The first European trip was in September of 1993 prior to starting work on "Die Plage" on thanksgiving of that same year.  I had no idea why I was taking the trip other than the fact my mother, who died in 1991 from cancer, had said to me—in a drug induced state, just before dying—"you are going to take a long trip."  as it turned out, she was more than right about a 'trip.' that first trip triggered something in me, a more than casual connection with things German, and with Germany.   I have come to understand that the entire process of "Die Plage" was the 'working out' of that connection. (See 'Overview' and 'Interview with John Oxendine' for details of the trips and this matter of my connection with German History in the first half of the 20th Century.) The highlight of all the trips was the same:  riding the trains, sitting in a train compartment by myself, smoking, looking out the window, letting my mind wander through time, space, and memory, not really having to consider what or what not, was real.

On that first trip I met a new friend, Marlis Braun, on a train from cologne to Amsterdam—I was, in fact, sitting in her reserved seat. We became friends on that trip.  I traveled with her on parts of the trips in 1994, '95, '97 and '98.  I am indebted to her for her patience with me, and for her help in gathering material for the work.  On my trips to Germany, apart from some normal tourist activity, most of my time was spent taking in as much as I could of what 'had been' and now was gone. The primary task on the trips was finding photo material for the work and cds of both German Period Music and jazz cds, all of which helped me to sustain a high level while working on the project in the studio. With regard to the photo material, I quickly learned where to go—which museums, bookstores, etc.—in each city to accomplish that.  Unfortunately, and oddly, I think, I never took a camera with me on any of the trips. The photos seen here, therefore, were almost all taken by Marlis, or Christina with whom I traveled during the 1999 trip.  These images shown here are the only remaining ones I have. One final trip in the spring of 2002 ended frighteningly and quickly. I made that trip for lack of anything to do after returning from Oregon; the work was by that time finished.  On a more normal level, I think I also made the trip for the simple reason that I missed being there. A former 'teacher' had warned me' not to take that the trip. Her warning had nothing to do with "Die Plage," and she gave no particular reason as to why I shouldn't go, which should have been a sign to me that I should listen to her. but I didn't heed her warning.   I am returning to Berlin in December of 2007 to visit a dear friend of long standing—Ursula Mamlok, a composer I met in New York in the 1960's who now lives in Berlin. I am, for many reasons, looking forward to being in Berlin once again; this time, however, with camera and camcorder with the hopes of shooting footage for my film work.