you enjoyed the podcast this year as well. Definitely continue to share it with anyone that you think would be in. And let me know if you have any other questions. We can keep this in mind. I wanna do these more regularly in general. So, yeah, if you're listening and you enjoyed this episode, send us a quick note, whether it's, you know, on social media or email. And then we'll keep them rolling so that the next time we do a mail bag podcast, we can keep it rolling.

Coinbase has filed a request to file an Amicus Brief in Support of Ripple's Fair Notice Defense. XLS-20 NFT update has rolled out on the XRP Ledger.