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Talk:History of the United States (1945–present)

Boy, talk about POV. To read all this, you'd think that the Cold War was a good thing, and that Americans' concerns about nuclear annihilation were so trivial it's hardly worth mentioning. Oh, and that the most important thing about recent American history was the effects of American actions on the Soviet economy. This kind of stuff would be better in an article on Soviet-American relations, not in an article about the history of the whole US. This is becoming one of those subtly-slanted-works-posing-as-neutral that give modern historians a bad name. And no references either, tsk tsk. Stan 13:29 11 Jul 2003 (UTC)

-- What about "nowhere near finished" don't you understand? I have basically finished a couple of chunks about the Reagan administration of what will be quite a long series of articles. This article itself will be divided; posting all the content under an article US history (1945-) was a temporary solution.

When I'm finished, you will find the balance between domestic and foreign policy issues that you want. You will also find that your concerns about the "POV" regarding the Cold War discussed. For crying out loud, you're accusing me of only discussing the "traditionalist" interpretation of the Cold War. Until a while ago, I was accused of being the last diehard, unreconstructed, and unapologetic Stalinist on earth. Please, be patient. Only the section on Reganonomics is a finished product. 172

-

Soon, this article will probably have links to other articles pertaining to US history (1945-).

How does this format sound? History of the United States (1945-present): Part I, History of the United States (1945-present): Part II, History of the United States (1945-present): Part III, etc.

Since such a format would be best, I'm doing all the work on the 1945-present page for now, not having any idea how many articles of comparable length will be required.

It would be a good idea not to separate the post-World War II US history articles by years or topics. Everything's interconnected, after all.

I'm going to work on this article offline now; I'll be ready to post the rest in about 12 hours. For those critical, I'll remind them that only the content pertaining to Reagan is my work and (largely) finished. The rest is borrowed from other Wiki articles, since I can see, by virtue of Stan's comments, that I'd better finish this MASSIVE project as soon as possible. 172

 * This is getting way too long. This is supposed to be an encyclopedia, not a textbook; in-depth material on the dreadfully important subject of Donald Regan's desk calendar is appropriate with Reagan or Regan, but is not an essential part of the history of the US as a whole.  Think about from the point of view of the poor readers; they need 1-2 pages that covers the big picture, and if something is of interest, they'll follow the links to specific topics.  To pick an example sitting next to me right now, OCD's Rome article manages to survey a thousand years of Roman history in 80Kbytes or so.  Instead of going into detail about what Caligula had for lunch, the article summarizes with the single word "extravagant" and puts the details into his own article.

 * Thinking about it another way, very few people are going to read all the way to the end of a very long article, whether it's in one piece or several, so it's mostly wasted effort anyway, and material redundant with other articles will likely get cut back down to just the link. Stan 16:03 11 Jul 2003 (UTC)

--- Calm down and read thoroughly. First, I have said that this article will be divided; links to a series of articles will soon be posted on this page with no other content. Readers interested in one topic or one era will not have to read through a long article, but will be able to find what they're searching for readily. Second, the reference to Don Regan that you're mentioning was an anecdote illustrating an important point about Reagan's style of governance. It was an interesting example that could be replaced with many others that I can think of at the moment. I'm sure that you realize that in history an interesting piece of trivia here and there can help develop certain points and make for a readable style.

Rather than subjecting me to your misplaced hostility, how about making some some constructive comments about the finished section (Reagan domestic policy, a topic covered nowhere else on Wiki in depth)? 172

 * OK then - Reagan domestic policy at this level of detail should go into a specialized article about the Reagan administration, and the article should have two sentences tops - mention the different terms since that is confusing to readers too young to have been there, and something about Reagonomics resulting in deficits. There's a little bit more to American history than budget fights inside the Beltway - the 80s were when computers became widespread, and mid-decade regular Americans started to get more worried about nuclear holocaust, for instance.  What about trends in immigration, state governments, eating habits?  What was happening that wasn't being written about by the superficial newspaper reporters regurgitating politicians' sound bites? Stan 19:32 11 Jul 2003 (UTC)

 * One more comment - dividing a long narrative is not the answer. If you divide by years, then you end up with a chronology.  If you divide logically, then somewhere you'll have to explain the logic somewhere - not long from now, "US History: The Reagan Years" will be just as puzzling as the "US History: The Van Buren Years" would be now.  Instead, you need to think top-down; first, most readers just want a quick high-level intro - they're not clear on whether Kennedy is before or after Nixon, and will be surprised to learn that the Korean War they saw on MASH reruns occurred right in the middle of the baby boom.  The overview's main functions are to inform about the key events or trends, and pique the reader's interest enough to jump to the articles that go into depth on Truman foreign policy or Reagan domestic policy or whatever.  While Wikipedia's capacity is effectively infinite, the reader's is not.  I have yet to get all the way through History of Brazil for instance, even though I think it will help explain some items I don't understand in my stamp collection; just too long and dreary. Stan 20:13 11 Jul 2003 (UTC)

I did a bit of work on the civil rights section. I cut out a large paragraph on Brown vs. Board of Education. I felt it was more detail than was necessary, and it is also already available on the Brown page. SimonP 18:57 11 Jul 2003 (UTC)

-- You tell me that two lines would suffice when it comes to the United States economy in the 1980s on one hand but lecture me on all the details that I’m supposedly overlooking on the other? You seem to be mentioning "nuclear holocaust" over and over again, but history articles are not solely geared toward the interests of one individual.

Either be patient and shut up about content that you feel is not being included or contribute some god damn content yourself. We can go on forever about the shortcomings of this article, which is probably less than one fifth of the way to being finished. I've had it with quibbling with you over your misplaced hostility. 172

 * So in response to my constructive comments, I get curse words? I think the "misplaced hostility" is in your own mind.  I mention nuclear holocaust because it was something that was on people's minds (I don't know how old you are, so don't know if it's something you experienced personally or not), and there are authorities who identify a causal connection between the threat of nuclear annihilation and the material/sensual gratification culture of post-1945 America.  I will wait to see how you finish this, but since I think it's already excessive in length and has too much detail in less-important areas, my contribution will most likely take the form of pruning and moving to more appropriate locations.  Of course, the usual Wikipedia way is just to do a surprise hack-n-slash, so I think I'm being pretty nice in encouraging you towards a better design. Stan 22:38 11 Jul 2003 (UTC)

- I've just been quitting smoking, which probably should disqualify me from reading criticisms. I was out of line.

I just think that you're being slightly impatient. I'll address social history and divide the article up into subtopics so that readers will readily find information that interests them, which seem to be your principal concerns. 172


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Talk:Mayor McCheese

Merge
This article was merged into the McDonaldland article as per the merge discussion at Talk:McDonaldland.

Jeremy (Jerem43 04:00, 18 October 2007 (UTC))

???
It'd be nice to hear what happened to the McDonald's characters after they lost the court battle against the Kroffts'. Also, who are Ed Shube and Ascent Media? Are those references just advertising? —Frecklefoot 13:36 11 Jul 2003 (UTC)

The Wacky Adventures Of Ronald McDonald
You know the series of animated cartoons by Klasky-Csupo called "The Wacky Adventures Of Ronald McDonald"? I recall seeing Mayor McCheese in a clip of one of the cartoons. - NES Boy 21:41, 31 December 2005 (UTC)

Mayor McCheese and Big Mac
Why both the Mayor of McDonaldland and Officer Bic Mac both have Hamburger heads

SMX Apirl 12, 2006 1:04

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license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Talk:Mayor McCheese


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Talk:Hedging

Risk

 * How do you sell a risk?

That is a pretty broad question. But I will take a stab at. The risk has to relate to something. So suppose you are a cattlemen, or a farmer or you’re a miner. If the commodity that you have, has an increasing value because of some external event. Your risk might be that prices will change.

If as a businessperson you can turn a profit at the current price. Your risk is that prices will change may affect you in a non-positive way.

You can sell your risk of price change by selling it ahead of time i.e., sell it in the future, NOW.

This is pretty much what we do trading futures. Transfer (sell) risk to somebody else.

Sell part of your herd now.

Sell part of your crop now.

Sell next years mined material now. GT

Is Speculation a business?
Hedging is a strategy, usually some form of transaction, designed to minimise exposure to an unwanted business risk.

Hedging your bets, is that business?

title: Talk:Hedging


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Stanley Kramer

Stanley Earl Kramer (September 29, 1913 – February 19, 2001) was an American film director and producer, responsible for making many of Hollywood's most famous "message films" (he called his movies heavy dramas) and a liberal movie icon. As an independent producer and director, he brought attention to topical social issues that most studios avoided. Among the subjects covered in his films were racism (in The Defiant Ones and Guess Who's Coming to Dinner), nuclear war (in On the Beach), greed (in It's a Mad, Mad, Mad, Mad World), creationism vs. evolution (in Inherit the Wind), and the causes and effects of fascism (in Judgment at Nuremberg). His other films included High Noon (1952, as producer), The Caine Mutiny (1954, as producer), and Ship of Fools (1965).

Director Steven Spielberg described him as an "incredibly talented visionary" and "one of four great filmmakers, not just for the art and passion he put on screen, but for the impact he has made on the conscience of the world." Kramer was recognized for his fierce independence as a producer-director, with author Victor Navasky writing that "among the independents...none seemed more vocal, more liberal, more pugnacious than young Stanley Kramer." His friend Kevin Spacey, during his acceptance speech at the 2015 Golden Globes, honored Kramer's work, calling him "one of the great filmmakers of all time."

Despite uneven critical reception, both then and now, Kramer's body of work has received many awards, including 16 Academy Awards and 80 nominations, and he was nominated nine times as either producer or director. In 1961, he received the Irving G. Thalberg Memorial Award. In 1963, he was a member of the jury at the 3rd Moscow International Film Festival. In 1998, he was awarded the first NAACP Vanguard Award in recognition of "the strong social themes that ran through his body of work". In 2002, the Stanley Kramer Award was created, to be awarded to recipients whose work "dramatically illustrates provocative social issues".

Early life
Kramer was born in New York City. His parents were Jewish, and having separated when he was very young, he remembered little about his father. His mother worked at a New York office of Paramount Pictures, during which time his grandparents took care of him at home. His uncle, Earl Kramer, worked in distribution at Universal Pictures.

Kramer attended DeWitt Clinton High School in the Bronx, where he graduated at age fifteen. He then enrolled in New York University, where he became a member of the Pi Lambda Phi fraternity and wrote a weekly column for the Medley newspaper. He graduated in 1933 at the age of nineteen with a degree in business administration. After developing a "zest for writing" with a newspaper, biographer Donald Spoto wrote, Kramer was offered a paid internship in the writing department of 20th Century Fox and moved to Hollywood. Until receiving that writing job, he had planned to enroll in law school.

Move to Hollywood
Over the following years, during the period of the Great Depression, Kramer took odd jobs in the film industry: He worked as a set furniture mover and film cutter at MGM, as writer and researcher for Columbia Pictures and Republic Pictures, and associate producer with Loew-Lewin productions. Those years as an apprentice writer and editor helped him acquire an "exceptional aptitude" in editing and develop the ability to understand the overall structure of the films he worked on. They enabled him to later compose and edit "in camera," as he shot scenes.

He was drafted into the U.S. Army in 1943 during World War II, where he helped make training films with the Signal Corps in New York, along with other Hollywood filmmakers including Frank Capra and Anatole Litvak. He left the army with the rank of first lieutenant.

After the war, Kramer soon discovered that there were no available jobs in Hollywood in 1947, so he created an independent production company, Screen Plays Inc. He partnered with writer Herbie Baker, publicist George Glass and producer Carl Foreman, an army friend from the film unit. Foreman justified the production company by noting that the big studios had become "dinosaurs," which, being shocked by the onrush of television, "jettisoned virtually everything to survive." But they failed to develop cadres of younger creative talent in their wake.

Producer
Kramer's new company was able to take advantage of unused production facilities by renting time, allowing him to create independent films for a fraction of the cost the larger studios had required, and he did so without studio control. Kramer also saw this as an opportunity to produce films dealing with subjects the studios previously avoided, especially those about controversial topics.

However, Kramer soon learned that financing such independent films was a major obstacle, as he was forced to approach banks or else take on private investors. He did both when necessary. But with studios no longer involved, rival independent companies were created which all competed for those limited funds. According to Byman, "there were no fewer than ninety-six" other companies in competition during that period, and included some of Hollywood's biggest names: Frank Capra, John Ford, William Wyler, Howard Hawks, Leo McCarey, and George Stevens. Kramer explained how he tried to differentiate his new company from the others, explaining he was less interested in the money than having the ability to make a statement through his films: "Instead of relying on star names, we pinned our faith in stories that had something to say. If it happened to be something that other movies hadn't said before, so much the better. The only basis of choice was personal taste."

The first movie produced under his production company was the comedy So This Is New York (1948), directed by Richard Fleischer, and based on Ring Lardner's The Big Town. It failed at the box office. It was followed with Champion (1949), another Lardner story, this one about an ambitious and unscrupulous boxer. Written by Foreman, it was tailored to the talents of Kirk Douglas, a former amateur wrestler who was now an actor. Filmed in only 23 days with a relatively small budget, it became an immense box-office success. It won an Academy Award for Best Editing, with four other nominations, including Douglas for best actor and Foreman as screenwriter.

Kramer next produced Home of the Brave (also 1949), again directed by Mark Robson, which became an even bigger success than Champion. The story was adapted from a play by Arthur Laurents, originally about anti-Semitism in the army, but revised and made into a film about the persecution of a black soldier. Byman notes that it was the "first sound film about antiblack racism." The subject matter was so sensitive at the time, that Kramer shot the film in "total secrecy" to avoid protests by various organizations. Critics generally liked the film, which, notes Nora Sayre, "had a flavoring of courage."

His renamed Stanley Kramer Company produced The Men (1950), which featured Marlon Brando's screen debut, in a drama about paraplegic war veterans. It was the first time Kramer and Foreman worked with director Fred Zinnemann, who had been directing for twenty years and had won an Oscar. The film was another success for Kramer, who took on a unique subject dealing with a world few knew about. Critic Bosley Crowther noted that its "striking and authentic documentary quality has been imported to the whole film in every detail, attitude and word."

Zinnemann said he was impressed with Kramer's company and the efficiency of their productions: "They struck me as being enormously efficient. Kramer was very inventive in finding quite unlikely sources of finance...This method of outside financing...was truly original and far ahead of its time...There were no luxurious offices, no major-studio bureaucracy, no small internal empires to be dealt with, no waste of time or effort...I was enthusiastic about this independent setup and the energy it created."

Also released in 1950 was Kramer's production of Cyrano de Bergerac, the first English language film version of Edmond Rostand's 1897 French play. It made a star of José Ferrer, who won his only Oscar for Best Actor.

Films with Columbia Pictures
In 1951, Columbia Pictures president Harry Cohn offered Kramer's company an opportunity to form a production unit working with his studio. Kramer was given free rein over what films he chose to make, along with a budget of nearly a million dollars each. Kramer agreed to a five-year contract during which time he would produce 20 films. However, Kramer later stated that the agreement was "one of the most dangerous and foolhardy moves of my entire career." He agreed to the commitment because of his "deep-seated desire to direct," he states, along with the security of ready studio financing.

His last independent production was High Noon (1952), a Western drama directed by Fred Zinnemann. The movie was well received, winning four Oscars, as well as three other nominations. Unfortunately, High Noon's production and release intersected with McCarthyism. Writer, producer and partner Carl Foreman was called before the House Un-American Activities Committee while he was writing the film. Foreman had been a member of the Communist Party ten years earlier, but declined to "name names" and was branded an "un-cooperative witness" by HUAC, and then blacklisted by the Hollywood companies, after which he sold his interest in the company. Kramer, a long time friend and business partner of Carl Foreman removed Foreman's name from the credits as co-producer.

Kramer continued producing movies at Columbia, including Death of a Salesman (1951), The Sniper (1952), The Member of the Wedding (1952), The Juggler (1953), The Wild One (1953) and The 5,000 Fingers of Dr. T (1953). With a larger budget, his films took on a "glossier" more polished look, yet his next 10 films all lost money, although some were nonetheless highly praised.

In 1953, Cohn and Kramer agreed to terminate the five-year, 20-film contract Kramer had signed. However, his last Columbia film, The Caine Mutiny (1954), regained all of the losses Columbia had incurred as a result of his earlier projects. The Caine Mutiny was an adaptation of the book written by Herman Wouk and was directed by Edward Dmytryk.

Kramer observed that during the 1940s and 1950s, "cinema was the producer's medium:" "It was the day of Selznick and Thalberg and Goldwyn. They were the powers incarnate because the producer was boss."

Director

After The Caine Mutiny, Kramer left Columbia and resumed his independent productions, this time in the role of the director. Over the next two decades, Kramer reestablished his reputation within the film industry by directing a continual series of often successful films dealing with social and controversial issues, such as racism, nuclear war, greed and the causes and effects of fascism. Critic Charles Champlin later described Kramer as "a guy who fought some hard battles. He took on social issues when it was not popular to do so in Hollywood."

Among some of those controversial films were Not as a Stranger (1955), The Pride and the Passion (1957), The Defiant Ones (1958), On the Beach (1959), Inherit the Wind (1960), Judgment at Nuremberg (1961), and Guess Who's Coming to Dinner (1967). In addition to dramas, he directed It's a Mad, Mad, Mad, Mad World (1963).

His first film as director was Not as a Stranger (1955), the story of medical students and their career, some of whom lose their idealism and succumb to blind ambition, adultery, and immoral behavior. The film was a "smash hit," but reviews were mixed. Pauline Kael claimed it "lacked rhythm and development."

The Pride and the Passion (1957)
The Pride and the Passion (1957) is an adaptation from The Gun, a novel by C. S. Forester. It portrays in detail how a dedicated group of Spanish guerrillas dragged a gigantic cannon across half the country in an effort to defeat Napoleon's advancing army. It stars Frank Sinatra, Cary Grant and Sophia Loren.

The Defiant Ones (1958)
The following year, Kramer directed The Defiant Ones (1958), the story of two escaped convicts in the Deep South, one black, played by Sidney Poitier, and one white, Tony Curtis. To add to the intensity of the drama, both men are shackled together with chains, forcing them, despite their wishes, into a sense of brotherhood, suffering and fear.

New York Times film critic Bosley Crowther lauded the production and the acting in the film, calling it "a remarkably apt and dramatic visualization of a social idea—the idea of men of different races brought together to face misfortune in a bond of brotherhood — is achieved by producer Stanley Kramer in his new film." It was nominated for eight Academy Awards, winning two.

Five years after the film was released, producer George Stevens Jr. helped organize a showing of this, along with other Kramer films, at the Moscow Film Festival, which Kramer and co-star Sidney Poitier attended. Stevens writes that the showings of his films, especially The Defiant Ones, were a "great success in Moscow." He remembers that "filmmakers applauded his films, often chanting Kraaaamer, Kraaaaamer, Kraaaaamer," at their conclusion. Kramer spoke to the audience after each film, "making a fine impression for his country." Stevens credits The Defiant Ones for having the most impact, however: "The screening was one of the most emotional I have experienced. After the film, the crowd stood—many with tears in their eyes—and gave Poitier and Kramer an ovation that subsided only when we had left the auditorium. Stanley's visit to Moscow marked the high point in the cultural exchange between the two countries during those long years of estrangement."

On the Beach (1959)
With On the Beach (1959), Kramer tried to tackle the sensitive subject of nuclear war. The film takes place after World War III has annihilated most of the Northern hemisphere, with radioactive dust on a trajectory towards Australia. Kramer gave the film an "effective and eerie" documentary look at depopulated cities. It starred Gregory Peck, Ava Gardner, Fred Astaire and Anthony Perkins.

Reviews were mostly positive, not just from critics but from scientists. Linus Pauling, winner of two Nobel Prizes (Chemistry and Peace), commented: "It may be that some years from now we can look back and say that On the Beach is the movie that saved the world." Critics Arthur Knight and Hollis Alpert likewise praised the film and admired Kramer for showing "courage in attempting such a theme."

Inherit the Wind (1960)
Inherit the Wind (1960) became Kramer's next challenging film, this one taking on the highly charged subjects of creationism and evolution, and how they are taught in school. The film, an adaptation of the play of the same name, written by Jerome Lawrence and Robert Edwin Lee, was a fictionalized account of the 1925 Scopes Trial, which concerned a violation of Tennessee's Butler Act. This law had made it unlawful to teach human evolution in any state-funded school in Tennessee. It starred Spencer Tracy, portraying the real Clarence Darrow, defending the teacher, and Fredric March as his rival attorney, William Jennings Bryan, who insisted that creationism was the only valid subject that should be taught to children. It was nominated for four Academy Awards.

For Tracy, who was nominated as Best Actor, the film became the first of four films he did for Kramer. "Everybody tells me how good I am," he said, "but only Stanley gives me work." The film received "extravagant reviews," yet failed at the box office due to its poor distribution and advertising. In addition, fundamentalist groups labeled the film "anti-God" and called Kramer "anti-Christ." Kramer, however, explains that these groups failed to understand the real theme of the film and the actual court trial it portrayed: "The spirit of the trial lives on, because the real issues of that trial were man's right to think and man's right to teach...the real theme of Inherit the Wind."

Kramer also notes that the film was the third part of a "trilogy of what have been called by some 'controversial pictures,'" of which the first two were The Defiant Ones and On the Beach. "I have attempted, and I hope succeeded in, making pictures that command attention," said Kramer.

Judgment at Nuremberg (1961)
Like his previous film, Judgment at Nuremberg (1961) was a fictionalized account of a real trial, this one about the Nuremberg Trials held after the defeat of the Nazis in World War II. It also starred Spencer Tracy as the leading judge, along with numerous other stars. Richard Widmark played the American military prosecutor, and Maximilian Schell played the defense attorney. The film was nominated for 11 Academy Awards and won two: Schell as Best Actor and Abby Mann for Best Screenplay. Reviews were extremely positive. Critic Hollis Alpert wrote in his review: "Stanley Kramer has once again used film importantly and continues to emerge as the only truly responsible moviemaker in Hollywood." Similarly, Arthur Knight credited Kramer for the film's significance: "From first to last, the director is in command of his material. ...he has not only added hugely to his stature as a producer-director, but to the stature of the American film as well."

However, despite mostly rave reviews in the U.S. and many countries in Europe, biographer Spoto notes that during its various premieres overseas, "it shocked many, angered some, disgusted others. But it bored no one." Kramer described its world premiere, in Berlin, as "the most frightening evening in my life." It was attended by hundreds of dignitaries from throughout Germany. "[Mayor] Willy Brandt stood up and warned the audience that they might not find the film pleasant, but that if Berlin was ever to regard itself as a capital city, then this film should be shown there because it was about all of them. 'We may like or dislike or disagree with many things,' he said, 'but here it is.'

Well, the film went on, and when it was over there was a deafening silence...The film was totally rejected: it never did three cents' business in Germany. It played so many empty houses it just stopped."

William Shatner, who had a supporting role, recalls that prior to filming, Kramer and screenwriter Abby Mann required that everyone involved in the production, actors and crew alike, watch some films taken by American soldiers at the liberation of the concentration camps. "They wanted us to understand what this film was about": "These films had not yet been released to the public; very few people had seen them. We didn't know what to expect...We watched scenes of bulldozers shoving piles of bodies into mass graves. We saw survivors, their eyes bulging, their bones practically protruding from their bodies. We saw the crematoriums and the piles of shoes. People gasped in shock, others started crying. Certainly it was the most horrifying thing I had ever seen in my life...But from that night on we understood the importance of the film we were making."

It's a Mad, Mad, Mad, Mad World (1963)
After the seriousness of his previous films, Kramer "felt compelled to answer" for the "lack of lightness" in his earlier films, writes Spoto. As a result, he directed It's a Mad, Mad, Mad, Mad World (1963), a film with a "gifted, wacky crew of comedians." Kramer describes it as a "comedy about greed." According to one writer, he directed it "to prove he could also handle comedy" and hired many of the leading comedic actors of the previous decades, from silent star Buster Keaton to emerging talent Jonathan Winters. Winters later wrote that "Kramer was a man who took chances—as they say, he worked without a net."

It played to mixed reviews with some criticizing its excessive comedy with too many comedians, thereby losing its focus. Nonetheless, it was Kramer's biggest box office hit, and the public enjoyed its "socially disruptive and goofy" story and acting. Film critic Dwight Macdonald writes that its "small army of actors—105 speaking roles—inflict mayhem on each other with cars, planes, explosives and other devices...is simply too much for the human eye and ear to respond to, let alone the funny bone," calling it "hard-core slapstick." It was nominated for six Academy Awards, winning for Best Sound Editing.

Ship of Fools (1965)
Ship of Fools (1965) has been described as a "floating Grand Hotel," an earlier film which also had an all-star cast. Its multi-strand narrative deals with the failing personal relationships among the passengers on board a passenger liner returning to Germany in 1933, during the rise of Nazism. Spoto describes its theme as one of "conscious social and psychological significance." It won two Academy Awards and was nominated for six others.

Some writers describe the film as a "microcosm" displaying a "weakness of the world that permitted the rise of Hitler." Kramer does not disagree, and wrote, "Even though we never mention him [Hitler] in the picture, his ascendancy is an ever-present factor. Most of the passengers on the ship are Germans, returning to their fatherland at a time when millions of other Germans are looking for ways to escape." In a scene noted by Spoto, a Nazi passenger is "barking inanities" about how Germans should purify their race, to which a German-Jewish passenger responds, "There are nearly a million Jews in Germany. What are they going to do — kill us all?"

Guess Who's Coming to Dinner (1967)
For his fourth film about the sensitive subject of racism, he both directed and produced Guess Who's Coming to Dinner (1967), a groundbreaking story about interracial marriage. It starred Spencer Tracy, Sidney Poitier, and Katharine Hepburn, winning two Academy Awards with eight nominations. It has been listed in the top 100 films over the last 100 years by the American Film Institute. However, despite its popularity with the public and its box-office success, many critics gave it negative reviews.

For Kramer and others involved in the production, it "was one of the most important events of their lives," writes Spoto. Partly because it was the first film that touched the subject since the 1920s silent era. "No one would touch this most explosive of social issues" until Kramer took on the challenge. Co-star Sidney Poitier called the film "revolutionary," and stated why: "No producer, no director could get the money, nor would theaters in America book it. But Kramer made people look at the issue for the first time...He treated the theme with humor, but so delicately, so humanly, so lovingly that he made everyone look at the question for the very first time in film history!"

The film was also important as it was the last film role for Spencer Tracy, who was aware while making the film that he was dying and did in fact die a few weeks after its completion. It was his fourth film directed by Kramer and his ninth with Hepburn, who was so shaken by Tracy's death, that she refused to watch the film after it was completed. Kramer called Tracy "the greatest actor I ever worked with."

As a result of this film's commercial success, Kramer helped spur on Hollywood to reform its film marketing practices when it was observed that the film was doing excellent business everywhere in the U.S., including the Southern states where it was assumed that films with African American lead actors never would be accepted. As a result, the prominent presence of Black actors in films never again was considered a factor in Hollywood film marketing and distribution. However, Kramer, bothered by the film's negative reviews and wanting respect as an important film artist like François Truffaut and Jean-Luc Godard, undertook a nine-college speaking tour to screen the film and discuss racial integration. The effort proved a dispiriting embarrassment for him with college students largely dismissing his film and preferring to discuss less conventional fare like Bonnie and Clyde directed by Arthur Penn.

The film was Kramer's last major success, and his subsequent films were not profitable, and many had mixed reviews. Among those films were The Secret of Santa Vittoria (1968), R.P.M. (1970), Bless the Beasts and Children (1971), Oklahoma Crude (1973), The Domino Principle (1977), and The Runner Stumbles (1979). Oklahoma Crude was entered into the 8th Moscow International Film Festival where Kramer won the Golden Prize for Direction. At the time of his retirement, he was attempting to bring a script titled Three Solitary Drinkers to the screen, a film about a trio of alcoholics that he hoped would be played by Sidney Poitier, Jack Lemmon, and Walter Matthau.

Retirement and death
In the 1980s, Kramer retired to Bellevue, Washington and wrote a column on movies for The Seattle Times from 1980 to 1996. During this time, he hosted his own weekly movie show on then-independent television station KCPQ.

In 1986, he signed an agreement with Columbia Pictures to produce or direct two films, Chernobyl and Beirut, but the deal fell through when David Puttnam left Columbia. Three years later, he agreed to make ERN starring Robert Guillaume but the project stalled. In 1991, he signed a deal with Trimark to direct and produce Bubble Man, a project he had been working on since 1972, but it was not made.

In 1997, Kramer published his autobiography A Mad Mad Mad Mad World: A Life in Hollywood.

He died on February 19, 2001, in Woodland Hills, Los Angeles, aged 87, after contracting pneumonia. He was married three times and divorced twice. He was survived by his third wife, actress Karen Sharpe, and four children: Casey (1955–2023) and Larry (with Anne Pearce), and Katharine and Jennifer (with Karen Sharpe).

Legacy
Kramer has been called "a genuine original" as a filmmaker. He made movies that he believed in, and "straddled the fence between art and commerce for more than 30 years." Most of his films were noted for engaging the audience with political and social issues of the time. When asked why he gravitated to those kinds of themes, he stated, "emotionally I am drawn to these subjects," and thought that independent productions like his might help "return vitality to the motion picture industry...If our industry is to flourish, we must break away from formula thinking."

Film author Bill Nichols states that "Kramer's films continue a long-standing Hollywood tradition of marrying topical issues to dramatic form, a tradition in which we find many of Hollywood's more openly progressive films." Among his themes, Kramer was one of the few filmmakers to delve into subjects relating to civil rights, and according to his wife, Karen Kramer, "put his reputation and finances on the line to present subject matter that meant something." He gave up his salary to make sure that Guess Who's Coming to Dinner was completed. However, he has not had universally acclaim. Film critic David Thomson has written that Kramer's "films are middlebrow and overemphatic; at worst, they are among the most tedious and dispiriting productions the American cinema has to offer. Commercialism, of the most crass and confusing kind...devitalised all [of] his projects."

Critics have labeled Kramer's films as "message movies." Some, like Pauline Kael, were often critical of his subject matter for being "melodramas," and "irritatingly self-righteous," but she credits his films for their "redeeming social importance...[with] situations and settings nevertheless excitingly modern, relevant." Kramer, however, saw himself as "a storyteller with a point of view": "Maybe I'm out of step with the times, because a lot of movies are made today with no statement at all, just shock and sensation, or a motivationless kind of approach to a story, a senseless crime, a pointless love affair...Like lots of kids in the 1930s, I wanted to right all the wrongs of mankind...I'm not interested in changing anyone's opinion, just in telling a story."

In the 1960s Kramer blamed the growing "youth culture" with having changed the "artistic landscape" as he remembered it from his own youth. "No longer," he said, "were writers or filmmakers interested in creating the Great American Novel or the great American film, or indeed with exploring what it meant to be American."

In extreme cases, Kramer was accused of being "anti-American" due to the themes of his films, many concerning social problems or pathologies. But Kramer notes that it was his ability to produce those films in a democracy which distinguishes them: "Any American film that contains criticism of the American fabric of life is accepted, both critically and by the mass audience overseas, as being something that could never have been produced in a totalitarian state. This in itself builds tremendous respect for American society among foreigners—a respect I've always wanted to encourage."

Kramer produced and directed 23 different actors in Oscar-nominated performances, with José Ferrer, Gary Cooper, Maximilian Schell and Katharine Hepburn winning for their performances. Kramer's was among the first stars to be completed on the Hollywood Walk of Fame on March 28, 1960, out of the original 1,550 stars created and installed as a unit in 1960.

One of his daughters, Kat Kramer, is co-producer of socially relevant documentaries, as part of her series Films That Change the World.

The Stanley Kramer Award
The Producers Guild of America established the Stanley Kramer Award in 2002 to honor a production or individuals whose contribution illuminates and raises public awareness of important social issues.

As producer and director

 * Not as a Stranger (1955)
 * The Pride and the Passion (1957)
 * The Defiant Ones (1958)
 * On the Beach (1959)
 * Inherit the Wind (1960)
 * Judgment at Nuremberg (1961)
 * It's a Mad, Mad, Mad, Mad World (1963)
 * Ship of Fools (1965)
 * Guess Who's Coming to Dinner (1967)
 * The Secret of Santa Vittoria (1968)
 * R.P.M. (1970)
 * Bless the Beasts and Children (1971)
 * Oklahoma Crude (1973)
 * Judgment: The Trial of Julius and Ethel Rosenberg (1974)
 * Judgment: The Court-Martial of the Tiger of Malaya – General Yamashita (1974)
 * Judgment: The Court-Martial of Lieutenant William Calley (1975)
 * The Domino Principle (1977)
 * The Runner Stumbles (1979)

As producer only

 * The Moon and Sixpence (associate producer, 1942)
 * So This Is New York (1948)
 * Champion (1949)
 * Home of the Brave (1949)
 * The Men (1950)
 * Cyrano de Bergerac (1950)
 * Death of a Salesman (1951)
 * High Noon (1952) (uncredited)
 * The Sniper (1952)
 * The Happy Time (1952)
 * The Member of the Wedding (1952)
 * Eight Iron Men (1952)
 * The Wild One (1953)
 * The Juggler (1953)
 * The 5,000 Fingers of Dr. T (1953)
 * The Caine Mutiny (1954)
 * Pressure Point (1962)
 * A Child Is Waiting (1963)

title: Stanley Kramer


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Ivonka Survilla

Ivonka Survilla (Івонка Сурвілла, born Ivonka Šymaniec, Івонка Шыманец, Iwonka Szymaniec, April 11, 1936) is the President of the Rada of the Belarusian Democratic Republic, a Belarusian government in exile.

Early life
Ivonka Survilla was born in Stoŭbcy, then part of the Second Polish Republic (West Belarus), into the family of Uladzimier Šymaniec, an engineer, and Evelina Šymaniec née Paškievič.

In 1940, after the Soviet annexation of West Belarus, Uladzimier Šymaniec was arrested by the Soviets and sentenced to five years imprisonment in Gulag. She escaped due to the German attack on the USSR.

In 1944 the family fled to the West through East Prussia with the thousands of other refugees and eventually reached Denmark where they lived in a refugee camp for several years. On the way Ivonka's younger sister died.

In 1948 her family moved to France and settled in Paris. Survilla's family members were active participants in the life of the local Belarusian community. Ivonka Šymaniec has studied at École nationale supérieure des Beaux-Arts and then graduated from a humanities faculty of the Sorbonne.

In 1959 Ivonka Šymaniec married Janka Survilla, a Belarusian economist, activist and radio broadcaster. With him she moved to Madrid where they ran a Belarusian language radio program supported by Francoist Spain.

In Canada
After closure of the radio station in 1965, Janka and Ivonka Survilla moved to Canada in 1969 where Ivonka started working as translator for the federal government. She eventually became the head of Translation Services at Health Canada.

In Canada Ivonka Survilla became an active member local Belarusian organisations.

In 1989, Ivonka Survilla, with the assistance of her husband Janka Survilla and friends Zinaida Gimpelevitch and Pauline Paszkievicz-Smith, created the Canadian Relief Fund for Chernobyl Victims in Belarus. This charitable organization provides medical aid in various forms, reciprocal medical staff visits between Canada and Belarus, food aid as well as providing health respites for children in various locations within Canada.

As President of the Rada of the Belarusian Democratic Republic
Ivonka Survilla was elected president of the Rada of the Belarusian Democratic Republic in 1997. She is the first woman president of the Rada and the first president elected after the dissolution of the Soviet Union and creation of an independent Republic of Belarus.

Survilla regularly addresses the Belarusian society on March 25 and other occasions.

She is a founding signatory of the Prague Declaration on European Conscience and Communism.

In 2013 she was awarded the Canadian Queen Elizabeth II Diamond Jubilee Medal for "her lifelong work in restoring democracy to Belarus".

Personal life
Ivonka Survilla has two daughters. One of her daughters, Maria Paula Survilla, (1964–2020) was a professor of ethnomusicology at Wartburg College in Waverly, Iowa. Her husband Janka Survilla died in Ottawa in 1997.

Survilla has participated in more than 30 exhibitions as a painter.

title: Ivonka Survilla


text:
Matt Hughes

Matt or Matthew Hughes may refer to:

 * Matt Hughes (fighter) (born 1973), American professional mixed martial artist
 * Matt Hughes (rower) (born 1981), American Olympic rower
 * Matt Hughes (writer) (born 1949), Canadian science fiction writer
 * Matthew Hughes (badminton) (born 1978), Welsh badminton player
 * Matthew Hughes (cricketer) (born 1996), English cricketer
 * Matthew Hughes (politician) (born 1950), Western Australian state politician
 * Matthew Hughes (runner) (born 1989), Canadian athlete
 * Matt Hughes (died 2010), meteorologist, storm chaser on the TV series Storm Chasers

title: Matt Hughes


text:
Franz Josef Strauss

Franz Josef Strauss (Strauß ; 6 September 1915 – 3 October 1988) was a German politician. He was the long-time chairman of the Christian Social Union in Bavaria (CSU) from 1961 until 1988, member of the federal cabinet in different positions between 1953 and 1969 and minister-president of the state of Bavaria from 1978 until 1988. Strauss is also credited as a co-founder of European aerospace conglomerate Airbus.

After the 1969 federal elections, West Germany's CDU/CSU alliance found itself out of power for the first time since the founding of the Federal Republic. At this time, Strauss became more identified with the regional politics of Bavaria. While he ran for the chancellorship as the candidate of the CDU/CSU in 1980, for the rest of his life Strauss never again held federal office. From 1978 until his death in 1988, he was the head of the Bavarian government. His last two decades were marked by a fierce rivalry with CDU chairman Helmut Kohl.

Early life
Born in Munich on 6 September 1915, as the second child of a butcher, Strauss studied German letters, history and economics at the Ludwig Maximilian University of Munich from 1935 to 1939.

World War II
In World War II, he served in the Wehrmacht on the Western and Eastern Fronts. While on furlough, he passed the German state exams to become a teacher. After suffering from severe frostbite on the Eastern Front in early 1943, he served as an Offizier für wehrgeistige Führung, responsible for the education of the troops, at the antiaircraft artillery school in Altenstadt Air Base, near Schongau. He held the rank of Oberleutnant at the end of the war.

Early post-war years
In 1945 he served as translator for the U.S. Army. He called himself Franz Strauß until soon after the war when he started using his middle name Josef as well.

Political life 1945–1961
After the war, in 1945, he was appointed deputy Landrat (chief executive and representative of the district) of Schongau by the American military government and was involved in founding the local party organization of the Christian Social Union in Bavaria (CSU). Strauss became a member of the first Bundestag (Federal Parliament) in 1949.

In 1953 Strauss became Federal Minister for Special Affairs in the second cabinet of Chancellor Konrad Adenauer, in 1955 Federal Minister of Nuclear Energy, and in 1956 Defence Minister, charged with the build-up of the new West German defence forces, the Bundeswehr – the youngest man to hold this office at the time. He became chairman of the CSU in 1961.

Strauss stated in a letter to HIAG in March 1957: "I think you know how I personally think about the front line units of the Waffen-SS. They are included in my admiration for the German soldiers of the last world war."

Lockheed bribery scandals
Former Lockheed lobbyist Ernest Hauser admitted to investigators during a U.S. Senate hearing that Minister of Defence Strauss and his party had received at least $10 million in remuneration for arranging West Germany's purchase of 900 F-104G Starfighters in 1961, which later became part of the Lockheed bribery scandals. The party, its leaders, and Strauss all denied the allegations; and Strauss filed a slander suit against Hauser. Strauss and Hauser had met after World War II in Schongau, Bavaria, where Hauser was stationed. Hauser worked for U.S. Intelligence and Strauss was Hauser's translator. They were good friends, which Strauss later denied, in a denial belied by the fact that Strauss had attended Hauser's wedding. As the allegations were not corroborated, the issue was dropped. It was known at the time that a Senate hearing in the U.S. revealed that Lockheed associates paid Strauss a bribe to purchase the planes, due to Boeing suing Lockheed over the lost German business. In a Senate hearing in the U.S., it was admitted by Lockheed associates that the funds were disbursed to Strauss. In spite of this fact, Strauss was never indicted in Germany due to his influence. Lockheed at that time was on the brink of collapse; the German contract was key to the company's survival. The F-104G's development had been expensive; the U.S. Air Force refused to purchase the plane due to its unnecessary features. The German contract proved to be a windfall for Lockheed. After Germany ordered the fighter planes from Lockheed, many more European governments started to place their trust in the Starfighter and ordered more planes, saving Lockheed from financial ruin.

Spiegel affair
Strauss was forced to step down as defence minister in 1962 in the wake of the Spiegel affair. Rudolf Augstein, owner and editor-in-chief of the influential Der Spiegel magazine, published German defense information that Strauss's department alleged was top secret. He was arrested on Strauss's request and was held for 103 days. On 19 November, the five FDP ministers of the cabinet resigned, demanding that Strauss be fired. This put Chancellor Adenauer himself at risk. He found himself publicly accused of backing the suppression of a critical press with the resources of the state. Strauss had no choice but to admit that he had lied to the parliament, and was forced to resign. Strauss himself was exonerated by the courts on the charge of acting against the constitution.

Rivalry between Kohl and Strauss

Strauss was appointed minister of the treasury again in 1966, in the cabinet of Kurt Georg Kiesinger. In cooperation with the SPD minister for economy, Karl Schiller, he developed a groundbreaking economic stability policy; the two ministers, quite unlike in physical appearance and political background, were popularly dubbed Plisch und Plum, after two dogs in a 19th-century cartoon by Wilhelm Busch.

After the SPD was able to form a government without the conservatives, in 1969, Strauss became one of the most vocal critics of Willy Brandt's Ostpolitik. After Helmut Kohl's first run for chancellor in 1976 failed, Strauss cancelled the alliance between the CDU and CSU parties in the Bundestag, a decision which he only reversed months later when the CDU threatened to extend their party to Bavaria (where the CSU holds a political monopoly for the conservatives). In the 1980 federal election, the CDU/CSU opted to nominate Strauss as their candidate for chancellor. Strauss had continued to be critical of Kohl's leadership, so providing Strauss a shot at the chancellery may have been seen as an endorsement of either Strauss' policies or style (or both) over Kohl's. But many, if not most, observers at the time believed that the CDU had concluded that Helmut Schmidt's SPD was likely unbeatable in 1980, and felt that they had nothing to lose in running Strauss. Schmidt's victory was seen by Kohl's supporters as a vindication of their man, and though the rivalry between Kohl and Strauss persisted for years, once the CDU/CSU was able to take power in 1982, it was Kohl who became chancellor. He remained in power well beyond Strauss's death.

European integration

Strauss wrote a book called The Grand Design, in which he set forth his views of how the future unification of Europe might be achieved.

Airbus
As an aerospace enthusiast, Strauss was a key player in the creation of Airbus in the 1970s. He served as chairman of Airbus in the late 1980s, until his death in 1988; he saw the company win a lucrative but controversial (see Airbus affair) contract to supply planes to Air Canada just before his death. Munich's new airport, the Franz Josef Strauß Airport, was named after him in 1992.

Minister-President of Bavaria

From 1978 until his death in 1988, Strauss was Minister-President of Bavaria, serving his rotation as president of the German Bundesrat in 1983–84. After his defeat in the 1980 federal election, he retreated to commenting on federal politics from Bavaria. In the following years, he was the most visible critic of Kohl's politics in his own political camp, even after Kohl ascended to the chancellorship. In 1983, he was primarily responsible for a loan of 3 billion Deutsche Marks given to East Germany. This move, in violation of longtime CSU/CDU policy to allow the East German economy to collapse naturally, was widely criticised even during Strauss's lifetime. The Republicans split from the CSU/CDU over this move.

Strauss was a strong Bavarian monarchist.

Wackersdorf nuclear reprocessing plant (WAA)
Strauß campaigned vehemently for the construction of the Wackersdorf nuclear reprocessing plant (WAA) in Wackersdorf (Bavaria), which was accompanied by strong protests from the population, which he described as hardly more dangerous than a bicycle spoke factory.

The ecclesiastical resistance in particular, which met primarily at the Franziskus-Marterl, was a nuisance for Strauss and he explained that anyone who confuses people, whoever causes them to feel insecure, excited and afraid for no reason, is doing the work of the devil.

Visit to Albania
Strauss visited communist Albania on 21 August 1984, while Enver Hoxha, the ruler from the end of World War II until his death in 1985, was still in power. Strauss was one of the few Western leaders, if not the only one, to visit the isolationist Albania in decades. This fuelled speculation that Strauss might be preparing the way for diplomatic links between Albania and West Germany and, indeed, relations were established in 1987.

In 2017, Strauss was honored with the Albanian National Flag Order, while a city square holds his name in Tirana.

Death
On 1 October 1988, Strauss collapsed while out hunting with Johannes, 11th Prince of Thurn and Taxis, in the Thurn and Taxis forests, east of Regensburg. He died in a Regensburg hospital on 3 October without having regained consciousness. He was 73.

Family
Strauss married Marianne Zwicknagl in 1957. She died in a car accident in 1984. They had three children: Max Strauß, Franz Georg Strauß, and Monika, who was member of the Landtag of Bavaria and a Bavarian minister. In 2009 she was elected to the European Parliament.

Legacy
Strauss shaped post-war Bavaria and polarized the public like few others. He was an articulate leader of conservatives and a skilled rhetorician. His outspoken right-leaning political standpoints made him an opponent of more moderate politicians and the entire political left. His association with several large-scale scandals made many politicians distance themselves from him. His policies contributed to changing Bavaria from an agrarian state to one of Germany's leading industry centres, and one of the wealthiest regions of Germany.

According to British diplomat Richard Hiscocks:"Strauss is without doubt one of the most remarkable personalities that has yet emerged in Germany since the war and, from a democratic point of view, the most dangerous…. he has great ambition and combines with it the advantages of considerable intellectual gifts, an exceptional memory, immense resilience and capacity for work, and the ability to make quick decisions....On the other hand, these positive qualities are offset by equally pronounced defects. The unscrupulousness of his political methods exceeds even Adenauer’s and is not counterbalanced, as with Adenauer, by good judgment and serenity of manner. Above all he is lacking in self-control and knowledge of men, and has the habit of picking weak and sycophantic companions....His quick decisions therefore have often been the wrong ones. Martin Walser once wrote of him, “He can defend us against everything, only not against himself.”"

in German

 * Karl Rösch: Franz Josef Strauß. Bundestagsabgeordneter im Wahlkreis Weilheim 1949–1978, Utz, München 2014, ISBN 978-3-8316-4392-9.
 * Wilfried Scharnagl: Mein Strauß. Staatsmann und Freund. Ars Una, Neuried 2008, ISBN 978-3-89391-860-7.
 * Wilhelm Schlötterer: Macht und Missbrauch. Franz Josef Strauß und seine Nachfolger. Aufzeichnungen eines Ministerialbeamten. Fackelträger, Köln 2009, ISBN 978-3-7716-4434-5; (updated edition: Macht und Missbrauch. Von Strauß bis Seehofer, ein Insider packt aus. Aktualisierte Taschenbucherstausgabe, Heyne, München 2010, ISBN 978-3-453-60168-0).
 * Walter Schöll (ed): Franz Josef Strauss. Der Mensch und der Staatsmann. Ein Porträt. Schulz, Kempfenhausen am Starnberger See 1984, ISBN 3-7962-0152-0.
 * Thomas Schuler: Strauß. Die Biografie einer Familie. Scherz, Frankfurt am Main 2006, ISBN 3-502-15026-5.
 * Peter Siebenmorgen: Franz Josef Strauß, Ein Leben im Übermaß. Siedler, München 2015, ISBN 978-3-8275-0080-9.
 * Franz Georg Strauß: Mein Vater. Erinnerungen. Herbig, München 2008, ISBN 978-3-7766-2573-8.
 * Michael Stephan: "Franz Josef Strauß" in: Katharina Weigand (Hrsg.): Große Gestalten der bayerischen Geschichte. Utz, München 2011, ISBN 978-3-8316-0949-9.

title: Franz Josef Strauss


text:
User talk:Simon Willard

Hello there Simon Willard, welcome to Wikipedia! I hope you like the place and decide to stay. If you ever need editing help visit How does one edit a page or how to format them visit our manual of style. Experiment at Sandbox. If you need pointers on how we title pages visit Naming conventions. If you have any other questions about the project then check out Help or add a question to the Village pump. MB 14:15 11 Jul 2003 (UTC)

title: User talk:Simon Willard