He started his own magazine shortly before going to war; it was called "Ballet-. This magazine was somewhat personalized and yet complete with pictures, artistry, etc His articles, displayed in various magazines and newspapers, "were unlike any dance criticism written up until then- (Barnes, 2002.) However, this magazine only ran for two issues due to World War II. Some earlier critics, Arnold Haskell, Cyril Beaumont, John Martin, and Walter Terry were attempting to introduce dance in a more general way. Buckle's writings were written to influence people about dance and create an overall "fad- in relation to it. Buckle, originally started in London and went to Britain and the rest of the European world. Despite numerous anti-gay readers, the magazine itself did well. Buckle later became a "powerful influence in winning European acceptance for both George Balanchine and Martha Graham- (Barnes, 2002) until his death at the age of 85. "Richard Buckle's contribution to dance criticism was significant during a period when modern ballet style was emerging" (Buckle, 2002). His work, however, still lives on along with other various gay male advocates.
Around 1966, a young male by the name of Rudolf Nureyev made what ballet was never once referred to, a man's game. Nureyev was internationally known for his outstanding talent, phenomenal jumps, and expressive nature. He was not just a dancer as he was a director, mentor, and legacy. With having danced with almost every company in Europe, he attained quite a reputation to be possibly the greatest male dancer ever. However, his temperament was quite opposite in that it was obvious his personal problems streamed from his internal conflict with his sexuality. He met his first lover, Erik Bruhn, on a tour in Denmark. Erik was also a dancer, a director for the Royal Swedish Ballet from 1967-1972 and artistic director for the National Ballet of Canada from 1983 until his death in 1986.
