IN: The North American fur trade was the industry and activities related to the acquisition, trade, exchange, and sale of animal furs in North America. Aboriginal peoples in Canada and Native Americans in the United States of different regions traded among themselves in the Pre-Columbian Era, but Europeans participated in the trade beginning from the time of their arrival in the New World and extended its reach to Europe. The French started trading in the 16th century, the English established trading posts on Hudson Bay in present-day Canada in the 17th century, and the Dutch had trade by the same time in New Netherland. The 19th-century North American fur trade, when the industry was at its peak of economic importance, involved the development of elaborate trade networks.

Native American--specifically the Creek's--beliefs revolved around respecting the environment. The Creek believed they had a unique relationship with the animals they hunted. The Creek had several rules surround how a hunt could occur, particularly prohibiting needless killing of deer. There were specific taboos against taking the skins of unhealthy deer. However, the lucrative deerskin trade prompted hunters to act past the point of restraint they had operated under before. The hunting economy collapsed due to the scarcity of deer as they were over-hunted and lost their lands to white settlers. Due to the decline of deer populations, and the governmental pressure to switch to the colonists' way of life, animal husbandry replaced deer hunting both as an income and in the diet. Rum was first introduced in the early 1700s as a trading item, and quickly became an inelastic good. While Native Americans were for the most part acted conservatively in trading deals, they consumed a surplus of alcohol. Traders used rum to help form partnerships. Rum had a significant effect on the social behavior of Native Americans. Under the influence of rum, the younger generation did not obey the elders of the tribe, and became involved with more skirmishes with other tribes and white settlers. Rum also disrupted the amount of time the younger generation of males spent on labor. Alcohol was one of the goods provided on credit, and led to a debt trap for many Native Americans. Native Americans did not know how to distill alcohol, and thus were driven to trade for it. Native Americans had become dependent on manufactured goods such as guns and domesticated animals, and lost much of their traditional practices. With the new cattle herds roaming the hunting lands, and a greater emphasis on farming due to the invention of the Cotton Gin, Native Americans struggled to maintain their place in the economy. An inequality gap had appeared in the tribes, as some hunters were more successful than others. Still, the creditors treated and individual's debt as debt of the whole tribe, and used several strategies to keep the Native Americans in debt. Traders would rig the weighing system that determined the value of the deerskins in their favor, cut measurement tools to devalue the deerskin, and would tamper with the manufactured goods to decrease their worth, such as watering down the alcohol they traded. To satisfy the need for deerskins, many males of the tribes abandoned their traditional seasonal roles and became full-time traders. When the deerskin trade collapsed, Native Americans found themselves dependent on manufactured goods, and could not return to the old ways due to lost knowledge.

What did the Creek do to adjust to the collapse of the hunting economy?

OUT: animal husbandry replaced deer hunting both as an income and in the diet.

IN: She was born Marem-Ides Leventon (Russian name Adelaida Yakovlevna Leventon) in Yalta, Crimea, Russian Empire. Her stage name Alla Nazimova was a combination of Alla (a diminutive of Adelaida) and the surname of Nadezhda Nazimova, the heroine of the Russian novel Children of the Streets. She was widely known as just Nazimova, and also went under the name Alia Nasimoff. She was the youngest of three children of Jewish parents Yakov Abramovich Leventon, a pharmacist, and Sofia (Sara) Lvovna Horowitz, who moved to Yalta in 1870 from Kishinev.

Nazimova's theater career blossomed early; and by 1903 she was a major star in Moscow and Saint Petersburg. She toured Europe, including London and Berlin, with her boyfriend Pavel Orlenev, a flamboyant actor and producer. In 1905 they moved to New York City and founded a Russian-language theater on the Lower East Side. The venture was unsuccessful; and Orlenev returned to Russia while Nazimova stayed in New York. She was signed up by the American producer Henry Miller and made her Broadway debut in New York City in 1906 to critical and popular success. Her English-language premiere in November 1906 was in the title role of Hedda Gabler. She quickly became extremely popular (a theater was named after her) and remained a major Broadway star for years, often acting in the plays of Henrik Ibsen and Anton Chekhov. Dorothy Parker described her as the finest Hedda Gabler she had ever seen. Due to her notoriety in a 35-minute 1915 play entitled War Brides, Nazimova made her silent film debut in 1916 in the filmed version of the play, which was produced by Lewis J. Selznick. A young actor with a bit part in the movie was Richard Barthelmess, whose mother taught Nazimova English. Nazimova had encouraged him to try out for movies and he later became a star. In 1917, she negotiated a contract with Metro Pictures, a precursor to MGM, that included a weekly salary of $13,000. She moved from New York to Hollywood, where she made a number of highly successful films for Metro that earned her considerable money. In 1927, she became a naturalized citizen of the United States. Nazimova soon felt confident enough in her abilities to begin producing and writing films in which she also starred. In her film adaptations of works by such notable writers as Oscar Wilde and Ibsen, she developed her own filmmaking techniques, which were considered daring at the time. Her projects, including A Doll's House (1922), based on Ibsen, and Salome (1923), based on Wilde's play, were critical and commercial failures. By 1925 Nazimova could no longer afford to invest in more films; and financial backers withdrew their support. Left with few options, she gave up on the film industry, returning to perform on Broadway, notably starring as Natalya Petrovna in Rouben Mamoulian's 1930 New York production of Turgenev's A Month in the Country and an acclaimed performance as Mrs. Alving in Ibsen's Ghosts, which the critic Pauline Kael later described as the greatest performance she had ever seen on the American stage. In the early 1940s, she appeared in a few more films, playing Robert Taylor's mother in Escape (1940) and Tyrone Power's mother in Blood and Sand (1941). This late return to motion pictures fortunately preserves Nazimova and her art on sound film.

were any of these successful?

OUT:
based on Wilde's play, were critical and commercial failures.