Word: oils
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Dates: during 1950-1959
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...lean, balding Englishman with a "British Cake and Oil Mills Ltd." tag on his vest pocket takes a sip of coffee and smiles. "Now we've been getting along fine with our trade unions for years. If a man wants to join a union, and it's in his interest to do so, we let him go right ahead. A "Right to Work" law would be absurd in Britain." A Californian manufacturer behind him overhears, turns around, and the pair are soon in eager debate over their coffee cups...
...Persuaded friendly Interior Secretary Fred Seaton to shut down oil production on their 275 wells-thereby depriving oil companies (and themselves) of hundreds of thousands of dollars-so as to force the companies to rush completion of equipment that will salvage precious gas, which was being flared off for lack of transmission facilities...
Taller than egos, Stetsons or oil rigs, the tallest things in Texas are banks. Busting out all over in an unparalleled boom, their huge buildings dominate the skyline in Dallas, Houston, San Antonio and Fort Worth. Texas has more banks than any other state: 968 with total deposits of $10.4 billion, combined resources of $11.6 billion. Texas bankers succeed by fighting for business like warring supermarket operators on a Saturday afternoon -while also wearing Homburg hats and speaking in muted tones. The man who best combines such Texas talents is taut, wiry, fiercely competitive Fred F. Florence, 67, head...
Cleaning Up. Republic has lent $1 billion to finance oil drilling, more than any Southwest bank. Florence was a chief mover in bringing Temco Aircraft to Dallas, which in turn helped persuade Chance-Vought to come. He also helped organize Lone Star Steel Co., biggest in Texas. Partly to persuade big Texas borrowers that it was no longer necessary to go to New York, Florence gave Republic the most impressive face in Dallas-a $25 million, 40-story building sheathed in aluminum. The skyscraper has acted as a magnet to bring Dallas such other structures as the new Hotel Statler...
...seldom able to fill. The Gothic spirit had the natural beauty and mysteriousness of a growing thing. Bergman's Gothicisms, on the contrary, are as artificial and complex as paper roses, and spiritually they have about as much of the genuine Gothic mood and inwardness as the Mobil oil gargoyle. In Bergman's camera, the most numinous and vital symbols are somehow diminished into mere ideas; but then the ideas seem marvelously clever. And strong religious feelings are dissipated into a sort of arty, romantic, death-wishful mood that is often hard to distinguish from sentimentality; but then...