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Amoco

Amoco Corporation is a global chemical and oil company, founded in 1889 around a refinery located in Whiting, United States. Part of the Standard Oil Trust, it focused on gasoline for the new automobile market. In 1911, during the break up of the trust, it became an independent corporation. Incorporated in Indiana, it was headquartered in Chicago. In the 1930s it absorbed the American Oil Company, founded in Baltimore in 1910 and incorporated in 1922 by Louis Blaustein and his son Jacob; the combined corporation operated or licensed gas stations under both the Standard name and the Amoco name, its logo using either name became a red and blue oval with a torch in the center. By the mid-twentieth century it was ranked the largest oil company in the United States. In 1985, it changed its corporate name to Amoco, short for Am(erican Oil Company. Amoco merged with British Petroleum in December 1998; the firm's innovations included two essential parts of the modern industry, the gasoline tanker truck and the drive-through filling station.

Its "Amoco Super-Premium" lead-free gasoline was marketed decades before environmental concerns led to the eventual phase out of leaded gasoline throughout the United States. Amoco's headquarters were located in the Amoco Building in Illinois. In October 2017, BP revealed; as of August 2018, there are over 100 new Amoco locations in the states of New York, New Jersey, North Carolina, South Carolina, Indiana, Missouri, Florida and Illinois, with more locations opening soon. Standard Oil was formed in 1889 by John D. Rockefeller as part of the Standard Oil Trust. In 1910, with the rise in popularity of the automobile, Indiana Standard decided to specialize in providing gasoline to consumers. In 1911, the year it became independent from the Standard Oil trust, the company sold 88% of the gasoline and kerosene sold in the Midwest. In 1912 it opened its first gas service station in Minnesota; when the Standard Oil Trust was broken up in 1911, Indiana Standard was assigned marketing territory covering most of the Midwestern United States, including Indiana, Illinois, Minnesota, North Dakota, South Dakota, Iowa and Missouri.

It had the exclusive rights to use the Standard name in the region. It purchased the Dixie Oil Company of Louisiana in 1919 and began investing in other oil companies outside its Standard marketing territory. Blaustein incorporated his business as the American Oil Co. in 1922. In 1923 the Blausteins sold a half interest in American Oil to the Pan American Petroleum & Transport company in exchange for a guaranteed supply of oil. Before this deal, Amoco was forced to depend on Standard Oil of New Jersey, a competitor, for its supplies. Standard Oil of Indiana acquired Pan American in 1925, beginning John D. Rockefeller's association with the Amoco name. In the 1920s and 1930s, Indiana Standard opened up dozens more oil-drilling facilities. Combined with a new oil-refining process, Indiana Standard created its exploration and production business, Stanolind, in 1931. In the following years, a period of intense exploration and search for oil-rich fields ensued. In 1921, Indiana Standard bought a half interest in the Sinclair Pipeline Company, a subsidiary of Sinclair Oil Corporation, which owned a network of crude oil pipelines in the midwestern United States.

In 1925, it bought a stake in the Pan American Transport Company. The acquired company had bought a half interest in the American Oil Company, which marketed half of PAT's oil in the United States. Indiana Standard raised its stake in PAT to 81 percent by 1929. In 1931, Stanolind completed its acquisition of Sinclair Pipeline and acquired the Sinclair Crude Oil Purchasing Company. All of the pipeline companies were consolidated into the newly formed Stanolind Pipeline Company; the crude oil purchasing operations became Stanolind Crude Oil Purchasing Company. The pipeline company headquarters were located in the Philcade building in Oklahoma. In 1957, all of the corporation's pipeline activities were merged into a single entity, named Service Pipeline Company. While most oil companies were switching to leaded gasolines en masse during the mid-to-late 1920s, American Oil chose to continue marketing its premium-grade "Amoco-Gas" as a lead-free gasoline by using aromatics rather than tetraethyllead to increase octane levels, decades before the environmental movement of the early 1970s led to more stringent auto-emission controls which mandated the universal phase out of leaded gasoline.

The "Amoco" lead-free gasoline was sold at American's stations in the eastern and southern U. S. alongside American Regular gasoline, a leaded fuel. Lead-free Amoco was introduced in the Indiana Standard marketing area in 1970; the Red Crown Regular and White Crown Premium gasolines marketed by parent company Standard Oil in its prime marketing area in the Midwest before 1961 contained lead. World War II followed this period of exploration. In addition, Indiana Standard contributed to the aviation and land gasoline needed for the Allied armies. During the war Indiana Standard created its chemical division, formed from the merger of the Pan American Chemicals Company and the Indoil Chem

Tino Sehgal

Tino Sehgal is an artist of German and Indian descent, based in Berlin, who describes his work as "constructed situations". He is thought of as a choreographer who makes dance for the museum setting. Sehgal was born in London and raised in Düsseldorf, a town close to Stuttgart, his father was born in British India, was a member of the Punjabi Sehgal family, but "had to flee from what is today Pakistan when he was a child". He studied political economy and dance at Humboldt University and Folkwang University of the Arts, Essen, he danced in the work of Xavier Le Roy. In 1999, Sehgal worked with the dance collective Les Ballets C. de la B. in Ghent and developed a piece entitled Twenty Minutes for the Twentieth Century, a 55-minute series of movements performed naked in twenty different dance styles, from Vaslav Nijinsky to George Balanchine to Merce Cunningham, so forth. He lives in Berlin with his two sons; the artist describes his works as'constructed situations'. His materials are situations animated through references to art history and the participation of interpreters who use voice, language, movement and interaction to shape the experiences of visitors.

He resists the production of physical objects in an extension of the logics of western conceptual art and as a part of his commitment to an ecological politics of production. Sehgal's pieces are staged in museums or galleries, continuously executed by trained individuals he refers to as “interpreters” for the entire duration of a show; the artwork is the constructed situation which arises between the audience and the interpreters of the piece. Untitled or called Twenty Minutes for the Twentieth Century, is one of his earliest works. A solo for a naked male dancer performed by Sehgal himself and by Frank Willens, Andrew Hardwidge and Boris Charmatz. In the work fragments of 20 dance styles form an idea of a canon of the history of 20th century dance practice, it cemented his interested in the frameworks of exhibitions by appropriating the idea of the historical retrospective in the space of the theatre. For This is good a museum worker waves their arms and hops from one leg to the other states the title of the piece.

First exhibited at the Museum of Contemporary Art, Kiss was his first work in an American museum. Presented in association with the MCA's show "Collection Highlights," Kiss is a sculptural work— two dancers move together through a series of postures reenacting images of kisses from classic works of art history. For This objective of that object the visitor confronted by five people who remain with their backs to the visitors; the five chant, "The objective of this work is to become the object of a discussion," and if the visitor does not respond they sink to the ground. If the visitor says something they begin a discussion. In this work performers dance in a happy, emphatic way around visitors entering the exhibition space, singing, "Oh, this is so contemporary, contemporary. Oh, this is so contemporary, contemporary." The catchy melody and exciting dances left some of the museum visitors cheerful and dancing, themselves. In 2018, the Hirshhorn Museum acquired This You, a piece of performance art featuring a solo female singer performing outdoors, the performers themselves choose songs based on the mood they perceive the visitor to be in.

ForThis situation, Sehgal engaged the participation of a group of intellectuals. They occupied an otherwise empty gallery space and interacted with each other and the audience through discussions of a set of memorised quotes while moving in slow motion between different positions and postures from art history in a games-like form established by the artist. In This Success/This Failure young children attempt to play without using objects and sometimes draw visitors into their games. Exhibited at the Guggenheim Museum, New York, the artist empties Frank Lloyd Wright's famed spiral gallery of all art work; the museum visitor is met at the base of the spiral by a child, who asks a small group what they think progress is. As they begin their ascent up the spiral ramp the visitors continue their conversation until they are met by a high school student who picks up the conversation and asks further non-sequitur questions. Further still, they are met by a young adult and lastly an older adult who finishes their ascent to the upper-most point in the Guggenheim.

For documenta XIII Sehgal orchestrated This variation, an immersive piece, developed with a group of dancers and the composer Ari Benjamin Meyers. The work places viewers in a nearly dark gallery among the performers who dance and sing a cappella arrangements and improvisations of electronic music, using a score created by Sehgal to create an evolving dramaturgy and "an electrifying aural-spatial experience of pure, unencumbered imagination in action". In 2012, Sehgal was the 13th artist commissioned by the Tate Modern for its annual Unilever series; the first “live” work in the vast space, These associations consists of encounters between around 70 storytellers and visitors to the gallery. Sehgal is the youngest artist. Sehgal had solo exhibitions at a number of important venues including the Stedelijk Museum, Amsterd

Busselton Football Club

The Busselton Football Club is an Australian rules football club which competes in the South West Football League in the South West corner of Western Australia. It is based in the Western Australian city of Busselton; the club is the result of a merger between East Busselton and West Busselton in 1955. It has played all its games in South West Football League. In 1954 two Busselton based clubs, East Busselton and West Busselton joined the Bunbury-Collie FL. Impressed by the improved standard in play the two clubs decided to merge to form a more competitive team, the Busselton Football Club was created. 1964, 1967, 1978, 1996, 2012, 2015 Ashton Hams Graham House Phil Kelly - North Melbourne A Way of Life - The Story of country football in Western Australia - Alan East WA footy forum www.swfl.com.au official club website