THE RED FLOWER PRESS: POSTS

by on

Last week, I had the opportunity to attend a significant meeting focused on the execution of a project of mine fora a musical performance, which has been approved through a public selection process. As is often the case, meetings of this nature are not typically filled with excitement. Despite the usual lack of excitement, there was a palpable sense of purpose and determination in the room, as everyone was committed to driving their projects forward and achieving tangible results.

The key to nailing any project is top-notch project management and crystal-clear communication. Making sure everyone is on the same page and totally clued in on the goals of the project is absolutely crucial. And when it comes to dealing with public funds, I cannot stress enough how important it is to be extra careful, double-checking every responsibility and sticking to the rules like glue. After all, it is our money, right?

This whole extra attention can really make us feel like we gotta be on our best behavior, you know? It is all about making sure we handle things the right way and own up to our actions, especially when we are working on projects funded by the public. I am totally onboard with that, but it would be so nice to have some help with all the other stuff! It is tough to stay focused on the music when you’ve got to juggle being your own manager, assistant, and accountant, too.

Sometimes, it is hard not to feel the levels of motivation vary, but in such moments (during boring meetings, for example) I reflect on the journey leading up to this point. I remind myself of the challenges involved in the selection process of public-funded projects, the extensive work required to create and articulate the project proposal, and the substantial weight of responsibility that comes with it.

Ok, I understand that all this theorizing is not always enough to eliminate the boredom of a meeting about the administrative and legal details of executing an artistic project. Fear not, for I haveanother, infallible exercise. I create what I call a “quiet moment’, that is, a moment of reflection in some silent place in my mind, where there is only room for one question: why am I here?

The journey of overcoming challenges is deeply rooted in my passion to create meaningful content that resonates with my audience. Each obstacle surmounted becomes a milestone, shaping me into a more capable and empathetic creator. Moving forward, my focus remains steadfast on crafting compelling and engaging content that not only entertains but also fosters genuine connections.

Every step is a testament to the dedication and perseverance it takes to navigate through the intricate web of artistic production. It takes rime to learn about project development and management, but I feel that it gets a bit easier everytime, which means I am learning the ropes.

Each obstacle overcome represents a triumph, a step forward in the pursuit of creating something impactful and meaningful to the audience, a true wish for becoming a better performer. Every challenge I overcome shows how determined and resilient I am to make a real impact. It is all about making progress and moving forward in my mission to create content that truly connects with my audience.

Quiet moments (even if they happen in a crowdy room) of inner contemplation and self-reflection the source where I find the strength to carry on. As I sit in these meetings, surrounded by paperwork and discussions, I am reminded of the bigger picture, the greater purpose behind the meticulous planning and effort, and it ignites a renewed sense of determination to see it through to fruition.

Boring meetings do not seem so bad when I think about all the challenges faced and overcome in order to get here. Actually, these tedious moments are actually the type of problems I always want to deal with.

Be seeing you!

G.F.

by on

What is your favourite superhero power? Which one would you like to have yourself? Are you sure you could live with it? Let me tell you something: Despite being exciting and awe-inspiring in fiction, superpowers might be incredibly challenging to manage in everyday life. And I really should know, because I have a superpower myself, true story.

Oh, I never told you about it? Well, I do. I have super senses. Well, at least some. Definitely the hearing. So, when the doctor asked for an audiometry to try to find the reason for my increasingly frequent sinusitis, I thought: “Okay, but I am sure it will not help us in this case”.

Obediently, I strolled in for my audiometry test. And guess what? The verdict: even better than last time! The doc was all impressed, but before you accuse me of bragging, let me assure you, having super hearing does not make my life easier and neither make me immune to pesky sinusitis attacks! Oh, the little ironies of life!

Having heightened hearing abilities can be both a blessing and a curse. In fact, they may introduce their own set of unique struggles: while it is fascinating to pick up on even the faintest of sounds, it also means being constantly bombarded with the cacophony of everyday life. The hum of electricity, the rustle of leaves, the distant chatter of people – they all merge into an overwhelming symphony that never seems to fade.

Ah, the delightful paradox of possessing extraordinary abilities while being surrounded by ordinary adversities! In my case, the greatest obstacle happens to be my cacophonous, off-key neighbors. I cannot help but ponder whether this is an unavoidable prerequisite for renting a space in this building. I mean, what are the chances of every single neighbor lacking the ability to hit a single note? It is a true symphony of disharmony indeed!

I am quite aware of the fact that musicians, bless their hearts, seem to have developed a bit of a reputation for being rather stubborn when it comes to the playlists of other people. They can be quite particular about what they consider “good music,” and they have a knack for unearthing tracks from the deepest, darkest corners of the musical world. I wonder if this is why I feel so personally affected the bad musical taste of my neighbors and their irritating inability to sing.

Or, perhaps, the reason comes from something else, immensely more harmful to our life in community than being out of tune: our increasing incapacicity to truly listen the inability to listen, whether to others or to oneself. In many instances, the inability to tune in and listen attentively stems from a place much more detrimental to our collective existence than the mere music taste related discordance.

The inability to truly listen, whether directed towards others or ourselves, can initiate a cascade of miscommunication, hindering the cultivation of empathy, genuine understanding, and meaningful connections. This inability to listen attentively often goes unnoticed, yet its effects can be profound. In a world where everyone is eager to speak and be heard, the lost art of genuine listening has become increasingly rare.

When we fail to truly listen, we miss out on the nuances of communication, which are often more important than the words themselves. We miss the opportunity to truly understand the perspectives, emotions, and the experiences of others, usually paving the way for conflict, creating barriers between individuals and within communities.

On the other hand, the act of authentic listening can foster empathy, trust, and a deep sense of connection. It allows us to grasp the underlying emotions and intentions behind the words, leading to meaningful and fulfilling interactions. In an age where technology has made communication faster and more convenient, the value of genuine, attentive listening cannot be overstated.

In cultivating the skill of listening, we not only enhance our personal relationships but also contribute to the well-being of the larger community. Meaningful connections and a sense of belonging are crucial for the emotional and psychological health of individuals and communities alike.

It is crucial to recognize that the art of listening extends beyond the physical act of hearing; it encompasses the willingness to understand, empathize, and absorb the perspectives and experiences of those around us. When we neglect this vital skill, we risk perpetuating a cycle of discord, misinterpretation, and division. Therefore, nurturing the capacity to listen intently and empathetically is pivotal in fostering a more inlcusive, understanding society.

By making a conscious effort to listen with genuine interest and empathy, we can build bridges and earn the confidence, whether that of your neighbors or your audience. Moreover, developing the skill of active listening with true sincerity and understanding lays the foundation for meaningful connections and trust, where mutual respect and openness can thrive.

The ability to truly pay attention to what others say is a skill that can greatly enrich personal relationships. It demonstrates respect, empathy, and a willingness to understand and connect with others on a deeper level. This quality is not only important in personal relationships, though. It also plays a crucial role in the relationship between an artist and their audience.

For an artist, being able to connect with their audience is a sine qua non quality, an essential element that can make or break their success. When an artist is able to engage with their audience in a way that resonates with both parties, it creates a powerful and meaningful connection that elevates the performance and the experience of the audience.

The act of truly listening – to your inner voice, to the stories and emotions that surround you, to the experiences of others – can profoundly enrich your creative expression and it is a powerful tool for every artist. Deep listening allows you to absorb the nuances and complexities of the world, infusing your art with authenticity and depth.

Genuinely responding to your artistic endeavors means staying true to your vision and expressing it in a way that resonates with your audience. it can be a transformative factor in both your personal relationships and your artistic journey.

Be seeing you!

G.F.

by on

Waiting rooms used to be true oases for reading. Arranged on coffee tables or piled on baskets in the corner of the room, it was always possible to find some type of reading offered to the patient. The choice was vast: from old magazines, information leaflets and even, in some cases, comic books. I have used all of these items at some point of my life, but my favorite way to wait for my turn at a doctor or dentist appointment has always been to use a book brought from home.

At the moment, I am reading the fourth volume of In Search of Lost Time, by Marcel Proust in a big, heavy edition and every time I leave the house I think about whether or not it is really worth carrying it in my bag. That day I had an appointment with a doctor who usually has a full office, so I thought it would be worth carrying the extra weight to catch up on my reading. It did not take long for me to realize I was wrong

Firstly, I reached into my bag to pick up the heavy volume. The weight of it was somehow comforting – a physical reminder of the vast, intricate world that awaited me within its pages, but I soon realized that the serene reading experience I craved could no longer be replicated and the reason was quite simple:smartphones. They turned reading in the waiting room into a journey of its own, amidst people frantically sending and receiving text messages (without bothering to turn off the sound of the keys first) and audio messages. Headphones? Of course not! Afteral, why bother?

The naturalization of the lack of education represented by the neurotic way in which people interact with their smartphones seems to me to be a gigantic loss of civilization and this is also reflected in the way common spaces (such as office waiting rooms) are divided. It often feels as though individuals are making a concerted effort to ignore one another, further emphasizing the disconnection and alienation that permeate modern social interactions.

In the fast-paced and technologically driven world we live in, it is becoming increasingly common to observe individuals engrossed in their own digital worlds, often at the expense of meaningful face-to-face interactions. The pervasiveness of technology in our daily lives has undoubtedly revolutionized the way we communicate and connect, yet it has also led to a noticeable shift in how we interact with one another.

The allure of constant connectivity through social media, messaging apps, and digital entertainment has created a paradoxical situation where we are simultaneously more connected and yet more disconnected than ever before. This begs the question: How can we bridge the gap between the virtual and the real, fostering genuine human connections while navigating the influence of technology on our shared spaces?

The overuse of technology in everyday life has indeed sparked a debate that often draws parallels to nostalgia, portrayed as an idyllic yearning for an “analogous paradise” of the past. While it is undeniable that technology has brought about numerous positive impacts, it is equally undeniable that it has led to the loss of certain elements, including the decline of small reading retreats.

This shift in our lifestyles has prompted reflections on the trade-offs involved in our increasing reliance on technology and the potential consequences for facets of life that were once cherished, such as quality, silent time.

By disregarding the importance of silence in our lives, we avoid experiencing moments of introspection, which are fundamental to the human psyche. For those who work with the arts, the loss is even greater, as every creation goes through a moment of introspective observation and needs silence to flourish.

Silence provides a sanctuary for the mind to wander freely, making room for creative thoughts to germinate and grow. It is within the tranquil embrace of silence that artists find the inspiration to breathe life into their creations, crafting symphonies, paintings, and prose with unparalleled depth and emotion.

In the absence of silence, the frantic noise of the world drowns out the delicate whispers of creativity, stifling its evolution and robbing it of its true potential. Therefore, embracing silence is not merely a choice, but a necessity for those who seek to nurture the boundless expanse of their artistic expression.

For the human spirit, silence serves as a haven amidst the bustling cacophony of life, offering a moment of respite, reflection, and restoration. It is in these silent interludes that we decipher the intricate complexities of our existence, finding solace in the tranquil whispers of our innermost thoughts.

In essence, silence is not the absence of sound, but rather the presence of infinite possibilities waiting to be explored and unraveled. It is the canvas upon which the human soul paints its most profound revelations and unveils the truth that lies at the core of our being, paving the way for self-discovery. An experience that no app can provide.

Be seeing you!

G.F.

by on

Francisco de Morais Alves, better known as Francisco Alves, Chico Alves or Chico Viola (Rio de Janeiro, August 19, 1898 — Pindamonhangaba, September 27, 1952) is considered one of the greatest, most popular and versatile Brazilian singers. Nicknamed “King of the Voice” by radio host César Ladeira, Alves is a decisive figure in the construction of several popular genres of Brazilian music in the first half of the 20th century.

In addition to his vocal competence and appeal to the public, Francisco Alves also had a reputation for having a good eye for discovering songs that would be new hits. In this sense, he was considered infallible by his colleagues. However, the “infallible” man made a mistake, at least once, when choosing his repertoire and, ironically, he failed to choose for himself a theme that is usually present in lists of the most beautiful sambas of all time.

“Agora É Cinza” (“Only Ashes Now’, in a free translation), was first offered by the composer duo Bide and Marçal to the singer Mário Reis, along with another composition by the duo, the samba “Vivo Sonhando”. Mário wanted to do a kindness to his colleague, of whom he was a deep admirer. Well, the “infallible” Francisco Alves chose “Vivo Sonhando” and Mário Reis recorded the remaining song, “Agora é Cinza”, with an arrangement by the great master Pixinguinha, which became a classic, while Alves’ recording did not achieve much success and is rarely remembered by his fans.

It is quite intriguing to delve into the decisions and circumstances that can lead even a celebrated figure like Francisco Alves to miss out on what later became an iconic samba. The complex interplay of personal relationships, artistic choices, and timing in the world of music often yields unexpected outcomes.

This anecdote serves as a poignant reminder of the unpredictable nature of the music industry and the countless variables that can shape the fate of a particular recording. It highlights how even the most skilled and discerning individuals may encounter moments where their judgment falters.

The tale also underscores the intricate interplay of talent, timing, and luck in the world of music, where success and obscurity can hinge on a myriad of factors. The inherent unpredictability and complexity of the music landscape, may turn even the most promising endeavors into unexpected hurdles, while seemingly overlooked creations may rise to acclaim.

Feelings of frustration and disappointment when things do not go as planned are common to all of us. It is especially tough when we invest a lot of time and effort into something and do not see the desired results. It can feel like a wasted opportunity, and we fear that the dreams and ideas that we had may not come to fruition.

It is also easy to fall into the trap of believing that we are the only ones making mistakes, that “others” are always successful. However, it is important to remind ourselves that even the most skilled individuals experience setbacks. This perspective can provide a sense of solace and motivation to keep going, knowing that it’s all part of the journey to success.

It is natural for us to face obstacles and make mistakes along the way. Just like even the most proficient archers miss the target, from time to time.

Be seeing you!

G. F.

by on

This is the tenth and final segment of a series of articles on the relationship between jazz and comic books. Go to Part 1 , Part 2, Part 3, Part 4, Part 5, Part 6, Part 7, Part 8 or Part 9

In this segment we focus on the intersection of jazz with rhythms that are the basis for the construction of what is understand as Brazilian “popular music”. We will also talk about the frst Brazilian caricaturist Nair de Teffé.

‘Choro’ ou ‘Chorinho’ is a musical genre that is at the genesis of what would become Brazilian popular music. It means ‘little lament’, and encompasses an extensive repertoire of musical styles and compositions, showcasing a diversity of rhythms and melodies. It traditionally features a small ensemble of musicians, including a cavaquinho (a small string instrument), guitar, flute, and pandeiro (tambourine).

While it shares some similarities with the Argentine Tango in terms of emotional depth and virtuosity, Chorinho maintains its distinct characteristics, reflecting the fusion of African and European musical influences, as it happens in jazzz (remember the jazz tree?). The syncopated rhythms and soulful melodies resonated with audiences,an at the end of the 19th century, choro livened up the popular parties, the forrobodós, celebrated by Chiquinha Gonzaga, in Rio de Janeiro.

Chiquinha Gonzaga, born as Francisca Edwiges Neves Gonzaga, was a Brazilian composer, pianist, and conductor. She played a crucial role in the development of Choro music, and

She was also known for her efforts in promoting and legitimizing Brazilian popular music and in the fight for copyright, after suffering from seeing her songs inappropriately appropriated, without having the support of the law to be able to protect her. 1917 Chiquinha Gonzaga founded the Brazilian Society of Theatrical Authors (Sbat, by its acronym in Portuguese), a pioneering entity in the defense of the copyright of theater writers and musical composers in the country.

And what did the first choro musicians play? Polkas, lundus, mazurkas, habaneras (a Cuban genre also called ‘tango-habanera’) and maxixes.

The term “maxixe” has a double meaning, as it refers not only to a popular urban dance style, but also to the music that accompanies this dance, considered immoral by high society at the time.

Because of this discrimination, some composers of the period avoided calling their works maxixe, using other names to classify them. For example, the term ‘Brazilian tango’, was preferred by pianist and composer Ernesto Nazareth to describe his songs. It served both to hide the unwanted kinship with maxixe and to highlight the particularity of his compositions.

This strategic choice not only reflected the desire of Nazareth to distance himself from the maxixe genre, but also emphasized the unique qualities of his musical creations. By associating his music with the tango, Nazareth positioned it within a broader, internationally recognized genre, potentially expanding its appeal and reaching a wider audience.

Maxixe and jazz share several similarities despite their different cultural origins and contexts. Both musical genres emerged from a fusion of various influences and styles, blending traditional elements with innovative improvisation. They are both characterized by syncopation, the offbeat notes, which add a lively and dynamic feel to the music, but the connection between maxixe and jazz runs deeper than just their musical similarities. Both genres have served as outlets for cultural expression and societal change.

Maxixe, a popular dance that gained popularity in the late 19th and early 20th centuries, provided a platform for social interaction and the expression of Brazilian identity. Similarly, jazz, with its roots in African American communities, became a means of voicing the struggles and triumphs of a marginalized group.

A historical event highlights the prejudice faced by popular cultural productions. The episode, known as “A Noite da Corta Jaca” (“The Night of Corta Jaca”), had an unavoidable protagonist: the former first lady Nair de Teffé, who made history by scandalizing parts of the country by performing on the guitar ( an instrument associated with the popular classes and stigmatized as a symbol of vagrancy and marginality) a popular composition.

Born on June 10, 1886 in Petrópolis, Rio de Janeiro, Nair de Teffé von Hoonholtz was an extraordinary talented lady, fluent in six languages. A true Renaissance woman, she was a painter, musician, actress, and a writer.

She was a representative of the aristocracy, and received a humanist education from her father, Baron de Teffé, which gave her the veneer of classical studies. She had a great interest in theater and music, as well as painting and frequented the most elegant circles of the belle époque in Rio de Janeiro.

On October 26th, 1914 she organized a gala party at the government headquarters. The musical selection of such events until then included only classical music pieces. but Nair boldly performed in the guitar the maxixe “Gaúcho (O Corta-jaca)” by Chiquinha Gonzaga.

Despite the applause of those present at the soirée, the performance of the Corta-jaca aroused the ire of the renowned Rui Barbosa, widely considered one of the most eminent jurists in Brazilian history. Barbosa wrote an extensive article severely condemning the performance of popular music at gala events and disqualifying the “popular” music (understood as poor and black) produced in the country at the time.

The extensive critique of Barbosa reflects the complex social dynamics and cultural clashes that permeated the emerging Brazilian society. As a prominent figure in both politics and law, his views carried substantial weight and influence, shaping public opinion.

His stark condemnation of popular music (and, even more scandalous, performed by a woman, who happened to be Fisrt Lady of the country at the time!) is a robust example of deep-seated prejudices, gender and class distinctions prevalent in the Brazilian society. It also shows the challenges faced by marginalized communities in gaining recognition and respect for their artistic expressions.

The criticism did not shake Nair, who was used to controversy. Her talents and accomplishments they were far from being hindered by the Night of Corta-jaca.

A good example of her legacy is her work as a cartoonist. Under the pen-name “Rian”, Nair is also the first female caricaturist in Brazil and possibly one of the pioneers in the field in the world.

The pen-name “Rian” not only obscured her identity, but also masqueraded as a male name, strategically allowing her work to transcend the institutionalized sexism prevalent at the time. It is also ineresting to notice that at the age of 24, Nair de Teffé was already a renowned caricaturist, but she kept her pen-name even after her authorship was revealed.

With the inspiring figure of Nair de Teffé who, in a way, represents the bridge between popular music and the visual arts, we close our series of articles on the intersections between jazz and comic art.

Be seeing you!

G.F.

p.s. This is our 150th blog post. Hurray! Thank you very much for your company!