Word: postwar
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Dates: during 1950-1959
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...Industrial Dictatorship." Management's insistence on tinkering with Section 2-B was in one sense a stand on principle, but in another sense it was a lucky break for the steelworkers' Dave McDonald. After seeing most of their postwar wage gains canceled out by price upcreep, rank -and-file steelworkers were wary of following McDonald into a strike for higher wages. But when industry negotiators started talking about changing work rules, steelworkers began heeding his warnings that the bosses wanted to bring back the bad old days of "industrial dictatorship" and "assembly-line slaves...
...Schnulze has paid off so well that Gloria Films has never taken a penny of government subsidy, a rare record in postwar Germany. Its catalogue of 23 films represents only 12% of the German movies now in circulation, but its annual gross ($35,850,000) comes to 30% of the income from German film production. Kuba herself boasts a villa on Lake Starnberg with two cabin cruisers and a speedboat, a villa on the Riviera, a chalet in Switzerland, a stable of expensive cars, a Skye terrier named Putzi and a black poodle named Wutzi. It is all confirmation...
...gold from the U.S., steadily raising the amount of U.S. gold earmarked for European nations. The time has come, said Anderson, for the rest of the world to give a helping hand to the U.S. Said he: "There must be a reorientation of the policies of the earlier postwar period...
...office now has projects for a new cultural center for Wolfsburg, Germany (home of the Volkswagen works), a museum in Denmark, a semicircular apartment house in Bremen and a new opera house for Essen. Says U.S. Architect Eero Saarinen, himself the son of a famed Finnish architect: "In the postwar decade, Aalto seemed headed away from the mainstream of architecture-until now. The development of the last few years has proved him right. Architecture, while maintaining its gain in technology, is turning to Aalto's treatment of natural materials...
Pros & Prizes. The recent spectacular surge gets its impetus from the cold economics of postwar commercial publishing. Soaring costs have fostered the hit psychology of the Broadway theater, forced commercial publishers to shy away from nonfiction books that are likely to sell less than a break-even 8,000 copies. The university presses have no such profit-and-loss problems. As taxexempt, nonprofit enterprises, often bolstered by subsidies, they can afford to keep slow sellers in print as long as they prove useful. Result: more and more commercially marginal but eminently important books are being handed over to the universities...