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Whether the U.S. would maintain sanctions under pressure from business in uncertain. Evidence to the contrary lies in the fact that the United States ended support for U.N.-imposed sanctions on importation of chrome from Rhodesia. This action, which the U.S. called a "strategic necessity," was a result of massive lobbying by the chrome companies...

Author: By Jane B. Baird, | Title: Namibia: Corporate Investment in Oppression | 5/2/1973 | See Source »

...American auto has long enjoyed a not-so-subtle sanctity all its own. The vinyl and chrome interiors have become mobile family chapels for communing with nature and each other; the weekend car wash has become a purification rite, the trade-in for a newer model a form of spiritual renewal and reaffirmation. Now the auto's explicit religious overtones and artifacts have spilled over from the dashboard, where they have long been visual obstructions, to the bumper, where they constitute eyestoppers if not public affronts. The religious bumper sticker has recently become a profitable business. An estimated...

Author: /time Magazine | Title: The Nation: Heaven on Wheels | 4/16/1973 | See Source »

Around them swirls the carnival of the auto show. The 300 cars and 60 motorcycles are roped off from the crush of the public, the starflake paint mirroring the mustache and leather jacket of a hot-rodder bending close to inspect the chrome-plated carburetors, and his little brother in jeans and a Ski-Doo jacket peering in to see how high the speedometer goes. Down the aisle sits "Peaches and Kreme," a 1934 Ford coupe with a 1968 Corvette engine and a body painted "Campus Creme" on top and "Bronze Starflake" below (and a sign: DO NOT TOUCH THIS...

Author: /time Magazine | Title: AMERICAN SCENE: Auto Shows: They Love Speed | 3/19/1973 | See Source »

Last week in Germany such a work appeared. The orchestra pit of the Hamburg State Opera was empty, and up on the stage strode the weirdest bunch of non-human heavies since Wagner peopled his Ring cycle with gnomes, mermaids, dragons and bears. Five 21-ft. chrome-and-steel towers reeled in patterns that owed less to choreography than to the movement of armored tank columns. They were directed from backstage by electronic remote control, and were adorned with mirrors (20 to a tower) that caught the sunburst of spots, strobes and color projectors that beamed down upon them...

Author: /time Magazine | Title: Music: Mad Bag Opera | 2/26/1973 | See Source »

Gamble. The excellence of the Apollo 17 photographs is also due in part to the quality of the film used by the astronauts. On previous missions, NASA'S photographic advisers opted for a fairly sensitive film similar to Ekta-chrome-EF; because lunar lighting conditions were uncertain, they wanted a fast emulsion. But for Apollo 17, the space agency decided to switch to another Kodak film that is somewhat slower (ASA rating of only 64 v. 160 for the earlier film), but has significantly less grain and better color reproduction. The gamble worked. The record 3,800 frames that...

Author: /time Magazine | Title: Science: Portfolio from Apollo | 1/8/1973 | See Source »

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