SKU: 93967374867
sc herbicide

sc herbicide Meso 4SC Select Herbicide (Tenacity) 8 Ounce

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Description

sc herbicide Meso 4SC Select Herbicide (Tenacity) 8 OunceMesotrione MESO 4SC Select (brand alternative Tenacity) is a unique herbicide formulated for both post and pre emergence and controls over forty five broadleaf weed species and grasses in turfgrass. One 8 oz bottle covers 1 2 acres Active ingredient is 40% Mesotrione Great for targeting a variety of weeds such as chickweed, clover, crabgrass, dandelion, foxtail, henbit, and nutsedge This is the generic version of Tenacity Herbicide Product

Mesotrione MESO 4SC Select™ (brand alternative - Tenacity®) is a unique herbicide formulated for both post and pre-emergence and controls over forty-five broadleaf weed species and grasses in turfgrass.

  • One 8 oz bottle covers 1-2 acres
  • Active ingredient is 40% Mesotrione
  • Great for targeting a variety of weeds such as chickweed, clover, crabgrass, dandelion, foxtail, henbit, and nutsedge
  • This is the generic version of Tenacity Herbicide

Product Description:
Mesotrione MESO 4SC Select contains the same active ingredient as the popular Tenacity Herbicide. This herbicide represses photosynthesis in susceptible and receptive plants as it is absorbed systemically through roots, leaves, and shoots. It can be effectively used against weed invasion and also promotes excellent control of tough-to-control weeds before and during seeding of particular types of turfgrasses.


This formula can be used when seeding including overseeding of established turfgrass, during renovation, or bare ground seeding. Weeds are expected to die and wither within 3 weeks from the application, turning the weeds white in color due to the loss of chlorophyll. Whitening of the turfgrass is common but temporary and typically occurs between 5 to 7 days after application and may last for several weeks.

A non-ionic surfactant should be added in post-emergence applications.

Application Information:
Use the included syringe to dilute Mesotrione with water in a pump or backpack sprayer. Not for use in a quart hose-end sprayer or Ortho Dial N Spray. 

Mesotrione can be used on the following grass types:

  • Cool-Season Lawns - Kentucky Bluegrass, Turf Type Tall Fescue, Fine Fescue, Ryegrass.
  • Warm-Season Lawns - Centipede, Buffalograss

NOTE: DO NOT apply this product on bentgrass, kikuyugrass, zoysiagrass, seashore paspalum, or bermudagrass

Note: Mesotrione is labeled for St. Augustine Grass, but only on sod farms, not home lawns

 Coverage/Gallon (1) 8 oz bottle can cover 1 -2 acres of lawn area
Application  Details See product label for application information based on target
Water-In  Instructions

No need to water this product in if used as a post-emergent herbicide.

If using as a pre-emergent at the time of seeding, then you do want to water it in with ¼” of irrigation or rainfall.

  • Label: Mesotirone 4SC Select Info
  • Package Includes:  (1) 8 oz Bottle
  • Storage: Store in a cool dry place away from direct sunlight. The product will store for 2 years under warehouse conditions.

Shipping Information:

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State Restrictions
Alaska (AK), Arizona (AZ), Hawaii (HI) 

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Typical Delivery Time

4 - 7 business days

Product Type Liquid Concentrate
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SKU: 93967374867

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4.3 ★★★★★
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Product Reviews
T
Verified Purchase
Tahoeman
Charlottesville, US
★★★★★ 5
Much needed guide to narration in law practice
Format: Paperback
Meyer’s “Storytelling for Lawyers” is an important contribution to the literature on narration in law practice. We know that successful courtroom rhetoric can best be viewed through the prism of storytelling. But the literature does not contain a practical and detailed analysis of the elements of narration as used in law practice—that is, plotting, characterization, point of view, style, and settings in place and time. Meyer’s book fills this gap. It is blessedly free of jargon and full of practical examples of good legal storytelling. But the importance of this book goes well beyond providing practical assistance to litigators. It serves as a much-needed introduction to the principles of narration for teachers and students of literature, creative writing, and popular culture, who have lacked a readable introductory guide to the elements of successful storytelling.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on February 10, 2014
D
Verified Purchase
David R. Papke
Bozeman, US
★★★★★ 5
Recommended for All Lawyers
Format: Paperback
Meyer proves his initial point that much of what lawyers do is storytelling, and he achieves his goal of providing a primer on narrative theory for lawyer-storytellers. The book is sophisticated but written in an engaging way using non-technical language. Examples from legal and literary works abound, and they range from courtroom arguments and appellate briefs on the one hand to an essay by Joan Didion and Vonnegut's "Slaughterhouse Five" on the other. Meyer's favorite stories are found in Hollywood movies, and although he seems unaware of the accomplishment,Meyer provides fresh interpretations of such movies as "HIgh Noon" and"Jaws." I strongly recommend "Storytelling for Lawyers" for all law students, lawyers, and judges.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on May 7, 2014
D
Verified Purchase
DoubtfulReader
West Palm Beach, US
★★★★★ 3
Notes on Legal Style by a Law Professor and Experienced Lawyer.
Format: Kindle
BOOK REVIEW: MEYER, Philip N., Storytelling for Lawyers ISBN: 978-0-19-5396638 Read June, 13th-27th, 2017. This book discusses storytelling tools by presenting a series of examples of good storytelling, both in legal settings and in literary works and movies. If theoretical explanations are sometimes a bit dry, the frequent quoting of practical examples conveys fluidity and speed to the book. After an introduction presenting lawyers as storytellers, it deals with the roles played in storytelling by Plots (chapters 2 and 3); Character (4 and 5); Voice, Perspective, Details and Images, and Rhytm and Speed (which relate to Scene and Summary) (chapter 6); Place or Story Environment (chapter 7) and Narrative Time. Focusing maybe too narrowly on legal storytelling before American juries, plot is almost equated with melodrama. Films like Jaws and High Noon are extensively discussed, as Gerry Spence’s Closing Argument on Behalf of Karen Silkwood. The chapters on character offer interesting insights on character classification (“round” characters, with psychological depth, prone to suffer transformation as the story evolves, vs. “flat” ones), while discussing the tools for telling how a character is, as opposed to simply showing the psychological nature of each character’s character through dialogue or the actions the character performs. Examples include Tobias Wolff’s This Boy’s Life and Jeremiah Donovan’s Closing Arguments on Behalf of Louis Failla, in a 13-week trial the Author could scrupulously attend in person. Discussions on Voice, Perspective, Details and Images, Scene and Summary, criticize the basic assumptions of the neutrality of lawyers’ voices, exemplifies how to manage details to suggest ideas and emotions, draw on the distinction between showing and telling, and offers interesting insights into the narrative theory’s concept of stretch (the slowing of the narrative rhythm in relation to the narrated story’s). Environment depiction storytelling tools deals with Joan Didion’s The White Album and the Judicial Opinion in a Rape Case, quoting also from W. G. Sebald’s The Emigrants and the Petition Briefs in Reck v. Ragen and Miranda v. Arizona. Further examples are Kathryn Harrison’s While They Slept and the Petitioner’s Brief in Eddings v. Oklahoma. Finally, the chapter on Narrative Time draws on Kurt Vonnegut’s Slaughterhouse Five and explores time, rhythm or speed, discussing more deeply stretch and the relation of time of the narrative itself with the time of the facts dealt with in the narrative. Chronology is discussed and criticized; Analepsis or Flashback is didactically explained and exemplified, both in general storytelling theory and in its legal use; the same holds for Prolepsis (Flash-forward) and Ellipsis (the intentional omission of a part of the narrative, often with the purpose of emphasizing the omitted event. Pacing and Rhythm are discussed in more lenght, with the caveat - repeated somewhat throughout the book - that legal stories are often left unfinished by the lawyer, in order to allow the jurors or judges fill the end with their decision. The Author remarks his purpose was to suggest possible tools and ways of dealing with problems which arise in legal storytelling, and he delivers what he promises.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on June 27, 2017
M
Verified Purchase
Matt M.
San Leandro, US
★★★★★ 5
Great book and great professor
Format: Paperback
Professor Meyer is a great writer. I had took his death penalty case at Vermont Law School. He writes for numerous magazines including the ABA. I would highly recommend this book and all of his writings.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on January 19, 2021
J
Verified Purchase
J. Christian
Boise, US
★★★★★ 4
Interesting book
Format: Paperback
I am not a lawyer, nor a writer, but rather a reader. I found the correlation of legal storytelling with sceenplay, literary narrative quite interesting. Legal trials are theater.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on March 20, 2014

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