Word: sovietizing
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Dates: during 1930-1939
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...oddest diplomatic rituals in the world is the annual negotiation for fishery lease agreements between Japan and Soviet Russia. The talks begin in November. Everyone knows how they are going to come out-as they always have, with a compromise which two fishermen could reach in an hour's talk. But for as much as six months, representatives of the two countries bow deeply, sip tea, shake heads, pound tables, grin, frown, embrace, clench fists-throughout standing thunderously firm on impossible demands. Then, the day the first silvery smolts begin to run in the bitter waters off Sakhalin Island...
...Moscow it was officially announced that Japanese Ambassador Shigenori Togo and Foreign Commissar Viacheslav M. Molotov had found a "community of views ... on the fundamental principles upon which a Soviet-Japanese trade agreement must be based." In recent Russian diplomacy, non-aggression pacts have followed trade agreements as faithfully as the little lamb trailed Mary...
...period last year Sweden's surplus of imports over exports was only a mildly depressing 140,000,000. Since War II broke, Dr. Wigforss revealed, Sweden has lost roughly 300,000,000 kronor of foreign exchange, due partly to "hot money" withdrawals by investors who are afraid the Soviet Union will yet muscle into Scandinavia as it has into the Baltic States...
...Dictator Josef Stalin cracked down on Russia's noisy modernist composers. He accused them of "bourgeois degeneracy," confiscated their compositions, told them to stop imitating the sound of Soviet steel mills and cement-mixers, get themselves a few singable tunes. Since then, presumably, the party line in musical Russia has been all nightingale and lark. But because the machinery of the Soviet Musical Bureau (which owns all manuscripts, controls all performance rights) needs oil in its joints, not many examples of this New Musical Policy have been heard outside Russia...
Last week a few lark-notes of new-style Russian music were heard in the U. S.: the overture to an opera, Gulsara, by Reinhold Moritzovich Gliere, veteran Soviet composer and professor at the Moscow Conservatory. No streamlined Eastern orchestra gave it its first U. S. hearing, but the wide-awake, six-year-old Kansas City Philharmonic under cigar-puffing U. S. Conductor Karl Krueger. Conductor Krueger's first cellist, Frank Sykora, onetime pupil of Composer Gliere, had wangled the manuscript out of Russia. An audience of 2,500 Kansas Citizens turned out to hear the overture, and agreed...