Word: cornelis
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...swept-up pieces, Averell Harriman will be standing by-but not idly. He has already made one foray into the Middle West, for a speech last month in Des Moines. (Harriman gave this critique of his Des Moines performance: "What they think about out there is ham and corn, and I was both hammy and corny.") Next fortnight he will fly to the Northwest for appearances in Seattle, Eugene and Portland, Ore., and Lewiston, Idaho. Early in December he will speak at the national convention of Young Democrats in Oklahoma City...
...farm problem is over-storage, not overproduction. Despite a huge surplus-disposal program, the U.S. Government still holds 6,327,000 bales (a year's supply) of cotton, 913,000,000 bushels (a year's crop) of wheat, 657,703,000 bushels (three months' supply) of corn, and hoards of butter, cheese, dried milk, barley, beans, flaxseed, sorghum, oats, rice, rye, soybeans, honey, peanuts, tobacco, wool, winter cover crops, linseed oil, olive oil, tung-nut oil and whey. Except for these market-depressing surpluses, the consumption of U.S. farm products in 1955 would be only 1% less...
...centers last week trampled a horde of hogs that was 40% greater than in the same week last year. As a result, prices in Chicago flopped to $14.35 per 100 lbs., their lowest level since 1945. It meant trouble not only for farmers, but also for the Republican Party. Corn-belt voters loudly demanded that Agriculture Secretary Benson come to the rescue with a Government buying program...
Benson also had the tricky corn-hog ratio to consider. This ratio determines, in effect, whether a farmer can make more money by selling his corn or by feeding it to his hogs (it takes about 9 bu. of shelled corn to put 100 lbs. on a hog). When the price of corn is low in relation to that of hogs, it is more profitable to turn the corn into pork; that was the case through most of 1954, with the result that the 1954 fall pig crop was 16% bigger than in 1953, and the 1955 spring pig crop...
...Like corn like picture. The charm of the play was in its note, however falsetto, of meadowy romp and dooryard homeliness. But the demand of the giant screen is for size and spectacle. The figure of Laurie, far away and touching as she sings Out of My Dreams ("and into your arms"), becomes on the screen a colossal closeup in which the heroine's left nostril alone is large enough to park a jeep in. The dances, too, come far too close for comfort. Though Agnes de Mille revised them for the camera, they now seem more like sophomore...