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...Afghanistan. The Soviets responded by lining up other suppliers, including Argentina, Canada, the European Community and Australia. Result: the embargo was almost ineffective and cut the U.S. out of sales just when Soviet demands were surging. During the past twelve months those sources supplied 80% of Moscow's import needs. Before the embargo, the U.S. provided 70% of Soviet grain imports...

Author: /time Magazine | Title: Good Harvest: A new U.S.-Soviet grain deal | 8/8/1983 | See Source »

...comes when the Soviet Union is enjoying a rare good harvest. The Agriculture Department forecasts a healthy Soviet grain crop of 200 million tons this year, short of Moscow's hoped-for 239 million tons but still the best since 1978. That will reduce the Soviets' grain-import needs for the next twelve months to 30 million tons, from a peak of 46 million tons two years...

Author: /time Magazine | Title: Good Harvest: A new U.S.-Soviet grain deal | 8/8/1983 | See Source »

WHAT SAVES THE Brazilian import film They Don't Wear Black Tie from merely becoming anti-government propaganda is its three-dimensional portrayal of the riveting relationships between members of a small working class community in San Paulo, Brazil...

Author: By Rebecca J. Joseph, | Title: Fenced In | 8/5/1983 | See Source »

...Chinese import like Buddhism, and the histories of both are twined inextricably: together they afford the prime example of how the Japanese throughout their history have taken foreign forms and metabolized them into wholly Japataken foreign forms and metabolized them into wholly Japanese practices. In time, tea came to define the difference between the Chinese and Japanese ideals of exalted beauty: the former based on symmetry and minute gradations of fixed etiquette, the latter on irregularity and "natural" grace. Sen No Rikyu (1521-91), greatest of the tea masters, established chanoyu as a kind of psychic enclave in which warlord...

Author: /time Magazine | Title: The Art of All They Do | 8/1/1983 | See Source »

...usefulness perceived socially as well as aesthetically. When explaining their country's fervent embrace of classical music, the Japanese almost never cite the qualities that have kept it flourishing in the West: beauty, emotional appeal, elegance. Instead, they speak of concert music almost as a commodity, whose import and manufacture they have undertaken with characteristic zeal. "We have adopted the Western style in our social life," explains Kazuyuki Toyama, a leading Tokyo music critic. "We wear Western clothes, not kimonos; we watch baseball. So do we respect Western culture, and reflect it in our daily life...

Author: /time Magazine | Title: Music: Like a Flower on a Pond | 8/1/1983 | See Source »

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