{'fraction_non_alphanumeric': 0.02843216896831844, 'fraction_numerical': 0.020308692120227456, 'mean_word_length': 4.651376146788991, 'pattern_counts': {'":': 0, '<': 0, '<?xml version=': 0, '>': 0, 'https://': 0, 'lorem ipsum': 0, 'www.': 0, 'xml': 0}, 'pii_count': 0, 'substrings_counts': 0, 'word_list_counts': {'cursed_substrings.json': 0, 'profanity_word_list.json': 0, 'sexual_word_list.json': 0, 'zh_pornsignals.json': 0}}
Toscanini and the Good Neighbor Policy: The NBC Symphony Orchestra's 1940 South American Tour

NBC Symphony had only performed eleven times outside the broadcast studio 8-H in Rockefeller Center. Second, the tour is important because it was one of the first major tours of a U.S. musical group to Latin America during what has come to be called the "Good Neighbor era." Although the Good Neighbor era had begun in the early 1930s, the cultural-exchange wing became most active in the early 1940s. The 1940 tour of the NBC Symphony Orchestra coincided with the beginning of the peak years of U.S. interest in Latin America. Today, both Toscanini and the Good Neighbor era have come under attack. Arturo Toscanini (1867-1957), once thought to embody U.S. aspirations to high culture, now is viewed in very much the opposite guise. His autocratic personality, ferocious displays of temper in rehearsals, erratic tempos, and his taste in repertoire-which seemed to have stopped expanding after about World War I-are viewed with much less indulgence today than in the first half of the twentieth century. Even more troubling to today's cultural historians is the hype surrounding Toscanini, the hyperbolic claims of his divine musician-