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Football League Third Division South

The Third Division South of The Football League was a tier in the English football league system from 1921 to 1958. It ran in parallel with the Third Division North with clubs elected to the League or relegated from Division Two allocated to one or the other according to geographical position; some clubs in the English Midlands shuttled between the Third Division South and the Third Division North according to the composition of the two leagues in any one season. This division was created in 1921 from the Third Division, formed one year earlier when the Football League absorbed the leading clubs from the Southern League. In 1921, a Northern section was created called the Third Division North; the Third Division South was formed from the original 22 teams in the Third Division, with the exceptions of Crystal Palace, who were promoted to the Second Division, Grimsby Town who were transferred to the Third Division North, Aberdare Athletic and Charlton Athletic who joined The Football League for the first time.

Several Midlands-based teams were included in the Third Division South from time to time, although most were geographically closer to their Northern division rivals. For the 1950–51 season the division was expanded to 24 clubs, with Colchester United and Gillingham joining. Only one promotion place was available each season from the Third Division South to the Second Division, which made it difficult to win promotion. Six teams, Brighton & Hove Albion, Exeter City, Northampton Town, Southend United, Swindon Town, Watford, were ever-present in the division for the 30 years of its existence. Of the teams that played in the Third Division South, Ipswich Town, Nottingham Forest were English football champions, its final season was 1957–58, after which the North and South sections were merged to form a single Third Division and a new Fourth Division. The top 12 clubs in Division Three South, except for the Champions Brighton & Hove Albion, went into the new Third Division, the bottom 12 clubs went into the Fourth Division.

From 1934 to the war's outbreak, there was a short-lived knockout competition Football League Third Division South Cup. From the 1954–55 season until the 1957–58 season, there was a series of games between teams representing the Third Division North and the Third Division South. Source: Statto

Eugen Taru

Eugen Taru was a Romanian graphic artist, best known for his work in the political cartoon, comic strip and book illustration genres. Active throughout the communist period and first acknowledged as one among the young socialist realists promoted by the regime, Taru associated with satirical magazines such as Urzica. Recognized early on for his controversial involvement with the propaganda apparatus, he focused on his work for children, became one of the noted visual artists employed by the Editura Ion Creangă publishing house. Known as art collectors, he and his wife Josefina donated one of the principal estates exhibited by the Museum of Art Collections, his own works are featured in several Romanian museums. A graduate of the Carol I High School in Craiova, Taru first became noted as an artist in the years after World War II, when he affiliated with the communists and socialist realists who received official endorsement from the Romanian Communist Party. Art critic Pavel Şuşară cited his name among young artists who needed affirmation and found it through political compromise, the "hardcore" group "who illustrated, through their attitudes, their iconography and implicit philosophy, the benchmarks, the aspirations and the utopias of a system that had an imperative need for artists to promote its doctrine and provide it with symbolic credentials."In the context of the Cold War, Taru became known for stereotypical political cartoons, such as those targeting Wall Street business or wealthy peasants known as chiaburi.

The latter were controversial, since they coincided with the forced collectivization and the murderous campaign targeting the rural elites. One of Taru's watercolors, called Demascarea chiaburului, shows a proletarian, a communized peasant and a militiaman publicly shaming the rich peasant for not handing in his production quota. After the Tito–Stalin split, when Soviet-aligned Romania pursued a propaganda war on the Socialist Federal Republic of Yugoslavia, the artist was enlisted to produce giant panels showing Josip Broz Tito as a butcher holding a bloody axe. During the 1950s, Taru created a published comic strip, built around and named after its main character, the dwarf Barbăcot; the decade coincided with a slump in the history of Romanian comics: while exercising ideological control over the comic strip scene, the authorities reputedly preferred to invest in animation, viewed as a more effective means of spreading propaganda. In this context, Taru's survived as one of the comic strips most familiar to the general public during communism.

Taru was still working at Urzica after 1965, when the regime changed cultural direction under new leader Nicolae Ceauşescu. According to artist Mihai Pînzaru-Pim, who began working for the magazine in 1969, alongside Cik Damadian and actor Horaţiu Mălăele, discreetly stood against the policies enforced by Ceauşescu, defined by him as "the stupid attempt to induce ideology on a wise people". Pînzaru-Pim contends that, as a result, Urzica was among the publications most to bypass communist censorship with şopârle. Together, Taru and Pînzaru-Pim were the first Romanian cartoonists to receive international awards. An area where Taru's contribution has traditionally been seen as superlative was that of book illustration. According to his entry at the National Museum of Art, Taru was one of the local artists "who consolidated the prestige of book illustration as an autonomous genre, enriching the concept of'illustration' with more complex functions than the mere visualization of a literary sequence or a poetic state."

Recalling her introduction to the genre as a child, graphic artist Arina Stoenescu lists Taru, alongside Rusz and Val Munteanu, as one of three most memorable artists to have been associated with the state-run children's book publisher Editura Ion Creangă. Among the noted drawings produced by Taru in this area were his 14 pieces for a 1959 edition of Childhood Memories by the 19th century Romanian literature classic Ion Creangă, his illustrations for a 1986 translation of Miguel de Cervantes' Don Quixote. Taru and his wife Josefina gathered a sizable collection of artistic works, together with some of Taru's own creations, was donated to the Museum of Art Collections; this estate includes the works of Romanian masters and local painters in whom Taru invested, alongside old samples of Romanian and Russian icons. Other parts of the collection include Oriental art, as well as European decorative items. Eugen Taru's drawings for Childhood Memories are preserved by the Creangă Memorial House in Târgu Neamţ, as an integral part of the permanent exhibit.

Demascarea chiaburului is held at the Bánffy Palace Art Museum in Cluj-Napoca. 2015 From Political Propaganda to Baby Boom - PostModernism Museum, Bucharest 1983 1966 1965

Chevron Nigeria

Chevron Nigeria Limited is a subsidiary of Chevron Corporation and it is one of the largest oil producers in Nigeria. It was operating in Nigeria under the business name of Gulf Oil Company until merger activities changed its name to Chevron Nigeria. After another merger by the parent company with Texaco, the Nigerian oil and gas assets of Texaco Overseas Petroleum Company of Nigeria were merged into Chevron. In the shallow and inland waters of Nigeria, the firm operates a joint venture with the Nigerian National Petroleum Corporation. Texaco commenced operations Nigeria in 1961 under the business name, American Overseas Company, a joint operation of Texaco and Standard Oil Company of California. Drilling operations began in 1963 but it was not until the end of the Biafran War that production began at an average of 2,500 barrels of oil per day; the company ramped up production to 65,000 barrels of oil per day in 1984. In 1970, the firm's operating name was changed to Texaco Overseas Company of Nigeria.

The participatory interest became 60% for NNPC, 20% for Texaco and 20% for Chevron. The company's top production fields were located offshore in water depths between 30 and 400 meters, majority of the oil flowed into the firm's floating and storage facility, M. V. Oloibiri which has a holding capacity of 1.5 million barrels of oil. In the 1990s, the company entered into a joint alliance with Statoil and BP in the ownership of OPL's 217 and 218 and a joint alliance with Famfa as operator of OPL 216. Gulf Oil Company of Nigeria which became known as Chevron obtained oil acreage license in 1961, it is noteworthy for being the first oil major to discover commercially viable offshore oil with its discovery of the large Okan field, at Escravos River in 1963. The field had an estimated 2 billion barrel of oil in place and up to 800 million of recoverable crude oil. Production from the oilfield began in 1965. Over the years, the company has developed a large petroleum and physical infrastructure in Nigeria that include the Escravos Tank farm, an export terminal, Escravos gas gathering project and an office complex.

By 1993, the company had produced 2.55 billion barrels of crude oil in Nigeria. The major fields of the firm include, Delta South, Meji and Abiteye. Following a merger between Gulf Oil and Chevron Corporation, Gulf's oil operations in Nigeria became known as Chevron in 1991 and in 2001, a merger with Texaco led to combining Texaco's remaining assets in Nigeria with Chevron. Chevron's activities inland and in shallow waters has been affected by infighting between ethnic groups in the host communities, militant attacks and criminal activities. However, the company has been active producing commercially viable gas in its Western Niger Delta operations and its deepwater operations. Prior to militancy in the Niger Delta, Chevron was Nigeria's third largest oil producer after Shell and Mobil Producing