Phoebe Apperson Hearst, called “California's greatest woman” at her death in 1919, was very rich—and very philanthropic. Despite attending school in rural Missouri only a year or so past the eighth grade, Hearst directed her most influential benefactions toward education, particularly for women. She became a prime mover in the kindergarten movement and PTA, established women's scholarships at UC Berkeley, and was UC's first female regent.

This article, drawing on Hearst's extensive archive, describes music's role in her philanthropy. She supported individual artists and ensembles, staged elaborate musicales at her various homes, funded music performing spaces, patronized renowned singers and instrumentalists, provided musical performances for college students and the general public, and encouraged the formation of an opera school.

As a female patron championing women's education, Hearst was caught between the conservative ideology of male–female “spheres” and the New Woman movement of the early twentieth century. Her wealth allowed her to transcend old models; yet she was also conditioned by them, as shown in her attitudes toward women's suffrage and “proper” female behaviors. By bolstering the traditional view of women as the culture-bearers in U.S. society, Hearst's philanthropy functioned as both retrospective reinforcement and progressive idealism.

Upon its publication in 1759, Voltaire's Candide, or The Optimist scandalized Europe. Banned for its blasphemous and politically seditious content, it became a succès de scandale and one of the most widely read books of its time. Leonard Bernstein adapted Voltaire's work for the stage in the 1950s. With its emphasis on the improbable, the artificial, and the insouciant, Candide practically begs for a camp (re)interpretation, and it is just such an analysis I offer here. After outlining camp as social critique, I turn to Cunégonde's aria “Glitter and Be Gay” and trace its path through camp's causeways in two different decades: first, in the United States of the 1950s, a period marked by McCarthy's witch-hunts, Cold War anxieties, intense homophobia, and the composer's personal struggle to accept his homosexuality, and second, in the late 1980s, when singer, songwriter, and AIDS activist Michael Callen (1955–1993) recorded his own camped-up version of “Glitter and Be Gay” for what would become his last musical project, a posthumous double album entitled Legacy (1996). By following Cunégonde's sparkling trail of glitter and gemstones through two historical moments, I demonstrate how camp functions as a tool of queer resistance across the last half of the twentieth century.

Binder's volumes are among the primary artifacts of antebellum women's musical culture, and they serve as more than records of popular genres, composers, and styles. They can be interpreted as a type of commonplace book compiled by young women between the ages of about ten and fifteen. This study examines the books of three young women from different social positions (Eliza Harwell of Williamsburg, VA; Mary Stedman of Fayetteville, NC; and Kate Berry of Nashville, TN) in order to understand the cultural values that they transmitted to them: they contain items that serve not only as pieces of music and means to achieve and demonstrate musical accomplishment, but also as visual aids to guide them in deportment, sentiment, and behavior. It also considers the personal notations made by the owners in each collection. These evince how one is to be viewed, how one is to present herself for the gratification of others, how one is to think or behave, how one moves within desired social circles. They demonstrate how one is to Perform—whether or not music occurs.

The automaker Henry Ford founded the Ford Motor Company Music Department in 1924 with the goal of reviving what he called “old-fashioned dancing and early American music.” Ford's interest in the Anglo-American social dances of his youth quickly grew from dances hosted by the Fords for company executives to a nationwide dance education program. This article traces the history of the Music Department's dance education program and examines the parallels between it and the company's earlier efforts in social engineering—namely the Ford Profit Sharing Plan (better known as the “Five Dollar Day”) and the Ford English School. The Music Department's activities offer an opportunity to explore how industry sought to shape music and dance through Americanization efforts and leisure reform as Detroit rapidly urbanized during the first decades of the twentieth century. Supporters of Ford's revival viewed the restrained musical accompaniment and dance movements as an antidote to jazz music and dances, but more importantly, music and dance served as an object lesson in the physical discipline necessary for assembly line labor. Ford's dance education campaign reveals the degree to which industry was once entwined with leisure reform in southeast Michigan.

Owing to an editorial oversight, the dates in Table 1 of the article by Mueller in the August issue of Journal of the Society for American Music are incorrectly placed.