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Posts tagged "2015 natural gas production"
Grading My 2015 Energy Predictions
"It's tough to make predictions, especially about the future." ― Yogi Berra
I haven't looked forward to this post since about mid-year, when it became clear that I wasn't going to have a repeat of 2014's perfect record. I recall a year ago wondering whether I would ever have a year the exact opposite of 2014 where I would end up with none of my predictions coming true. While I did a little better than that in 2015, there is no question that the year defied my expectations on many fronts. I did indicate at the time that rising uncertainty in the markets defied easy prediction. That certainly turned out to be true.
The funny thing about predictions is that things are always obvious in hindsight. I rarely have people suggest that any of my predictions are either "no-brainers" or "impossible" when I make them. But when it's time to grade them, I hear that a lot. "You predicted lower oil prices for 2014. Of course oil prices were bound to fall." Those are the sorts of comments that tend to be made following six months of oil price collapse hindsight.
The hardest predictions to get right are those that require a certain condition to be true all year long. A lot can happen in a year. Oil prices have skyrocketed and plummeted in the course of a year. One of my predictions was in that category. It was correct for most of the year, but enough eventually happened to prove it false. It was clear to me by mid-2015 that conditions were starting to tilt in that direction, but I don't make predictions in six-month increments.
The Good, the Bad, and the Ugly
So, with that lead in, here is a rundown of how my predictions for the year fared, as well as an explanation in some cases for why things ended up differently than I thought they would. My predictions were initially made in My 2015 Energy Predictions. Here they are, the good, the bad, and the ugly — in the order I made them. CONTINUE»


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Victoria, Texas Proves They Have the Coolest Police Department Ever in Fantastic Rap PSA [VIDEO]
There are a plethora of controversial police videos out there, and even some police videos that will warm your heart, but we can all but guarantee you have never seen one like this.
In one of the most fantastic public service announcements ever, the Victoria, Texas police department took to the streets to bust some rhymes in an effort to remind you to drive safely through school zones. Choose not to and they'll make it rain citations.
The VPD has set the bar high with this one. Whatchu got Wichita Falls PD?

subset: commoncrawl


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edkaiser needed a new logo design and created a contest on 99designs.
A winner was selected from 60 designs submitted by 19 freelance designers.
As the parent of a youth soccer player and a former web entrepreneur, I want to set up this website to provide information and support to the local community of soccer fans and players.
Target audience is soccer players, families of soccer players, and soccer fans in and around Nashville, TN (aka Music City).
I really need good ideas here. Nashville is known around the world as "The Music City" and for Country Music. But that does not mean music needs to be incorporated into the logo. I plan for this to be a 100% soccer centered site, so maybe it's better without it.
On the other hand, the appropriate inclusion of music could be what makes the winning logo. I need your help and suggestions to be able to figure that out, so please ... BE CREATIVE.
The ideal design will be one that looks great on the web, and that can also be used on promotional materials. It will be just as appropriate and inviting to the family of a 4-year recreational player as it will be to a college coach. And it will be just as attractive to out of state visitors as it is to local residents.
Find out how a design contest works or learn more about our logo design services.


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Definitions of jealous
a. - Zealous; solicitous; vigilant; anxiously watchful. 2
a. - Apprehensive; anxious; suspiciously watchful. 2
a. - Exacting exclusive devotion; intolerant of rivalry. 2
a. - Disposed to suspect rivalry in matters of interest and affection; apprehensive regarding the motives of possible rivals, or the fidelity of friends; distrustful; having morbid fear of rivalry in love or preference given to another; painfully suspicious of the faithfulness of husband, wife, or lover. 2
The word "jealous" uses 7 letters: A E J L O S U.
No direct anagrams for jealous found in this word list.
Words formed by adding one letter before or after jealous (in bold), or to aejlosu in any order:
i - jalousie y - jealousy
Shorter words found within jealous:
ae al ale ales aloe aloes als also as eau el els es jeu jo joe joes jole joles joual jouals joule joules jus la las lase lea leas leu lo lose louse lues oe oes ole olea oles os ose ousel sae sajou sal sale sau saul sea seal sel sloe slue so soja sol sola sole sou soul sue us use
List shorter words within jealous, sorted by length
Words formed from any letters in jealous, plus an optional blank or existing letter
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All words formed from jealous by changing one letter
Other words with the same letter pairs: je ea al lo ou us
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Previous word in list: jazzy
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Windows Phone Central first brought you the news about SongArc, a music game that's reminiscent of Guitar Hero and Audio Surf that will utilize your stored music for exciting gameplay. The game is the brainchild of Turtle Games, who make the popular game Rum Run and András Velvárt, who is the mind behind SurfCube 3D Browser and is an extension of the AppCampus project.
Tonight, we can give you an exclusive first look at the game in action.
We'll be forthright: this game has all the makings for a hit arcade game on your phone. For one, it's very well polished in the graphics department, with an eye catching and intuitive UI. Next up, you can bring your own music to the game—who doesn't want that? Finally, if your song isn't programmed for play, you can just make a "sheet" for it and you're good to go.
Music, fun and creativity? All checked off.
As you can see in our video above, the game is simple to understand: you play your favorite song and tap the arc when the "notes" (colored shapes) cross the barrier. By holding down for extended notes or tapping for short staccato ones, users have a rainbow of colors to access for visual cues. You can even quickly tilt the device for bass/drum effects, which adds yet another method for interaction.
Toss on a pair of headphones and firing up your favorite tunes with this game? Awesome. Yes, SongArc could be the next big thing for Windows Phone and is perfect for when you're on the train, airplane or just want to make your music much more interesting.
Do you want in on the beta? Head to the developer's Facebook page here and follow their directions!
Stay tuned to Windows Phone Central as this game nears release—we think you're going to love it.


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President Bill Clinton returned to Hollywood for a friend-raising and fundraising event aimed at young professionals under the age of 45 on Thursday night. One of the new friends joining Clinton's "Millennium Network": Drake, who co-hosted the event with the 43rd President.
Drake took the stage at Boulevard3 for a six-song set after the President spoke about the Clinton Foundation's global humanitarian efforts.
Several hundred attendees (in unusually Washington, D.C.-esque attire for Sunset Blvd) donated $150 and up towards the Foundations' continuing efforts against HIV/Aids, global climate change, and supporting education programs.
Rose McGowan, Rob Riggle, and the new face of the NBA, Blake Griffin (L.A. Clippers) brought extra starpower, but the biggest head-turner of the night was the easiest booking: Chelsea Clinton and husband Mark Mezvinksy strolled in unannounced, drawing errant flashbulbs from all corners.
CAA agent Michael Kives (a former Clinton staffer), Tommy Alastra, and Laurie David were among the chief celebrity and financial wranglers for the Hollywood edition of the traveling event. Nightlife luminary Brent Bolthouse DJ'd.
On the opening day of the NCAA basketball tournament, former CBS courtside host Pat O'Brien made the rare public appearance. He said that he first met President Clinton when he popped in to a studio to check up on Arkansas tournament scores during the 1992 campaign.
O'Brien, who has had his own substance abuse issues played out in public weighed in on Charlie Sheen. "I know Charlie very well," he told TheWRAP. "He's going through a lot right now. I've talked to him, (and) that's none of your business." He then smiled and said, "That was just a joke," (twice) which led me to believe it was not.
Drake will continue to expand his brand, having been tapped for the film "Arbitrage" with Richard Gere and Susan Sarandon. The filmstarts shooting in April next month, and one of the film's producers Mohammed Al Turki was seen in the room last night keeping an eye on his star.
The night before, Laurie Burrows Grad's "19th Annual "A Night at Sardi's" toasted Disney President/CEO Robert Iger at the Beverly Hilton.
Jonah Hill, Betty White, Patrick Dempsey, David Hyde Pierce, and Nick Jonas hit the awards dinner and fundraiser to add on to the $18 million that the event has raised over the years for the Alzheimer's Association. Burrows Grad and brother James Burrows' late father, director Abe Burrows, suffered from the disease.
After telling TheWRAP a few weeks ago that he needed to beef up on his philanthropic efforts, Seth Rogen manned the podium for the night. He warmed up for the Sardi's hosting gig by presenting a Humanitarian Award to Judd Apatow at the Venice Family Clinic's Silver Circle Gala last month.
He stole the show that night by reading a fake e-mail from Apatow, a 10-year supporter of the largest free clinic in the country. On that day-after the Oscars, Apatow, Rogen, Jonah Hill, and a quiet Chuck Lorre helped raised more than $1 million for the clinic, its 500 doctors, and 2000 volunteers that serve 24,400 low-income and uninsured patients annually at nine west side locations.
(Photos by Adam Schultz/Clinton Foundation)


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The Lawyork bribes a greenskin comrade back to life.
He then bribes a local dinosaur. It's no T-Rex, but the Lawyork can't help but feel sorry for the Forlorn Creature.
Then, he bribes a Pwny.
Giddyup you 'Strayan dino.
Their combined fire brings down a bodyguard.
Once again the black Ork is useless against helmet technology.
Ork smash!
The Ork mage attempts to shoot Anton with deadly magic.
Oops, that was the 90's hair spell.
The unnamed mysterious pwny talks to the horses in an attempt to get fighting on the Orks' side.
The Pirates rally to One-arm.
Combined fire takes down the Lawyork.
The Red DSM tries to use his Kung-fu.
But he Kung-fucks up.
Bavarian Royal Family
Klaus Jr's spear returns to him.
It twirls and spins until it becomes a serpentine staff.
Goodnight big Ork. You did good fighting today.
Anton fails to avenge his haircut.
A drop trooper eliminates the RPG wielding Yank.
And the laser ends a line of fighters.
The redneck with a chain smokes the DSM.
One Redneck takes a careful shot.
RIP in peace Drop Trooper.
NAMELESS PATRIOT: "Listen here you sausage eating Piltogg Kraut bastards. I'm going to lay down the pain, in America. Land of the Free and home of the Atlanta Braves."
Negan picks up the RPG and reloads it. One shot left.
The Americans surround the Royal family.
NAMELESS PATRIOT: "Hey pillow biters, you gon' surrender or are we gon' do this the hard way?"
The royal family seems to be ignoring them, or perhaps they can't think of any quips.


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William Timm of Estherville and Lyn Schmidt of Jesup are announcing their engagement and approaching wedding.
Parents of the couple are Roger and Marie England of Estherville and Roger and the late Janis Schmidt of Jesup.
William is a 1984 graduate of Fairmont High School in Fairmont, Minn., and is an over-the-road truck driver for England Trucking of Estherville.
Article Photos
William and Lyn
Lyn is a 1991 graduate of Jesup High School in Jesup and is second assistant manager at Road Ranger Truck Plaza in Elk Run Heights.
A Sept. 10, 2022 wedding is planned at the First Methodist Church in Jesup.


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Even so, two lines formed at the Miccio Day Care Center at 595 Clinton Street the Wednesday before the holiday. One line led to a hot Thanksgiving meal, while the other led to a box filled with stuffing, mashed potatoes and a turkey that could be prepared the next day.
In all, 300 boxes were distributed.
Many stores in Red Hook have not been able to reopen just yet, meaning that even if people had wanted to, they couldn't buy their own Thanksgiving food.
Sharon, a Red Hook resident stood on line for her 85-year-old mother, who she said is "trying to make do," unable to find a grocery store open in the neighborhood. On a fixed budget and trying to cleanup the mess that Sandy left, Sharon said that her mother doesn't have many options.
Fairway Market, a specialty food retailer in Red Hook that will take months to recover from the damage done by Hurricane Sandy, sponsored the giveaway. The market donated enough food to feed more than 4,650 victims of Sandy, handing out meals on Staten Island and in Queens in addition to Red Hook.
"For those of us who have the means, the skills, and the expertise, it would be a waste not to utilize our resources for the benefit of those in need and at such a difficult time in their lives," said Jacqueline Donovan, co-founder of the organization Thankful to be Giving and vice president of marketing for Fairway.
Marcia Pristell said the free turkey was essential because she wouldn't have celebrated the holiday had it not been for the giveaway.
Using a scooter to get around, Pristell said that it is difficult for her to walk and without electricity she had no way of leaving her 3rd floor apartment, which was without power for 13 days.
"I have a child with special needs," she said, which caused her to venture out for a turkey so she had something to feed him.
As she worries about how to put her life back together and the welfare of her child, who has special needs, she said that a box filled with Thanksgiving food has become important to her because it's one less thing she has to concern herself with.
"They've thought about everything," she said, "even down to the macaroni and cheese. It is very significant for me."
Holding a turkey in one hand and apple cider in the other, Pristell said, "I have good neighbors."


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Conservation Finance
WWF works to provide long-term, sustainable financing to biodiversity conservation by partnering with governments, private industries, communities and other non-governmental organizations. We develop financing solutions to protect and sustainably manage some of the most valuable natural resources in the world. Our work includes comprehensive assessments of potential sustainable finance mechanisms in target countries, negotiations with governments and donor agencies, and execution of complex financial deals that result in actual revenue for conservation.
Debt-for-Nature Swaps
WWF has worked with the U.S., French, German, Dutch, and other creditor countries to structure foreign debt-for-nature swaps, including the first one in Ecuador in 1987. Since 2001, WWF has helped design several debt-for-nature swap agreements under the Tropical Forest Conservation Act (and previously under the Enterprise for the Americas Initiative). Both mechanisms were formed to relieve the debt burden of developing countries owed to the U.S. government, while generating funds in local currency to support tropical forest conservation activities. Capital raised through debt-for-nature swaps can be applied through trust funds or foundations specifically set up to channel funding to local biodiversity conservation.
Conservation Trust Funds
Conservation trust funds provide sustainable financing that can be used to finance conservation program costs through debt swaps, grants or donations, or other financing mechanisms such as earmarked taxes and fees.
Carbon Finance
WWF believes that carbon finance, if used appropriately, will play a critical role in reducing global greenhouse gas emissions, contributing to biodiversity conservation, and promoting a range of local economic and social values. WWF is developing pilot carbon projects in Peru, Brazil, Central Africa, Indonesia and Nepal to capitalize on the rapidly growing potential for carbon finance. We contribute to these efforts by securing private and public financing for carbon projects and providing technical support to implement carbon finance mechanisms.
Financing Protected Areas
WWF works strategically with governments, partners and stakeholders in the field to secure funding that supports long-term conservation goals of protected areas. We serve as catalysts to pilot revenue generating mechanisms that attract funding from different donors and have cost-and-benefit sharing arrangements. Most protected areas rely on a combination of funding sources, including annual government budget allocations, grants and donations from individuals, corporations, foundations, and donor agencies, and user fees and taxes specifically earmarked to fund protected areas.
Tourism Revenues
WWF sets up financial tools that generate tourism revenues with a triple bottom line approach to benefit local tourism operators, local communities, and the environment. The collection of visitor access fees and taxes can help ensure that a constant stream of revenue can be applied towards preserving ecologically sensitive areas and supporting local communities. WWF helps to establish user fees and taxes and fund community-based enterprises in Belize, the Philippines, the Galápagos Islands, Thailand, and Namibia.
On Lobby Day, WWF activists head to Capitol Hill to engage leaders on conservation issues
The halls of Congress came alive on Tuesday as dozens of WWF activists from across the country met with their representatives to advocate for international conservation funding on Lobby Day 2017.


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Find the information about , , its address and location, academic information, infrastructure and facilities etc.
, is a and located in , . The institute was established in the year .
Colleges in India
Universities in India
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Education in India
Exams in India
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"I Talk Because": A Better Way to Do HIV/AIDS Awareness Ads
By Warren Tong
January 20, 2011
In case you missed it, on Dec. 7 the New York City Department of Health and Mental Hygiene (NYC DOHMH) began airing an HIV prevention public service announcement (PSA) with the tagline, "It's Never Just HIV." The PSA targets young men who have sex with men (MSM) by flashing scary images that warn that HIV can lead to bone loss, dementia and anal cancer. Since its debut, this ad has polarized the HIV community. Some activists, such as Larry Kramer, believe this ad is a much needed wake-up call; others, such as our news editor, Kellee Terrell, believe it does more harm than good because it demonizes gay sex, being gay and being HIV positive.
In my opinion, "It's Never Just HIV" seems as effective as the phrase, "Every time you masturbate, God kills a kitten."
(See the popular, but phony PSA image that surfaced online in the early 2000s below.)
But all is not lost in the world of HIV awareness ads.
One exemplary project is the social media campaign "I Talk Because ...." The concept is simple. Anyone can shoot and upload a video sharing why he or she talks about HIV/AIDS. Think "It Gets Better," but with HIV instead.
"I Talk Because ..." was started in 2009 by New York City Council Speaker Christine C. Quinn and other New York City-based HIV organizations including AIDS Community Research Initiative of America (ACRIA), Callen-Lorde Community Health Center, Harlem United and VillageCare, as a means to bring HIV back onto people's radars. "We were concerned and worried that the conversation about HIV/AIDS wasn't at the level it should be in New York anymore. That part of the complacency that we all talk about comes out of people not talking about HIV/AIDS," Quinn said last December at "Going Viral Against HIV and STIs," a forum on social media.
Since its inception, dozens of celebrities (including media personality Wendy Williams, Reverend Al Sharpton, White House AIDS Czar Jeff Crowley and talk show host Kelly Ripa) and non-celebrities have submitted videos, bringing about thousands of views. As a result, the project was voted by Mashable.com, the popular social media news site, one of the top five YouTube projects making a difference.
The organizations involved are very proud of the impact that the campaign continues to have on people. "The campaign debunks HIV myths and gives the facts, not just amongst peers, but across generations. It encourages conversations within families. And ultimately a willingness to talk is worthwhile because it breaks down boundaries and stigma," ACRIA's executive director Daniel Tietz told TheBody.com. And Emma DeVito, the chief executive and president of VillageCare, said, "The stories of real people, and of how HIV has affected their lives, is a powerful way to bring home the message that AIDS has not gone away, and that HIV continues its assault on New Yorkers every day."
Another reason to like this campaign: Compared to "It's Never Just HIV," which cost $726,000 of federal grant money (as in taxpayer money) to make, "I Talk Because ..." is a steal since all the videos are user-generated. Not only is the campaign essentially free, instead of focusing on one narrative, it brings about dozens of personal and meaningful messages to create a diverse range of PSAs.
Honestly, I wish we had more campaigns such as this one, because it helps people realize that it's OK to talk about HIV. Conversations can encourage those who are afraid of HIV to get tested and know their status. It encourages those who are HIV negative to practice safer sex techniques, so that they can stay negative. And for those who are living with HIV, who may be too ashamed to get help, seeing people talk about HIV may be the push they need to reach out and get support.
So I encourage you to submit your own videos to "I Talk Because ...." In the meantime, I leave you with a few of my personal favorites.
Erin Uses Sign Language to Talk About HIV/AIDS
Simply Rob Reads a Poem About HIV/AIDS
Ronnie Kroell Talks About HIV/AIDS
Annie Mulgrew Talks About HIV/AIDS
Warren Tong is the research editor for TheBody.com and TheBodyPRO.com.
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native works both ways… or does it?
So, in the young years of OS X, thousands were complaining that Office and other mac ports of Windows software didn't look native enough. There is even a vocal group advocating native Aqua controls for Firefox on OS X.
Now, Apple just released Safari for Windows, complete with Aqua scrollbars and widgets. I'm waiting to read the rants of those pro-native users, about how Cupertino's team could and should have made Safari fit in on Redmond's desktop. Oh that's right, not their problem.
(I'm going through the "mild hate for hype" part of my love-hate relationship with OS X, and software in general. Among my drafts is a rant on the annoyances in Coda…)


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I picked up a pair of EV Sentry III's in North Hollywood last Thursday and I am pleased. I spotted them on Los Angeles Craigslist and was intrigued. I did some quick research, made the arrangements and went to pick them up. Had to borrow a buddy's pickup truck, because there is no way, they are fitting in the back of my Focus wagon. I've had L-300's fit, 250 Ti's fit, L-150's fit, but not these. At 156 pounds each and 30x28x21 they are huge!
The cabs aren't great, but they're not bad and can be cleaned up. No delamination, no chunks missing and not even any deep scratches, just normal wear and tear for 30 year old speakers. These are my first pair of EV's after owning many pair of JBL's throughout 40 years and while I have only owned a dozen pair or so, I'm pretty intimate with build quality and I have to say, these are really well built speakers.
The cabs are beautiful. Very heavy MDF construction and quality veneer. These had to be handbuilt! The grills weigh ten pounds each and have three sides and they are literally, a friction fit to slid them on from the front. Not talking 1/16" clearance top and bottom, nor 1/32", but a slight friction fit to push them on to their velcro stops. And they'd better be perfectly straight, side to side and exactly vertical, because the grills will 'catch' and you have to pull on them and restart them! The tweed grill cloth is mostly intact and the badges are still there on the bottom. Each Sentry III weighs 156 pounds.
The midrange horn is frigging huge! It is one solidly built piece of plastic. Very, very sturdy and nothing flimsy nor cheap about it. The tweeter horn looks a lot like the 44xx butt-cheek. The foam on the woofers is long gone, so after they were unloaded and at home, I pulled the woofers and they are heavy. Big motors, thick cast frame construction and nice color-coded spring-loaded terminals, I know this construction and was pleased. The surrounds remind me of the Altec woofers, in that there is a lot of foam between the edge of the woofer and the frame!
Didn't get to listem to them, just yet, but I'm going to be dropping them off to be refoamed within the next couple of weeks. After that, I've got to find some kind of EQ that I can marry up with them to replicate the difficult-to-find EV SEQ unit, that allowed these monsters to go down to 28hz! Finally, they have small steel ingraved plaques on the back of each one, warning of high SPL's and that long term exposure can cause permanent hearing damage.
From what I understand, these are efficient speakers and it doesn't take a lot of watts to drive them to serious sound levels. I'm fascinated with the fact that they were one of the first speaker designs to fully utilize T/S specifications. Looking forward to hooking them up within the month or so and seeing just how they sound.
I paid $100 for the pair.


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1. Re: Examples of Flash Catalyst creationsGabRey Feb 17, 2010 7:28 AM (in response to SarahBon)
I agree with SarahBon.. Can we see Examples of Flash Catalyst?.. Thanks!
2. Re: Examples of Flash Catalyst creationsPBodytko Feb 23, 2010 6:04 AM (in response to GabRey)
This is only a beta, so it is pretty risky to spend a lot of time creating something that might be used on a live project and will need editing in the future.
Here is a sample of my test with video... Please note that the video is in the background and the buttons are above it as if it were a simple static image...
I don't know how slow or fast it will play on older computers... On mine it loads very quickly and plays without hickups. The shoreter version of the video is about 2.2, the longer 6.2 megs. (I used H.264 .f4v format). Pages can be changed while video is playing -- This is Great feature!
One more thing -- the video was first imported into Flash CS4 because Catalist would not stop on the last frame... Unfortunetally this killed my ability to add play, stop - pause - buttons... (They only work with video that was imported directly to Catalist -- video wrapped into swf file does not work -- I hope this will change).
I can't promise how long this link will work
3. Re: Examples of Flash Catalyst creationsloosepaint Feb 23, 2010 12:42 PM (in response to SarahBon)
I'm one of those "people" referred to as "doing risky things" and have invested much sweat and frustration in creating a website using Illustrator CS4, PS CS4 and Flash Catalyst.
I'll post the link when it's done.
Technically I'm an idiot. I've been repeatedly creating the same website for months now, creating a bit, saving the file, recovering from the inevitable crash (desperately hoping there's a beta 3 - I check every day). It's a bit insane when you think about it.
The fact is that I need a killer website and I can't do it in Flash.
I don't know if it's me and a handful of other people who just can't seem to crack the Flash barrier, but I've spent countless hours studying, practicing, taking FLA files apart, bit-by-bit and I stil don't get it. And I've been a programmer for 25 years. I'm an artist though and that's probably the problem and also why FC is so appealing. It does the work behind the scenes (in-between crashes).
BUT - there's something positive in this. The longer I work with FC, the more I understand how Flash works. I didn't expect that to happen. I wouldn't be surprised if some day I create my website entirely in Flash simply because I know FC so well.
I think pioneers are really just people too stupid to know when to quit... ;o)
4. Re: Examples of Flash Catalyst creationsPBodytko Feb 23, 2010 12:54 PM (in response to loosepaint)
>>>>>>I don't know if it's me and a handful of other people who just can't seem to crack the Flash barrier, but I've spent countless hours studying, practicing, taking FLA files apart, bit-by-bit and I stil don't get it. <<<<<
Which only proves one thing that everybody probably knows by now -- Flash is a wonderful technology that is very badly implemented... It seems as if Adobe is only now waking up to this reality that Flash and Action Script needs GUI...
5. Re: Examples of Flash Catalyst creationsSteve from Mogrify Studio Feb 23, 2010 7:25 PM (in response to SarahBon)
It would actually be cool to start building a library as well on the Flash Catalyst exchange -
6. Re: Examples of Flash Catalyst creationsSchwiet Mar 8, 2010 10:21 AM (in response to SarahBon)
Here is a site I made for myself experimenting with FC
i LOVE this program
7. Re: Examples of Flash Catalyst creationsdragotron75 Mar 8, 2010 2:04 PM (in response to Schwiet)
Schwiet thats looking great man.. when you made the gallery....did you basically create a new "state" for every image?
8. Re: Examples of Flash Catalyst creationsSchwiet Mar 8, 2010 2:46 PM (in response to dragotron75)
yes the detailed images are all on separated states... i actually had to cut down on the work i used because in the Beta you can only have 20 states or less, which was a bummer. the thumbnails are all buttons linking to the correlating states
9. Re: Examples of Flash Catalyst creationsdragotron75 Mar 8, 2010 3:19 PM (in response to SarahBon)
oh.. I wasn't aware of that maximum... I have a gallery with well over 20 photos. I wonder how I could work around that then....
10. Re: Examples of Flash Catalyst creationsjtpuk Mar 9, 2010 8:01 AM (in response to SarahBon)
If you have linux then you will need flash 10.1, but windows should be fine. The embedded fonts have a problem when run under linux - catalyst bug.
Oh, and I did not get to choose the phots for the gallery - not my choice but outa my hands that one - hehe
Enjoy - http://www.gallerybistrohove.co.uk/flash/index.html
The (About Us page) photo gallery and sound basics were done with catalyst and then tweeked in FlashBuilder/Flex to load the photos and make the sound on/off work correctly - this is an in progress project..
11. Re: Examples of Flash Catalyst creationsDragotro Mar 29, 2010 11:24 AM (in response to jtpuk)
here is one i'm working on:
[edit] link removed at poster's request
anyone know how to make a preloader?
12. Re: Examples of Flash Catalyst creationsBear Travis Mar 10, 2010 2:41 PM (in response to Dragotro)
Hello there,
There are some very nice looking sites here
Making a custom preloader requires some technical diving. Here are two great resources for how to do this between Flash Professional and Flash Builder:
The basic workflow would be this:
1. Create your project in Catalyst, save it as an FXP and import it into Flash Builder
2. Create your Preloader animation in Flash Professional and export it as a swc
3. Bring the SWC into your project in Flash Builder
4. Create an ActionScript class that links the SWC to Flex loading events
5. Attach the AS class to your main Application
For now, there is unfortunately no way to do this without some coding and some work between multiple Flash products.
13. Re: Examples of Flash Catalyst creationsBackbrainer Mar 17, 2010 5:10 AM (in response to SarahBon)
This is a project I'm working on: http://www.leonaralvarez.com. It's my personal portfolio and it's still in progress.
14. Re: Examples of Flash Catalyst creationsloosepaint Mar 17, 2010 6:52 AM (in response to SarahBon)
There might be a downside to developing our websites in FC Beta2 - Beta 1 wasn't compatible with Beta 2 - and I had to start over from scratch. So I wonder if B2 will be compatible with whatever's next?
15. Re: Examples of Flash Catalyst creationsRoman441 Mar 24, 2010 4:29 AM (in response to SarahBon)
I've created a website with Fc, it's a website created as a presentation for a design of a lamp.
16. Re: Examples of Flash Catalyst creationsjtpuk Mar 24, 2010 4:39 AM (in response to Roman441)
Hi Roman441
The link you gave is invalid ! I receive a 404 error with a page forbidden.
17. Re: Examples of Flash Catalyst creationsRoman441 Mar 24, 2010 5:00 AM (in response to jtpuk)
Hello again,
It works for me. The website is about 25 mb so it can take a while to load
Can you try it again now? I think i messed the main.html / index.html up
18. Re: Examples of Flash Catalyst creationsGabRey Mar 24, 2010 7:01 AM (in response to Roman441)
It's not working..
19. Re: Examples of Flash Catalyst creationsRoman441 Mar 24, 2010 9:35 AM (in response to Roman441)
A bit strange, when i go to www.bklightstyle.nl in chrome it displays it perfectly. Initially the page is blank and you can't see a thing, but after a few moments (depending on your connectionspeed, it's a flashfile of 25 mb)
Please check it again, if it's still not working, please tell me what you see (or don't for that matter)
20. Re: Examples of Flash Catalyst creationsRogerRatelle Mar 25, 2010 6:04 AM (in response to Roman441)
It works, It's beautiful, but... it takes about 4 minutes to load... and I have a pretty fast connection...
21. Re: Examples of Flash Catalyst creationsFinook Mar 25, 2010 3:50 PM (in response to SarahBon)
Hi Sarah,
The U.S. Navy SEALs have just re-vamped their site using Catalyst. As the designer I can say it helped me score a home run with the command. Give it a try.
All the best with your creation,
22. Re: Examples of Flash Catalyst creationsdaslicht Mar 26, 2010 10:41 AM (in response to SarahBon)
98% cpu load on my macbook pro on theses sites ....
Adobe should fix such cpu hogs to keep their customers
>http://bklightstyle.nl/ designed for a 30" screen? Image someone witha netbook want to have a look on your site
Some kind of autoscaling dependant of the viewable area in the browser would very useful.
23. Re: Examples of Flash Catalyst creationsjdosses Apr 4, 2010 5:59 PM (in response to dragotron75)
to make your gallery happen you should create a custom component! those haver ther own "pages/states". I just made an horizontal image scroll bar with 30 thumbnails and when you clic on them the "big" image appears. Fc is really cool.
24. Re: Examples of Flash Catalyst creationsdragotron75 Apr 5, 2010 12:28 PM (in response to jdosses)
thanks man! yeah I ended up doing the same thing.. there is another way to
do it with "data lists" It sounds really good too but I couldn't figure it
what I REALLY want to know now is how to create a preloader with flash cat
25. Re: Examples of Flash Catalyst creationsBear Travis Apr 5, 2010 3:01 PM (in response to dragotron75)
If you want to create an image gallery using data lists, check out this thread:
which covers the topic in detail.
Creating a custom preloader, as I mentioned above, requires non-trivial work in Builder. If you want to replace the loader with a custom static image, then you should be able to customize the resources here:
http://www.psyked.co.uk/adobe/flex/custom-preloader-class-for-flex.htm or here
If you want to use any type of flash file for your preloader, you will have to work in Flash Authoring (Flash CS4). Catalyst projects rely on the Flex framework, which is not available during the preloader phase. This means that you cannot use a Catalyst-generated .swf as a preloader. To load and play a simple .swf animation, you can adapt the code at the above link. To create a preloader that changes based on the loading status / percentage, you will need to do significantly more coding, and you can follow the steps at the below tutorials.
http://www.jessewarden.com/2007/.../making-a-cooler-preloader-in-flex-part-1-of-3.html (temporarily down due to a site hack, but you can use google's cached version)
(Or try a web search for "Flex Custom Preloaders")
26. Re: Examples of Flash Catalyst creationsjdosses Apr 9, 2010 5:40 PM (in response to SarahBon)
Hi! this is a presentation a made, didn't have enough time to "finish" it.
It's a big file so if you wanna download it here's the link
or watch in my google site, but that might take you a while since the file is 52M
pd. You can clic on the blue and red rectangles - "influencias" page
pd2. You can clic on the images inside the horizontal scrollbar - "bayer" page
Thanks : )
27. Re: Examples of Flash Catalyst creationsweb2miles Apr 17, 2010 12:40 PM (in response to SarahBon)
I thought on this topic I would see all sorts of examples of peoples work?? Ideas and examples of stretching the boundries.
I have want to build a user interface for my small business, a place where all my business administrative needs are prioritized and all action I need to take are prioritized and listed so I can perform better. I also want to build into the design different screens so that my client and suppliers can also work collaboratively with me for maximum productivity.
My business is property related, and property repairs and improvements to be specific.
My user interface so far can be seen here.
But I am struggling with splitting the design into components and with navigation and datalist components... Any help gratefully received if you are interested in the design.
28. Re: Examples of Flash Catalyst creationsBrad Lawryk Apr 18, 2010 9:56 AM (in response to web2miles)
First and foremost - I like what you did with your Interface. Thats actually pretty cool and seems like it will be quite well mapped out when its done. Good luck with it.
I think the reason we don't see more samples yet is the product really hasn't been released fully yet and therefore not many real life apps built yet. I think once FC finally ships with CS5 you will see more creative applications of it from many more creative minds.
By fall, I would bet there will be tons of examples out there. Looking forward to having some real life stuff done myself.
Brad Lawryk
Adobe Community Professional: Dreamweaver
Northern British Columbia Adobe Usergroup: Manager
29. Re: Examples of Flash Catalyst creationsweb2miles Apr 18, 2010 1:10 PM (in response to Brad Lawryk)
Hi Brad.
It is great to hear from you, thanks for your feedback. I am really enjoying
Catalyst and cant wait to buy it so I can phone adobe when I get stuck.
Could you help at all about navigating from component to component? You can
see I have designed the first page to be a 'dashboard' with quick links to
important stuff and the idea is for the button to go direct to a different
section of the app. Problem is I have realized that in Catalyst the only
navigation you get is from inside one component to states of that
component?? You can't change level? If you see what I mean.
It looks like its well mapped out, and I think im getting the hang of it but
now have reached the stage where I need some help to understand how to
separate components and where to use states so I can keep building; I would
really love some help! Are you available or do you know the right person I
could speak to??
Thanks and look forward to hearing from you,
Kind regards
Stuart Miles
30. Re: Examples of Flash Catalyst creationsBrad Lawryk Apr 19, 2010 3:20 PM (in response to web2miles)
Are you available or do you know the right person I could speak to??
Hi Stuart,
I am just learning Catalyst myself, but it seems there is some knowledgable (and even Adobe staff) that post here. As with Catalyst samples, I am sure there will be even more knowledgable people contributing here in the months to come.
Brad Lawryk
Adobe Community Professional: Dreamweaver
Northern British Columbia Adobe Usergroup: Manager
31. Re: Examples of Flash Catalyst creationseFeCtTM Apr 27, 2010 1:24 PM (in response to SarahBon)
Hello, can anyone please tell me how you can remove the top bar like the window, when you make an AIR Application and run it. And, how to make the background transparent. Can this be made in Flash Catalyst ? Or in Flash Builder (i`m new to this). Thank you very much !
My e-mail: email@example.com .Thank you in advance and sorry for my english !
32. Re: Examples of Flash Catalyst creationsheathrowe Apr 28, 2010 8:31 PM (in response to eFeCtTM)
I have a small demo/example here - just showcasing some FC capabilities
33. Re: Examples of Flash Catalyst creationsloosepaint Apr 28, 2010 9:29 PM (in response to heathrowe)
Nicely done. Everything works as I would expect when I visit a Flash website.
Did you notice that when you go to the gallery and click on a an image's thumbnail - and then leave the gallery by clicking a link to a different page on the site - and then go back to the gallery - the image is still the same one you last clicked on, rather than resetting to the first image?
I think sometimes that's desirable, but when I was learning FC, I wanted my gallery image to reset to the the first image if the user left the page and then came back.
It was a number of months ago (like 6 or 10 or something) and I posted asking how to do that and there is a solution, but I don't remember what it was. It came from Adobe support and it's in the forum somewhere. If I can find my email I'll post it, in case others would want to be able to have that option.
Or maybe y'all know that. I haven't visited the forum for a while - I JUST WANT CS5 DESIGN PREMIUM!!!!! I CAN'T STAND WAITING!!!!
Why is a month sometimes like - forever?
34. Re: Examples of Flash Catalyst creationsArt_Of_WAR Apr 29, 2010 6:05 AM (in response to loosepaint)
If you want to set back to the original image it can be done by adding the interactions to the button.
So, on the action; click, up, or otherwise, of the button, apply the show/hide for each element in the interactions panel.
A little tedious but worthwhile.
35. Re: Examples of Flash Catalyst creationsloosepaint Apr 29, 2010 6:40 AM (in response to Art_Of_WAR)
This could be exactly what you said and if it is I apologize - I'm not normally coherent until noon or so......
I was switching between 2 galleries of images (artwork and photography) and the way I was trying to fix it wasn't working. The fades between views was an added complication.
This was the response from Adobe on the reset (I don't know if this will even makes sense to anyone without some context):
Hi Jeff,
I can see the problem you're hitting. We'll investigate this on our end, but in the meantime here's a workaround:
1. Change the Artwork state setting back to default
2. I assume you have two main states, one where the Artwork component is visible and one where Photography is visible instead. Select the transition that goes from Photography back to Artwork.
3. Select the Artwork component (in other words, the component that is +becoming+ visible during the transition)
4. In Timelines, click Add Effect > Set Component State
5. In the Properties panel, select "image001" as the state to set.
6. Make sure the little tickmark for this item in the Timeline is at the beginning of (or before) the Artwork fade-in so that the state changes before Artwork starts becoming visible.
Hope that helps!
- Peter
36. Re: Examples of Flash Catalyst creationsArt_Of_WAR Apr 29, 2010 7:00 AM (in response to loosepaint)
Noon? Do you have kids???
I remember those days...
The way I worked it out was to make each of my main images a component. It was how I got over the 20 state limit too.
I have a row of icons that I made buttons along the bottom, when clicked they show/hide the main image much like you have on your site.
So, with my main image a component, I can set 2 states, one where visibility is 100% (I called the first state imagename_show) and the second state 0% (imagename_fade). The default state of all but one of the main images was set to fade.
In the Interactions panel I set the Change State to "imagename_show" on one button and then "imagename_fade" to the same button for all the others.
(I did propose to Adobe that the ability to multiple select items here would help). Then, on all the navigation buttons, add new interactions to Change State "imagename_fade" of all the main images and "imagename_show" to the image you want as the default. So, whenever you click Home, it hides everything. When you hit the Gallery button it loads with the State(s) you want. It takes a bit of time and is tediously repetitive but it works a treat.
Does that make sense?
37. Re: Examples of Flash Catalyst creationsDylan Whitester Apr 29, 2010 1:13 PM (in response to SarahBon)
Here is mine! They have a few bugs and the secnd link takes to long to load so I didnt finish that site but they look nice
38. Re: Examples of Flash Catalyst creationsSMAKDIGITAL May 23, 2010 4:59 PM (in response to SarahBon)
If your a designer this program is a dream come true. It's pretty easy to learn if you know the basics of flash and you want to just get going? There are a few things that i'm learning and most of the videos help but I would suggest if you don't want to wait around for a programmer this is the way to go.
I just created www.SmakDigital.com for my personal site. Few bugs but I'm hoping these forums can help me iron them out.
39. Re: Examples of Flash Catalyst creationsShirleyW75207 May 24, 2010 7:41 AM (in response to SarahBon)
Here is a fun little sight I am working on.
The links are not fully functional it's still a work in progress.


text:
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A post on VG247 shares some of the revelations about Battlefield 3 in the Game Informer cover story on DICE's military shooter sequel. Word is PC is the game's lead platform, that the mod tools will not be released alongside the game so they can be "dumbed down," and that locations will include Tehran; Paris; New York; Sulaymaniyah; and Iraqi Kurdistan. They also say: "One probe in Battlefield 3 on lighting will contain more info than an entire Bad Company 2 level," everything will be destructible (but believable), there will be no "gliding" animations, the dev team is nearly twice the size of that for Bad Company 2, the game will feature "M" rated language, and that the single-player game will have a "significant narrative" (thanks Krisz). There's another article based on the GI preview on Computer and Video Games, noting that DICE says it has "learnt its lesson" about DLC from Battlefield: Bad Company 2 as producer Patrick Bach says that failing to release a map pack for BC2 for six months after the game's release caused the multiplayer community to drop off drastically.
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Whole IgG antibodies are isolated as intact molecules from antisera by immunoaffinity chromatography. They have an Fc portion and two antigen binding Fab portions joined together by disulfide bonds and therefore they are divalent. The average molecular weight is reported to be about 160 kDa. The whole IgG form of antibodies is suitable for the majority of immunodetection procedures and is the most cost effective.
Store freeze-dried powder at 2-8°C. When ready to use, rehydrate with indicated volume of d. water and centrifuge if not clear. Product is stable for about 6 weeks at 2-8°C as an undiluted liquid. Prepare working dilution fresh each day. For extended storage after rehydration, add an equal volume of glycerol (ACS grade or better) for a final concentration of 50%, and store at -20°C as a liquid. Note: after the addition of glycerol, the concentration of protein and buffer salts is one-half of the original. Alternatively, aliquot and freeze the product at -70°C or below in the absence of glycerol. Avoid repeated freezing and thawing.
Expiration date: one year from date of rehydration. However, the expiration date may be extended if the product is stored according to the recommendation and the test results are acceptable for its intended use.
1:50 - 1:200 for most applications
Dilution factors are presented in the form of a range because the optimal dilution is a function of many factors, such as antigen density, permeability, etc. The actual dilution used must be determined empirically.
Aminomethylcoumarin Acetate (AMCA) conjugates absorb light maximally around 350 nm and fluoresce maximally around 450 nm. For fluorescence microscopy, AMCA can be excited with a mercury lamp and observed using a UV filter set. Since blue fluorescence is not well detected by the human eye, AMCA-conjugated secondary antibodies should be used only with the most abundant antigens in multiple-labeling experiments. Ways of improving the visibility of AMCA include dark adapting the eyes, using fluorite instead of glass objectives, avoiding mounting media that absorb UV light (such as plastic-based media), and capturing photographic images with blue-sensitive film or CCD cameras. AMCA fades rapidly in conventional epifluorescence and confocal microscopy, and therefore it should be used with mounting media containing an anti-fading agent such as n-propyl gallate.
This product is for IN VITRO RESEARCH USE ONLY. It is not a medical device and it is not intended for diagnostic or therapeutic purposes.


text:
Legendary musician Chuck Berry, who was central to the development of rock 'n' roll beginning in the '50s with indelible hits like "Roll Over Beethoven," "Rock and Roll Music" and "Johnny B. Goode," died today in St. Charles County, Mo. He was 90 years old. His death was confirmed by the St. Charles County, Mo., police department.
Charles Edward Berry grew up in Saint Louis, Mo., as the fourth of six children, developing a career that epitomized a bad-boy image, which musicians have tried to copy ever since. Berry was the real thing. He spent time in reform school for robbery at 18 (with a nonfunctional pistol, he claimed), went to prison for income tax evasion and transported a minor across state lines for quote "immoral purposes."
Initially beginning his career as a beautician with a lifelong interest in music (he first performed in high school), Berry began to slowly ease towards the St. Louis nightlife scene in the early '50s as a member of the Johnnie Johnson trio. As a solo musician, he emulated the smooth vocals of his idol Nat King Cole and admired the gritty blues of another idol, Muddy Waters.
"And I listened to him for his entire set," Mr. Berry recalled to NPR in 2000 of seeing Muddy Waters in Chicago. "When he was over, I went up to him, I asked him for his autograph and told him that I played guitar. 'How do you get in touch with a record company?' He said, 'Why don't you go see Leonard Chess over on 47th?' "
So early Monday morning, Berry made his way to Chess Records and positioned himself in a store across the street. When Leonard Chess arrived, Berry ran over and made his pitch. Chess was impressed by the young man's self-confidence and told him to come back with a tape of his own material. Berry returned the following week, bringing with him the other members of the trio, pianist Johnnie Johnson and drummer Eddie Hardy, and four new songs.
Searching for a name for his first hit on Chess Records, "Maybellene," pianist Johnnie Johnson told NPR that "we looked up on the windowsill, and there was a mascara box up there with 'Maybelline' written on it. And Leonard Chess said, 'Why don't we name the damn thing "Maybellene"?'" The record was the first by a black artist to outsell covers of it by white musicians (and led to a three-decade battle over its credits). Berry's first — and only — chart-topping hit came in 1972, with the louche novelty single "My Ding-A-Ling."
Through the late '50s and '60s Berry defined the contours of rock 'n' roll and, along with peers like Little Richard and James Brown, the full-throttle energy on stage that this still-developing high-tempo, electrified style of blues required. His work influenced nearly every popular musician that came after.
A recording of "Johnny B. Goode" was included on the interstellar Voyager spacecrafts' famed "Golden Record" — it left our solar system in 2013.
"Writing a song can be a peculiar task," he wrote in Chuck Berry: The Autobiography. "The kind of music I like then, thereafter, right now and forever, is the kind I heard when I was a teenager. So the guitar styles of Carl Hogan, T-Bone Walker, Charlie Christian and Elmore James, not to leave out many of my peers who I've heard on the road, must be the total of what is called Chuck Berry's style."
As John Lennon once put it, "If you tried to give rock 'n' roll another name, you might have called it Chuck Berry."
Six years ago Berry's health began to decline, though he maintained his signature defiance even then, refusing an ambulance and leaving the theater on his own after collapsing onstage.
Berry announced a record last October at the age of 90 following a 38-year hiatus. "This record is dedicated to my beloved Toddy," said Berry at this time of its announcement in reference to, Themetta, his wife of 68 years. "My darlin' I'm growing old! I've worked on this record for a long time. Now I can hang up my shoes!"
We begin this hour with the death of a legend. The man known as the father of rock and roll died on Saturday. Chuck Berry is credited as the inventor of America's cultural soundtrack. He was found in his home in Missouri. He was 90 years old. NPR's Allison Keyes has this remembrance.
ALLISON KEYES, BYLINE: If extraterrestrials ever come across the Voyager space probe launched in 1977 as a postcard of Earth's civilization, one of the things they'll hear is this.
KEYES: Chuck Berry's classic "Johnny B. Goode" was recorded in 1957 and is possibly a bit of rock and roll song of all time.
CHUCK BERRY: (Singing) Deep down in Louisiana, close to New Orleans, way back up in the woods among the evergreens, there stood a log cabin made...
KEYES: Berry's music is so enmeshed in America's soundtrack that NASA decided that it must be included in a package containing an assortment of all things that define this planet.
ANDY MACKAY: The amazing thing about "Johnny B. Goode" to me is that it sounds like a folk song.
KEYES: In 2008, producer Andy Mackay produced a four-CD boxed set of Chuck Berry's music.
MACKAY: Sounds like a song that came out of the generations - just honed over generations, not written by an individual. And yet it is written by an individual.
KEYES: Mackay believes Berry's ability to meld country, blues and R&B created the blueprint for what became rock and roll.
MACKAY: Essentially, he made map. Buddy Holly maybe made the map for a band. Chuck Berry made the - he created the format, though, for rock and roll from the lyric content to the guitar riffs to the rhythms.
BERRY: (Singing) All the cats want to dance with sweet little 16.
MACKAY: He was the architect. That's the term that some people use.
BERRY: (Singing) Little 16 - she's got the grown-up blues, tight dresses and lipstick.
KEYES: Charles Edward Berry grew up in St. Louis, and his career epitomized the bad boy image that rock and roll artists have tried to cop ever since. But Berry was the real thing. He spent time in reform school for robbery at 18. He went to prison for income tax evasion, as well as for transporting a minor across state lines for, quote, "immoral purposes." But it is his music that set America's pulse racing.
The influences that shaped Berry's musical style also illustrate the dichotomy of the man. He emulated the smooth vocals of his idol Nat King Cole and admired the gritty blues of another idol, Muddy Waters. Berry told NPR in 2000 that he met Waters after catching the blues man's show in 1955 - Chicago.
BERRY: When he was over, I went up to him. I asked him for his autograph and told him that I played guitar. How do you get in touch with the record company? So he said, why don't you go see Leonard Chess over on 47th?
KEYES: Chess liked the song on Berry's audition tape that was similar to an old country tune called "Ida Red," but had Berry rework it because he felt the name was too rural-sounding. His late pianist, Johnnie Johnson, drove to Chicago with Berry and told NPR in a 1999 interview what happened next.
JOHNNIE JOHNSON: That was a problem. So nobody could think of a name, so we looked up under the window seal and there was a mascara box on there with Maybelline written on it. And Leonard Chess said, why don't we name that darn thing "Maybellene"?
KEYES: Berry heard the song on the radio when it was released in August 1955.
BERRY: Passing by a tailor shop that I got my high school graduation coat made at, and I got - passed by the shop until the song played out, you know. I didn't want anybody to see me listening, you know, to it, but it was "Maybellene" I was listening to. And when it played out, you know, that was my last walk past the door of the place. And I flew home - you know, 20 blocks from home - and told everybody. I heard it. I heard it. I heard it.
KEYES: Berry continued to perform almost to the end at a St. Louis club called Blueberry Hill. Owner Joe Edwards says what's striking about Berry's music is the way the words stayed close to the beat, but still sounded like real speech.
JOE EDWARDS: What he did with the English language and how he worked the words and the detail that he put into the songs - I mean, if you listen to the verses in a Chuck Berry song, they keep changing, and they keep telling the story.
KEYES: "Maybellene" went to number five on the Billboard chart in 1955, making Berry the rare black artist back then who successfully crossed over to the mostly white pop charts. Berry has said he deliberately made his diction and his words harder and wider. Pianist Johnnie Johnson recalled that this caused consternation on some road trips.
JOHNSON: When we would walk out on the stage, it'd be a lot of ohs (ph) and ahs (ph) and whatever because he's a black man playing hillbilly music.
KEYES: Berry continued with a string of hits, including "Brown-Eyed Handsome Man," "Roll Over, Beethoven" and "Rock And Roll Music," but he never bought into the idea that he himself invented the genre.
BERRY: If you did start something, how can you say that anybody else had anything to do with it. If you started it, you know, you're the - you're the - is that why they say the father of rock? Boy, they have no idea how wrong they are (laughter).
KEYES: In 1986, Berry led the first class to be inducted into the Rock and Roll Hall of Fame. Allison Keyes, NPR News, Washington.
BERRY: (Singing) Why can't you be true? Oh, Maybellene, why can't you be true? You done started doing the things you used to do. As I was motivating over... Transcript provided by NPR, Copyright NPR.


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Sandbags Locations Throughout Acadiana
Because of the flooding rains throughout Acadiana, some areas are beginning to make sandbags available to residents.
Acadia Parish
Branch, Crowley or Iota Barn.
Lafayette Parish
Lafayette Consolidated Government says sandbags will not be made available to residents at this time.
St. Landry Parish
Yambilee Building
1939 W Landry St.
Opelousas, La.
For additional information, please contact St. Landry Parish Government at 337-948-3688.
Sandbags will be available beginning at noon across the street from the Sunset police station.
St. Martin Parish
Ruth Bridge Barn
1035 Ruth Bridge Hwy.
Breaux Bridge, La.
South Barn
1011 Capritto Forty Arpent
St. Martinville, La.
Residents should be available to fill their own sandbags.


text:
Ryan Vogelsong pitches San Francisco Giants to Game 7 of NLCS
In 2010, the Giants captured the World Championship without facing an elimination game.
On Sunday, the Giants' faced their fifth of the 2012 postseason. Thanks to Ryan Vogelsong, they'll face their sixth on Monday.
For the second time in this series, Vogelsong limited the Cardinals to a single run over seven outstanding innings of work. Following up the effort of Barry Zito in Game 5, Vogey even delivered an RBI to his cause as the Giants won 6-1 in Game 6 Sunday, forcing a deciding Game 7 on Monday.
Vogelsong set the tone early, striking out six of the first seven batters he faced. Then the offense did its part by giving him a 5-0 lead before Vogelsong would face the eighth Cardinal.
"I just tried to do really the same thing (Zito) did, come out and set the tone early for us," Vogelsong said, referring to Zito's performance in Game 5.
And he did, with the bat as well.
The Giants struck first with a run in the bottom of the first. After a walk to Marco Scutaro and a double by Pablo Sandoval, Buster Posey's infield grounder scored Scutaro with the first run.
In the second, with Brandon Belt on third and Brandon Crawford on first and one out, Vogelsong squared to bunt with Crawford taking off for second. Then Vogelsong pulled the bat back and hit a slow grounder to short.
Cardinals shortstop Pete Kozma, who had broken to cover second, changed direction to field the ball and dropped it, as Belt scored and the other two runners were safe.
"You try and put as much pressure on them as possible," Belt said. "You put runners on base and push, and stuff like this happens. We're doing the same thing we've been doing all season: Find some way to get on base, some way to get into scoring position and then some way to get home."
After Angel Pagan struck out, Scutaro delivered another clutch hit, doubling to left to score Crawford from second and Vogelsong from first.
When asked how he felt after that, Vogelsong said: "Well, I was looking for the oxygen first."
After Sandoval added an RBI single to make it 5-0 in the second, it was the Cardinals who looked like they were out of gas. Vogelsong kept going on strong, not allowing a hit to the Cardinals until the fifth inning.
The final numbers for Vogelsong: 7 IP, 4 hits, 1 ER, 1 walk and 9 strikeouts.
For the postseason, Vogelsong has given up three runs on 11 hits in 19 innings, for a 1.42 ERA.
And now it's down to one game, as the Giants comeback magic continues.
They were down 0-2 to the Reds, needing to win three on the road to survive, and they di.
They were down 3-1 to the Cardinals, needing three wins to surviving, and they have achieved two of them.
When asked to explain the team's resiliency, Giants GM Brian Sabean said: "I honestly don't know. In some ways it's just a human group dynamic. There's an old saying in sports, it's not how good you are, it's how well you play. I don't know if they love to win as much as they hate to lose."
Well, the Giants aren't alone in that description.
With Sunday's win, the Giants became the eighth team to win five consecutive elimination games in postseason history. Three other teams have also won five: the Red Sox in 2007-08, the Dodgers in 1981, and the Athletics in 1972-73.
If you want good karma, all of those teams won World Series titles, except the 2008 Red Sox.
But to join those world champions, the Giants will have to win a sixth. And that would put them in a class with four other teams to win six in a row: the Tigers in a streak that extended from 1945 to 1972, the Twins in a streak that extended from 1987 to 2002, the 1985 Royals … and these Cardinals, who have six in a row dating back to last season.


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I hate radio. Correction: I hate commercial radio. Clarification: I hate MODERN commercial radio.
Commercial radio had been around for a long time, since nearly the dawn of AM broadcasting. Yet with entertainment and commerce being the Siamese twins of the "American Way," it was inevitable that broadcasters would seek sponsors for a medium with such high operating costs. Carrying commercials to pay the nut was seen as a necessary accommodation: not the engine driving the train.
The music and other entertainment didn't suffer too greatly, as there were still "artists" involved, programming and piloting individual stations and networks. Words like "ratings," "format" and "demographics" hadn't yet entered the radio lexicon. But the money was so good that station owners found themselves increasingly beholden to sponsors, who began taking over complete shows, then buying radio stations from which to launch media empires.
Gone was a willingness to break NEW ARTISTS by spinning NEW RECORDS. With all that money at stake, no station owner was willing to gamble on the taste of individual "star" DJs. The choice of what to play became a crucial matter, driven by market research, proved on the testing grounds of college radio and MTV. Before long, content became safe filler between the truly important elements of a radio broadcast: the commercials.
Commercial radio - programmed by consultants, spat out by computers like some kind of extrusion - exists purely to create the highest dollar rate for ad time. It hinges on an arbitrary roster of "hot" songs, old or new, repeated ad nauseum in a blatant effort to "hook" the listener long enough for exposure to the ad. It's the repetition and lack of innovation that keeps me away. That and some bad memories.
When I was 20 years old I worked in an assembly factory called Vector Research in my hometown. The building was a huge, drab, dirty, depressing, machinery-crammed rectangle with a high ceiling and a permanent lingering smell comprised of equal parts lubricating oil, raw plastic, metal shavings and dust. It was no place to spend any time at all, yet for six months I was there from 8 am in the morning until 4 pm in the afternoon.
Those hours crawled by on their filthy belly, mocking me with their sing-song chant: "The world is continuing outside, where people are living and doing and going and smiling and breathing deeply, purely, lovingly, ecstatically and you are here and you are stuck here because you are too damn stupid to be anywhere else and too damn poor not to work and if you only had a rich daddy or enough sense to go to college or the will to leave then this wouldn't be the place where you spend your days and we crawl by on our filthy belly, mocking you as we go with our sing-song chant.
I spent those endless, numbing hours assembling relays, which are electrical shunting devices used in devices that must shunt electricity or suffer the consequences. Anybody who can't shunt when the time comes will tell you how truly awful it can be.
My part in the shunting scheme of things was to attach a tiny copper contact to a piece of plastic by means of a foot-operated riveting machine. For eight hours a day I'd fish the plastic relay bases out of a bottomless bin, place them on the machine's "nipple," fish a contact out of another bin, position its keyhole over the corresponding keyway on the plastic base and fasten them together with a rivet by stamping down on the machine's foot-pad - KA-CHUNK. All day long I'd fish, place, fish, place, stamp, KA-CHUNK. And over again: fish, place, fish, place, stamp, KA-CHUNK, fish, place, fish, place, stamp, KA-CHUNK, fish, place, fish, place, stamp, KA-CHUNK. On and on until blessed release came in the form of a lunch break or the four o'clock whistle.
Lunch breaks, actually, weren't a form of release at all; they were a different kind of hell. There was nowhere nearby to go and eat. We were in an industrial park and there was nothing I could drive to and back in half an hour. My lunch breaks were spent with my co-workers: four women much older than myself. The youngest among them was twice as old as me, the oldest three times my age and I had absolutely nothing in common with any of them. They had completely and utterly caved in to life and were far more stuck than I'd ever be, earning two-thirds what I earned (which was nothing) and rotting away before my very eyes. These women were, simply put, a fright. They wore WAY too much makeup, clothes from K-mart's bargain rack, bad wigs and overpowering amounts of the latest deliveries from the Avon lady. Hell, they WERE Avon ladies. And they disliked me intensely.
We went days without saying anything to each other. They'd sit at one end of the long folding lunch table and I'd sit at the other. It might as well have been a yawning chasm no living thing would dare cross. They all had children and grandchildren and were too happy to share their icky-sweet stories of the baby's latest doings, pushing photos across the table while gumming their tuna sandwiches, washing them down with battered thermoses full of Shop-Rite apple cider. Every day we'd spend half an hour together, yet completely apart, my head buried in a guitar magazine or a copy of Creem or a book with a picture-to-text ratio of 10:1. I didn't dare speak for fear of being drawn into a discussion about absolutely nothing from which there was no graceful exit.
Lack of a graceful exit wasn't a problem with the white-haired manager, Mr. C. - who may have been older than the four women and myself combined. He was a squat, smelly, miserable man with a perfectly white mustache, forever-dingy shop coat, celluloid visor and black heart. He never spoke to me, except to begrudgingly teach me how to do something or tell me when I was doing it wrong. Then he'd come up behind me to tap me on the shoulder and lecture me, or scold me or shove something in my face that I'd screwed up.
But the worst thing about Mr. C. was his death-hold on Vector Research's radio, a large, old Fisher, located high on a shelf and robust enough to blanket the whole building with its vile, putrid retching. Every minute of every day I spent beneath it, this instrument of torture, tuned to what was surely the crappiest radio station that's existed since wireless broadcasting began, emanated the most insipid pop songs ever recorded. I can no longer remember what station this worst of all possible stations was because I've repressed the memory to an entirely successful (yet dangerous) degree. I live in perpetual dread that someday, someone, somewhere will innocently mention the call letters of that filthy station and the memory will surface and whip me into a homicidal rage.
This "radio station" was nothing less than the devil's mouthpiece in electrical form. Every day I dreamt of conveying myself to the originating site of its awful transmissions to drive an oversized stake into its black soul. That was, however, as unlikely as convincing my co-workers or boss to change the station, if even for a minute. I begged and pleaded for a switch to something less irritating: WCBS-FM or even WNEW-AM, anything even the slightest bit less awful.
Why was it so irritating? This was a top 40 "hits" radio station and it played these "hits" OVER AND OVER AND OVER AGAIN UNTIL YOU'D WISH SOMEONE WOULD JUST STOMP ON YOUR HEAD AND CRACK IT LIKE AN EGG, LEAVING YOU TO DIE QUIETLY.
Every hour on the hour they'd begin their playlist over so that eight times a day I'd hear Stacy Lattisaw's thrilling rendition of "I found love on a two way street/but lost it on a lonely highway," or Grover Washington's so fine "Just the two of us/we can make it if we try/just the two of us/you and I," or Michael Jackson's "Billie Jean is not my lover/she's just a girl"... blah, blah, blah. Or the Saint of Long Island himself, Billy Joel, and his timeless classic "I love you just the way you are," a song written about his FIRST ex-wife. This station NEVER strayed from the "hits," playing them constantly, until the chosen medium of such radio stations, quarter-inch reel-to-reel tape, probably gave out from the strain, to be replaced by new versions.
Forbidden to wear a Walkman ("Regulations" said Mr. C), I was getting stupider every moment I stayed there, being fully bombarded with every note of every overwrought, incredibly cliched, throwaway piece of Tin Pan Alley tripe. Mr. C., despite my pleading, wouldn't change the station because "the ladies like it." That was it, end of discussion, you're outvoted, sit down, shut up, get used to it, learn to love it and get with the program. So, on and on the torment went, placing me at the brittle edge of sanity. I was trapped like a bug under a glass until eventually I began to find ways to leave early or not come in at all, creating ever more brazen excuses.
Once, I had a friend's girlfriend call Mr. C., saying she was from my dentist's office and I was missing a very crucial root canal appointment. Committed to her role, she even played dental-office muzak in the background, to heighten the illusion. Each time I gave him the slip, Mr. C.'s head would shake in wider and wider arcs, the disbelief finding it increasingly difficult not to register on his face. My lying in search of release eventually became an art form. Finally, my own personal "Guernica" came one fine autumn day when I realized I was just over the mark needed to collect unemployment. Clearly, drastic steps were needed to be free of Vector Research.
Sometime during lunch, I went out to my car, climbed into the passenger's side and pulled from my glove compartment a secret stash of Vampire's Blood (fake blood, sold in toothpaste-size tubes around Halloween, in finer convenience stores everywhere). I squirted some into my hands and rubbed my hands on my nose. Then I spurted a little into my right nostril, untied my right shoelace and walked back inside to tell Mr. C. one of the most bald-faced lies I've ever spoken with a straight face. With my right hand cupped over my nose, I said, "I was headed out to my car to get some lunch and I tripped over my shoelace and landed on my nose." Mr. C. said, "Let me see. Tilt your head back." He looked up my nostril, handed me a tissue and said, "Keep your head tilted back. You'll be okay in no time."
I thought, "No, you schmuck... send me home! Please, for God's sake, send me home before I go berserk and kill you all with your own radio. Please make the bad music stop or there'll be more than Vampire Blood flowing at Vector Research!" But he wasn't getting the mental message I was sending. So I finally had to tell him what I wanted: "Mr. C., can I go home and lie down? I don't feel so good." Mr. C. said, "Fine. But if you go home now, don't come back."
I don't think it was because he saw through my little charade, but because he probably felt I was just too frail to be an effective employee, what with the upset stomachs, the rotting teeth, the killer headaches and now bloody noses. I was already planning even more outrageous excuses for the future, as I wanted to push the envelope of unbelievable lies until I could believably pin my four-hour post-lunch disappearance on an alien abduction.
Sensing I had achieved my personal best, I handed Mr. C. the "blood"-soaked tissue, collected my lunch bag and coat, stepped out into the brilliant midday sunshine, climbed into my car, popped a Black Flag cassette into the tape deck and floored it home, singing all the way.
I don't listen to other people's radio stations anymore.


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They find solace in the workshop, spending hours sawing, sanding, planing and no doubt inhaling a fair share of sawdust. Their passion is handcrafting custom furnishings from reclaimed or new woods for customers across the nation.
Their work is also their motivation and form of escape. While their styles and furnishings vary, these four Dallas artisans have turned to the art of fine woodworking.
Board games
Tony Barsotti spent 10 years drumming with Deep Ellum punk band Hagfish before the group split in 1999. Left with free time (and an abundance of energy), he dabbled in stained glass before he found himself taking on custom projects, buying tools as he needed them.
Barsotti's full-time job now is constructing custom props for TV and film sets, for fashion giants including J.C. Penney and Neiman Marcus, and custom residential pieces. He works on-set at photo shoots or from his three-car garage at his Lakewood house.
His style is minimalist, while his curious sense of humor impels him to embellish works with silhouettes of rats, weaponry and random words. Credenzas (he's in a credenza frenzy at the moment, he says), are two-tone walnut veneer and white lacquer with walnut drawer pulls. Bar stations are metal and vibrant Plexiglas. Angular desks are veneer plywood, and dining room and coffee tables are made with wood from fallen trees.
"It's almost like taking traditional music and updating the lyrics to make it current," says Barsotti, 42. "It's basically that same midcentury furniture, but a different idea."
He custom-designs each piece, starting with scale, then determines compartments, hinges and legs before getting creative with materials such as lacquer, cork and resin. "It's almost like dressing up a mannequin, in a way," he says.
Barsotti mixes it up even more with computerized router-cut, sculptural rats (they are appealing in walnut, he says), letters, gun-shaped lamps and interior-lit bookends, finding inspiration in everything from lipstick cases to airplane wings to the edges of a surfboard. Woodworking "is my way of having freedom — of having my time," he says.
Prices for Barsotti's work vary; credenzas, for example, start at $1,500. Pieces are found at We Are 1976 on North Henderson and Neighborhood in Oak Cliff or by contacting him through tonybarsotti.com.
Salvation army
Computer programmer Yvonne Holmes and auto mechanic Lenny Fabian trek across Texas and sometimes farther on weekends, salvaging maple from an Arkansas barn, pulling oak from a North Carolina tobacco farm or gathering the pine remains of a South Bend, Texas, church.
It's all in an effort to source wood for their growing line of modern-rustic coffee, dining and side tables, benches and desks.
The business partners (who met when she needed car repairs) launched their side project, Haute Habitats, a year ago when Holmes asked 30-year metal fabricator Fabian (whose résumé includes an extensive portfolio of custom cars) to weld a coffee table similar to one she'd seen in House Beautiful. The resulting table — topped with wood she sourced from upstate New York — was a hit.
Working at night and on weekends from his shop or her garage, the two design, weld and hand-finish each piece. "You can make the exact same table with the exact same wood, and every one of them is different," says Holmes.
The pair has shipped pieces from San Francisco to Brooklyn and cities in between. Starbucks just commissioned a series of handcrafted side tables.
Holmes, 37, and Fabian, 56, sell locally, too. They crafted a table for Jessica Jeffers (wife of Bolsa and Smoke co-owner Christopher Jeffers) designed to match the couple's Eames chairs.
"It's a lot of fun, and it's really cool to see the finished work," Fabian says.
Holmes agrees: "It's very fulfilling. It's my outlet to get my hands dirty and be artistic."
Dining tables start at $1,500; console and coffee tables start at $750. View more pieces and order at hautehabitats.com.
Classics spanning the ages
Sketches are hand-drawn, lumber is chopped, joints are hand-sawed and dovetailed, wood hand-planed. That's how Dan Phillips spends his days, crafting custom home furniture from his workshop in the old Ford Motor Co. warehouse off East Grand Avenue.
The native Dallasite and Booker T. Washington High School for the Performing and Visual Arts grad thought he'd always be strumming a guitar. He still plays, records and tours with Dallas-based band True Widow, but he didn't want to turn that passion into a profession.
After hopping around the country, he ended up in Boston's North Bennet Street School, where he studied furniture- and cabinet-making and expanded his love of midcentury-modern furniture to classic 18th-century designs. Both are now found in the sleek lines of his Danish-influenced chairs, dining tables, credenzas and beds, most with intricate inlays and molding.
"I don't get to make very much period furniture, but the furniture that I do make is made in the same manner," Phillips says. A credenza could take four weeks; he just finished a two-month project on an elaborate bed.
Phillips, 36, who has been back in Dallas since 2007, works with high-quality hardwoods, mainly mahogany and walnut, sourced from Pennsylvania. Depending on the needs of clients, he also offers an economy version crafted of walnut plywood but with the same attention to detail.
Crafting is "basically designing a big puzzle that has to go in a certain order," Phillips says. "It's just a fun brain teaser. It's a nice way to spend your days."
Credenzas start at $2,000, chairs from $1,000 and dining-room tables from $2,500; contact the woodworker through dhphillips.com.
Jessica Elliott is a Dallas freelance writer.


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Sweet peas have arrived at the farmers market, spring is here! Peas & pancetta - one of my favorite dishes that I only eat in Spring when the peas are bright & fresh. I can't get enough, I don't know if it's the peas or the pancetta - is it the green veggie or the fatty pork that I love so?! Maybe I should just have another spoonful...
Peas & Pancetta
piselli & pancetta
serves 4
12 oz or 330 gr of fresh shelled sweet peas, rinsed
4 oz or 100 gr pancetta, bacon or guanciale, cured pig's cheek (omit if vegetarian)
1 small onion, sliced
1-2 cloves garlic
2-3 cherry tomatoes, halved
spoonful red wine vinegar
small handful parsley, chopped
tiny bit of mint, chopped (optional)
salt & pepper
extra virgin olive oil
Bring a medium pot up to boil. In the meantime, in a medium skillet on medium-low heat, slowly render down the pancetta for 4-5 minutes, trying not to brown it and not crispy. If it starts to brown remove the pan from the heat or lower the flame.
Next add garlic & onion, sauté for 5-6 minutes.
(Vegetarian Note: Just omit the the pancetta & sauté the onions & garlic in olive oil.)
When the onions & garlic are about 2 minutes from being ready, add the tomatoes.
At the same time toss the peas in the water and blanch for 2-3 minutes. You want them approximately half-cooked. Strain the peas and throw them directly into the pan with the pancetta adding a spoonful of the pea-water. Allow to cook until peas are cooked but still have a bite.
Taste and adjust the seasoning with salt & pepper.
Just before you serve, toss in the herbs and drizzle with good extra virgin olive oil.


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While we may never hope to graduate from our tiny apartments into actual, you know, livable spaces, the Sunday iteration of Brooklyn's popular Smorgasburg has done the almost impossible and moved on up into expanded digs at Pier 5. After spending a year at DUMBO's Tobacco Warehouse, the artisanal food market traded up to Brooklyn Bridge Park's newly revamped pier last month, and is already making good use of the space. Even insane winds last weekend didn't deter the hungry masses, which lined up for favorites—think Milk Truck's grilled cheese sandwiches and Dough's signature gigantic doughnuts—from more than 70 vendors.
Still haven't checked out the new spot? You've got a few more weekends until the Sunday market packs up for the year. Head down through November 24 and sample some of our favorite bites, detailed below. In addition to ample seating on benches and wooden crates, the new location affords prime skyline vistas of lower Manhattan and the Brooklyn Bridge. It's food with a view, and the perfect way to remain in denial about the dropping temperatures and end of the year's outdoor festivals. We know winter's coming, but try not to hide out inside just yet.
Vegan báhn mi from The Regal Vegan
Vegan food sometimes doesn't get the props it deserves (we think it has something to do with raw tofu's less than appealing texture), but The Regal Vegan slings out sandwiches so good we hardly miss the meat. The báhn mi features the company's signature "faux gras" in place of duck liver, tucked inside crusty bread alongside tangy pickled vegetables and fresh cilantro. Seriously, guys, what's in that paté?
Wood-fired pizza from Pizza Moto
It takes some effort—and, presumably, some figurative cojones—to drag out a wood-burning oven to Brooklyn Bridge Park every weekend, and the least you can do is reward Pizza Moto's effort by ordering one its wood-fired pizzas. The Neapolitan-style pies exit the oven with a blistered crust and smoky flavor, which complements toppings ranging from bacon jam and purple onion to Italian goat cheese and pancetta.
Wings from Dan & John's Wings
Only available at Smorgasburg, the chicken wings are fried to crispy perfection in soybean oil and then tossed to order in your choice of sauce. Each order is served with blue cheese, celery, and as many napkins as you need to remove the orange tint from your fingers. Stay on the safe side and opt for mild sauce, or go crazy and try the aptly named 'insane' version. We hear taste buds grow back eventually.
Maple lemonade from Rockville Market Farm
Sure, it may be 35 degrees outside, but it's worth dropping your internal body temperature a few notches for an icy cup of Rockville's lemonade. Made with maple syrup from Vermont and driven from the state each weekend, the drink's well worth the $4, if only for the warm greeting from owner Eric Rozendaal.
Stick toffee trifle from Butter & Scotch
It's hard not to love a vendor with the Twitter handle @drunkbakers, especially when it's selling an insanely popular sticky toffee trifle out of what appears to be a large punchbowl. Stop by early in the day to make sure you get a glass, or grab a slice of the equally delicious s'mores pie if it sells out.
All-in-one cookie from S'more Bakery
Speaking of s'mores, S'more Bakery specializes in the campfire favorite. You can always go classic with the S'morgasm—a bourbon-vanilla bean marshmallow sandwiched between two graham crackers and spread with ganache—but it's worth getting the ingredients in cookie form. The all-in-one features salted oats, chocolate chunks and marshmallow, with crispy edges and a soft center (the ideal cookie combo).
Black and white cookie from Lassen & Hennig's
Lassen & Hennig's takes the classic two-toned pastry to new heights, frosting each cookie to order. Go traditional with equal parts chocolate and vanilla frosting, or get the whole thing topped with your favorite flavor. Diabetes has never tasted so good.
Honorable mention: Bon Chovie
While we couldn't try everything, since no person should consume more than 100 different menu items, Bon Chovie—self-described "purveyors of seafood and rock 'n' roll"—definitely wins for best name. We plan on working our way up to the "jersey style" anchovies, served with heads and tails, on our next visit.
The Best Bites From Smorgasburg's Newly Expanded Brooklyn Digs
Wednesday, Nov. 13, 2013


text: How Many Acres Can Corn Buy in 2013? December 19, 2012 10:38 PM Tweet TAGS: Marketing, Overseas December 18, 2014 By Sara Schafer Top Producer Editor Email Next year's acreage mix will be a key indicator for which direction prices will go. Market experts provide insight. U.S. farmers planted a record amount of corn acres in 2012, yet were far from record production due to the impact of the historic drought. As 2013 nears, chatter among the markets and in farm country is about the 2013 acreage mix. Here's how USDA estimated acres among the main crops in 2012: Corn: 96.9 million acres Soybeans: 77 million acres Wheat (all): 55.7 million acres Cotton (all): 12.4 million acres So, what does 2013 hold? Will it be a repeat? Jerry Gulke, president of Gulke Group and Top Producer columnist, thinks corn acres will be as big as or larger than what we did this year. "We talk about planting mixes, but in the Midwest, at least, we like to plant corn." Because a lot of CRP acres have already been converted back to production acres, he says we may possibly have up to 1 million more acres of corn. Dustin Johnson, a broker with EHedger, says his firm believes that both corn and soybeans will gain acres next year. "We see corn acres above 97 million and soybean acres at 79.5 million. Wheat acres could be down slightly at 56.9 million." Johnson says new crop prices and subsoil moisture are the biggest factors affecting these numbers. "Input prices are skyrocketing and if the market doesn't hold we could see these numbers decline. The soybean-to-corn ratio still favors planting corn in many areas." Bob Utterback, president of Utterback Marketing and Farm Journal economist, believes we'll see more of a regional situation for acreage mix. "When you look at central Indiana, northern Illinois, Minnesota and N.D. and S.D., I think they will be wall-to-wall corn." Yet, in areas that were hit hard by the drought, such as Illinois, Indiana and Ohio, along with the southern edge of the Corn Belt, Utterback believes farmers will shift more to soybeans, or a wheat-bean double-crop. Some of this switching will be more for agronomic issues. "This is the second year in a row corn-after-corn acres have greatly underperformed compared to corn-after-beans acres." Overall, Utterback believes we will be hard-pressed to reach the same corn acreage numbers as 2012. "The only way you'll see it is if we have exceptionally good planting conditions in the spring or if the bean market gets hammered." According to a recent Farm Journal Pulse, most farmers are intending to plant the same amount of corn in 2013. More than 1,500 farmers responded to the question: What are your planting intentions for corn for 2013 vs. 2012? Here are the results: 1-10% more: 12% 11-20% more: 10% Same: 54% 1-10% less: 9% 11-20% less: 9% Other: 6% Read more about the corn market: 5 Corn Market Wild Cards Uphill Battle for Soybean Acres Ted Seifried, Zaner Ag Hedge Group vice president, says the huge soybean crop growing in South America will affect U.S. acreage. "With current profit structures, soybeans need to offer more incentive to buy acreage for the coming growing season." He says that soybeans have become more attractive, since prices have showed sharp gains in the last few weeks. "If the market gets what it needs, which it almost always does, we should see soybeans continue to gain on corn in order to 'buy acreage.' This could come in the form of a soybean rally while corn and wheat stay flat." Yet, he believes corn will win the battle in most areas. "I see a substantial incentive to plant corn next year due to the positive profit margin differential and the prospective of tougher global export competition for soybeans not far down the road." Read more about the soybean market: Soybeans Trend Bearish, But Marketing Opportunities Remain No Big Incentive for Wheat Seifried predicts wheat will be the "odd man out" in the U.S., due to the relatively high global stocks of wheat on top of slowing demand. "It is simply a matter of fact that wheat is a global product and competition for export is high. So, in this current market climate corn should be adding acres over soybeans and mostly at the expense of wheat." He says wheat is failing to join the bid against corn or soybeans or adding an incentive for additional acres. Read more about the wheat market: Wheat Prices to Tag Along with Corn Cotton Acres Take the Biggest Hit With the large supply of cotton in the U.S. and around the world, Naomi Blohm, Stewart-Peterson senior market advisor, says there aren't many reasons for the cotton market to get excited. "We could lose 2 million acres of cotton to corn or soybeans." She says maybe in 2014, the excitement will come back into the cotton market and acres could increase. Read more about the cotton market: Cotton's Wild Ride to Continue What About You? What will you plant in 2013? Submit your crop report to AgWeb Crop Comments. For More Information Editor's Note: As we prepare to put 2012 to bed, it is always a good idea to reflect on the past year. For the remaining days of 2012, the editors at AgWeb.com will bring you stories that were important this year and will continue to be top of mind in 2013. See More: Top Stories of 2012, Looking Forward to 2013 2013 Marketing Outlooks The editors at AgWeb.com are taking a look at experts' projections for a variety of commodities in 2013 to help you succeed and be profitable in the coming year. See current prices in AgWeb's Market Center. Back to news