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Composer Morton Feldman comes to Buffalo as the visiting Slee Professor of Music and enters into a mutually appreciative relationship with the Creative Associates. While Michael Tilson Thomas succeeds Lukas Foss as Music Director of the Buffalo Philharmonic Orchestra, Foss retains his codirectorship of the Center. The tenth anniversary of the Center is celebrated with a gala concert and its first European tour. Feldman accepts a permanent faculty position and creates the June In Buffalo festival. The festival opens with a week-long residency by John Cage during which time his work Songbooks is performed. The Center's financial footing grows increasingly precarious.

This chapter and the next cover the period from 1968 to 2010, beginning with the massacre and Olympic Games in Mexico City. Framed by President Echeverría's (1970–1976) populist style of governance using folkloric nationalism, discussion centers on the role of the Dance of the Old Men as promoted through staged displays in European festival tours and Mexico City events, organized through FONADAN, Radio Educación, and The National Museum of Anthropology, by individuals including Josefina Lavalle, Mario Kuri-Aldana, and Marcelo Torreblanco. Discussing tourist initiatives in Michoacán, focus is on the development of The Old Men and Night of the Dead in Morelia and Lake Pátzcuaro, specifically dealing with the Festivals of Music and Dance on all the islands and in Tzintzuntzan; the experiential encounter on Janitzio; and the role of newspaper articles and photos, and TV crews.

This chapter documents the influence of Europe and Asia on Chicana/o artists who traveled abroad. It examines the travels of eleven artists and finds that their international journeys influenced their style, composition, and use of color. Europe also taught some artists, such as David Botello and Leo Limón, to invest in public art and art for the people before this orientation was articulated as a platform of the Chicano movement. By taking up a topic long dismissed by scholars, critics, and curators, the chapter offers new insights about Chicana/o art and proposes new methodologies that reject the essentialist tendencies of normative art history and other disciplines that prescribe and presume the biographies of artists of color. The chapter closes with a discussion of the politics of visibility and the challenge of tracing the influence of European aesthetic traditions on marginalized artists without reinforcing the myth of assimilation.

This chapter tells about the European tour Coach Varnell took his Sewanee basketball players on in the summer of 1951. Joe B. writes that the highlight of that trip for him was meeting Jesse Owens, with whom he maintained a friendship.

This chapter recounts the progress of Blum’s new company, the Ballets de Monte-Carlo, with Michel Fokine, one of the greatest proponents of modern ballet as its master choreographer, along with many of his talented former dancers. It relates the succession of economic crises as well as the general political turmoil that European countries were experiencing while artists and ballet companies struggled to keep afloat. The chapter describes Fokine’s new ballets for Blum—L’Épreuve d’Amour, Don Juan, and Les Elfes—and audiences’ reactions both in Monte Carlo and on tour to Europe and South Africa. The chapter also reveals how Fokine reclaimed some of his fame as a dance maker with the Blum company. It details the travails that Blum endured as he desperately tried to find funds to keep his company alive as the devastating Depression was soon to assault the European continent. Arguing that Blum still maintained an amicable relationship with Fokine, the chapter ends with new developments: the sale of Blum’s company to wealthy Americans, Serge Denham and Jules Fleischmann, and the passing back of the lead choreographer’s baton from Fokine to Leonide Massine.

On May 1, Reprise Records issues the Jimi Hendrix Experience’s debut single in the U.S. During a series of interviews, Jimi addresses the racism he experienced during the Walker Brothers tour and the egregious minstrel-derived images conservative British journalists apply to him. Jet magazine, America’s “Weekly Negro News Magazine,” begins covering Jimi’s success abroad. In studio sessions, the Experience record “She’s So Fine,” “Taking Care of Business,” “Look Over Yonder,” “If 6 Was 9,” and portions of “Burning of the Midnight Lamp.” At the Saville, the band plays a triumphant set to a star-studded audience. Mid-month, Track Records releases Are You Experienced, the most revolutionary album in rock history, to rave reviews. The band spends the second half of the month on a European tour that takes them to West Germany, Sweden, Denmark, and Finland. Despite the chart-climbing record releases, intensive press coverage, and ever-expanding audiences, Jimi, Mitch, and Noel can barely survive on the small stipend they’re being paid, which leads them to a showdown with management at month’s end.

This chapter describes some of the situations encountered by Fannie Bloomfield-Zeisler during her European tour in 1893–1894, 1899, 1902, and 1912. Bloomfield-Zeisler made her Berlin debut at the Singakademie in a concert featuring Frederic Chopin's F Minor and Anton Rubinstein's D Minor piano concertos with the Berlin Philharmonic Orchestra; the performance was a success with both audience and critics. In 1902, she faced a hostile audience when making her Paris debut with the Lamoureux Orchestra. The chapter recounts Bloomfield-Zeisler's initial reluctance to play before Berlin critics, who were notorious for their harshness and their susceptibility to bribes; her interpretation of Rubinstein's piano concerto with the composer in the audience; and her controversial orchestral debut in Paris at a time when France was experiencing a time of intense musical nationalism, and Parisian audiences viewed a soloist performing with orchestra as synonymous with a shallow display of virtuosity.

This chapter describes the time when Charles Munch took over the repertoire of the musical hall of Tanglewood. It also considers his commitments to the Boston Symphony Orchestra during their European and United States tour, as well as his live performances on radio and television. During these performances, Munch was establishing his Berlioz repertoire which included the following: Fantastique, Requiem, Roméo et Juliette, Les nuits d'été, L'enfance du Christ, Harold en Italie, and La damnation de Faust. Munch went to-and-from Strasbourg, Paris, and Boston to perform his repertoire.

This chapter focuses on Henry Cowell's first tour of Europe in 1923. The European debut tour was a huge gamble. Henry, a pianist-composer from a country with no record of compositional excellence, the first American modernist to perform in Europe since Leo Ornstein nearly a decade earlier, would have to hurdle numerous obstacles, including journalists who were not prepared for his music and were extremely cynical. He was also stepping into a maelstrom in which classical music was a cult, and intense nationalism and racism were politicizing anti-modernism. The conventional European audience, armored against novelty, would proclaim him guilty until proven innocent. Henry would also have to win over the European modernists, newly conservative or not, who were likely to reject his unconventional emphasis on sound as opposed to individual pitch. The extreme Dadaists, on the other hand, might think his music too mild. During the tour, Henry developed a pleasantly symbiotic relationship with pianist Wesley Kuhnle. He held concerts in cities such as Berlin, Vienna, Leipzig, Paris, and London. Before leaving for New York, Henry made piano rolls for Ignaz Pleyel's “La Pleyela,” a novel variant of the pianola.

Fox sends Jayne on a publicity tour of the US and Europe, during which she showed her expertise in colorfully and deftly handling the press. She is presented to Queen Elizabeth, and upon her return to the US, she and Mickey announce their engagement.

Beginning with an account of two trips Frieden and his wife took in the late 1930s and covering the years of World War II and its aftermath, this portion of Frieden’s memoir has something of a stream-of-consciousness feel to it. The space Frieden devotes to World War II itself is surprisingly limited, given the significance of that event for history in general, and for the fate of world Jewry in particular. Frieden does write somewhat more, however, about the situation in Palestine and about the struggle for Israel’s independence as it developed during the forties. He was, after all, still living through the period of that struggle as he worked on completing his memoir, and the creation of the State of Israel was one of his fondest hopes.

This chapter establishes H.D.’s difficulty at Bryn Mawr, her brief engagement to Ezra Pound and her wilting affection for him, beside her stronger attraction to impoverished Frances Josepha Gregg, who lived with her mother, once an active lesbian. H.D. and Frances thought themselves “witches,” reading each other’s minds. They traveled with Gregg’s mother on a European tour. At this same time, Bryher was isolated, with only her father’s library as refuge. She met Elizabethan cross-dressers like Bellario through her imagination. After her parents had a “Scotch marriage” in 1909, just when her mother gave birth to a male heir, John Jr., she learned they had been unmarried when she was born. Bryher rejected her gender assignment. From World War I on, she kept rat poison by her side, fearful of being locked up for her nonconformity. Bryher was sent to Queenswood as a day student.

After setting out the limited range of sources available that provide information on Harrington’s life, Chapter 1 explores his family connections and early years. Detail is provided on his immediate family background and the close interaction between him and his siblings as reflected in testamentary evidence. Attention is also paid to the origins of the relationship between the Harrington family and the Stuarts, especially Charles I’s sister Princess Elizabeth, later Queen of Bohemia. The chapter traces Harrington’s early life from his birth in Northamptonshire in 1611 through to the outbreak of the Civil War in 1642. It examines, in particular, his education at Trinity College Oxford and the Middle Temple, and his European tour.