[3] She was a cultural icon having relationships with two presidents, and a broad range of Mexico's most prominent artists including Diego Rivera, Frida Kahlo, Guadalupe Marín, Tina Modotti, Elena Poniatowska,[4] Anita Brenner and others.

[2] She stayed four years and learned to sing and play the guitar,[4] but after organizing the other novices to run away and trying to set fire to one of the saints, Concha was expelled.

[2] Orphaned young, Michel's sister, Albina, who was 15 years older, was the primary person raising Concha, when she accepted a stipend to study opera at the Guadalajara conservatory.

Dates of events during this period, according to Jocelyn Olcott are difficult to pinpoint, but Concha had a daughter before her 15th birthday; lived briefly in New York; returned to Mexico; married, had a son, and divorced.

[6] Her goal of going to Russia was to study the conditions of women in a socialist country and while there, she met Alexandra Kollontai, Nadezhda Krupskaya, and Clara Zetkin and saw her friend Tina Modotti.

While unsuccessful, it gained her support of policymakers and Calles's successor, Lázaro Cárdenas sent her a reply that he would grant her another hacienda for founding a training center.

[10] Michel provided the vocal accompaniment to the visual records[11] left by the Mexican mural movement[10] photography of Tina Modotti,[12] Aurora Reyes, Frida Kahlo and others.

[13] The themes running throughout the art in this period exalt socialism and communism, workers, and allusions to indigenous culture like bandoliers, flags, guitars, hands, machetes, peasants and opposing classism.

[11] Michel traveled throughout Mexico with President Cardenas[3] attending rallies and mass organizational meetings,[15] using her music to agitate for her political ideals and tell the stories of the revolution.

[8][2] In the 1980s, Concha, along with eight other women, including Aurora Reyes, Natalia Moguel and Antonieta Rascón, signed a document they called La Dualidad (The Duality).