THE RED FLOWER PRESS: POSTS

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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.

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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 became Brazilian “popular music”. We will also talk about the first 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!

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This is the ninth part 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 or Part 8

In this segment we will focus on two works, which illustrate the intrinsic relationship between comic books and jazz. The first one is the groundbreaking album The Epic (2015), by Kamasi Washington, jazz saxophonist, composer, and bandleader. He gained widespread acclaim for his contributions to the album To Pimp a Butterfly by Kendrick Lamar (2015).

The Epic solidified the reputation of Washington as a leading figure in contemporary jaz, known for revitalizing the interest in jazz among younger audiences with his ambitious, expansive compositions. The vinyl edition of the album is truly a captivating experience, designed to immerse the listener in an adventure that unfolds across multiple discs.

Each of the LPs represent a new chapter in the musical journey, accompanied by striking black and white photography that beautifully captures the essence of the Afrocentric free jazz aesthetic embodied by influential labels such as Tribe, Strata, and Black Jazz. This approach not only elevates the auditory experience but also adds a visual dimension to the storytelling woven into the music.

The Epic box set also included an graphic novel-inspired collection of images, exploring the conceptual narrative that underpins the compositions, offering enthusiasts a deeper understanding of the creative vision behind the album.

And The Epic continues to resonate. In recent years, Washington has been working on a graphic novel: “I had a dream [with] a story that encompassed all the songs [on The Epic], which really led me to have the conviction that I was really going to put it out. So I’m creating a graphic novel for that.”

The second graphic novel we would like to highlight is Instrumental (2017), by Dave Chisholm, a tale about the transformative power of music, weaving together themes of passion, struggle, and artistic expression.

The graphic novel “Instrumental” by Dave Chisholm offers a compelling journey into the emotional and creative depths of its characters. Chisholm, recognized as an acclaimed jazz musician, skillfully shines a spotlight on the intricate and profound experiences encountered by the characters within the narrative. Described as a high-spirited, suspenseful, formally inventive, and visually musical masterpiece, “Instrumental” delivers an epic yet intimate exploration of our relentless longing and search for what lies ahead.

The graphic novel intricately weaves together elements of music, storytelling, and artistry to create a truly immersive and captivating reading experience. It includes a download of an original jazz soundtrack, composed and performed by the author Dave Chisholm. As readers delve into the pages of this remarkable work, they are treated to a fusion of visual art and musical composition that enhances and enriches the narrative, resulting in a multidimensional journey.

The inclusion of the original jazz soundtrack not only adds an auditory layer to the reading experience but also serves as a testament of the multifaceted talent of Chisholm. As with the work of Washington, the innovative approach underscores the interconnectedness of commic ast and jazz, offering a one-of-a-kind opportunity to engage with narratives that transcends traditional boundaries.

Both works invite the readers/listeners to experience the power of storytelling through a harmonious convergence of music and visual art.

Be seeing you!

G.F

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This is the eigth part 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 or Part 7.

The present segment of this series of articles on Comics and Jazz proposes a comparative reflection on how comics and jazz went from being marginalized forms of expression to becoming items of interest to collectors.

The changing of jazz from its humble origins to a cultural phenomenon associated with sophistication and elegance is a testament to the complex dynamics of cultural appropriation and reinterpretation. In the early 20th century, jazz was gaining popularity and recognition as a distinct musical genre.

Originating in the African-American communities of New Orleans, jazz drew upon diverse musical influences, including African rhythms, blues, and ragtime. Its infectious rhythms and improvisational nature quickly captured the hearts of music enthusiasts around the world, propelling it into the mainstream.

Jazz became synonymous with freedom of expression and individuality, reflecting the cultural and social changes of the time. The lively syncopated rhythms and soulful melodies not only entertained but also challenged traditional musical conventions, paving the way for experimentation and innovation in the arts.

As jazz diversified, it gave birth to various subgenres, from swing and bebop to fusion and Latin jazz, demonstrating its versatility and adaptability across different cultural and geographical contexts. Its cultural significance also grew, attracting the attention of music enthusiasts. Over time, the historical value and artistic merit of jazz recordings, memorabilia and artifacts continue to captivate aficionados.

The trajectory of jazz bears a striking resemblance to the journey of the comic art, often referred to as the Ninth Art. In their early days, comic books faced significant challenges in being taken seriously as a form of artistic and literary expression. They were often dismissed as mere entertainment for children and adolescents, lacking the depth and complexity attributed to traditional forms of literature and art.

A notorious case of persecution of comics was that of the so-called Comics Code, a pivotal moment in the history of comic book censorship and regulation.

The Comics Code Authority (CCA) was established in 1954 as a direct response to the growing unease surrounding the content portrayed in comic books during that time. A series of Senate hearings and the release of the book, “Seduction of the Innocent” by psychiatrist Fredric Wertham sparked a moral panic and heightened concerns about the potential negative impact of comic books on readers, particularly the youth.

These events culminated in the implementation of the Comics Code Authority, which aimed to regulate and censor the content of comic books to ensure compliance with specified standards. This self-regulatory body was created by the Comics Magazine Association of America and aimed to give guidance to publishers about the content of comic books.

The CCA established a set of stringent guidelines that prohibited the portrayal of graphic violence, gore, and overtly sexual content in comic books. Publishers were required to submit their work to the CCA for approval, and only those publications that adhered to the guidelines were allowed to display the CCA “seal of approval” on their covers.

Many retailers would only stock comic books that bore the CCA seal. This meant that publishers had to comply with their regulations in order to have their products reach a wide audience. However, over time, the CCA faced criticism for being overly restrictive and stifling creativity in the comic book industry. This led to a decline and by the early 2000s, most major publishers had abandoned the CCA seal in favor of their own rating systems or no ratings at all, as the perception of comic books began to shift.

A key factor that contributed to the recognition of comic books as a legitimate art form was the emergence of critical and academic discourse that analyzed and celebrated the medium. Scholars and cultural critics delved into the thematic, aesthetic, and sociocultural dimensions of the comic art, exploring their ability to address complex issues, convey poignant narratives, and provide profound social commentary.

Furthermore, universities and educational institutions began incorporating comic studies into their curricula, offering courses that examined the history, theory, and cultural significance of this unique form of visual storytelling. This shift not only validated the artistic and literary merits of comic books but also fostered a new generation of creators and scholars.

The shift of comic books and jazz from marginalized forms of expression into products that are symbols of consumption and status unfolds as a complex interplay of cultural influences and the ever-evolving dynamics of the cultural industry. It also provides valuable insights into the changing aspects of status symbols and how the value of a product is the result of a social construction. Furthermore, it prompts critical examinations of the forces at play in the commodification of art in contemporary society.

Be seeing you!

G. F.

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This is the seventh part 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 or Part 6.

The parallel between comics and jazz in their embrace of cultural plurality highlights the significance of artistic expression in challenging societal norms and fostering greater understanding and appreciation for diverse cultural perspectives. From the iconic artwork on jazz album covers to posters promoting live performances, the visual representations of the jazz culture created a compelling visual narrative that parallels the sonic experience.

The premise of this series of articles is that a large part of the aesthetics of jazz comes from the Graphic Arts, while the Ninth Art finds a source of inspiration in the genre. Both mediums have the capacity to empower and amplify voices that are often underrepresented, and both are privileged fields for observing gender issues, which is the main point of the present segment.

When it comes to comic books, the portrayal of gender roles and stereotypes has been a subject of debate. From the early days of the comic book industry, female characters were often relegated to stereotypical roles such as “damsels in distress” or sidekicks to their male counterparts.

Although in recent years there has been a noticeable shift towards creating more diverse and empowering female characters, challenging traditional gender norms within the genre, there is still a lot of room development in this area.

Similarly, in the realm of jazz, there has been a long history of male dominance, with female musicians often facing discrimination and gender-based barriers in pursuing their careers. Despite these challenges, there have been many influential female jazz musicians who have made a lasting impact on the genre, breaking through the traditional gender norms and paving the way for future generations of women in jazz.

While achievements in the field of women’s rights gain visibility outside the limits of representation (to use an expression from the French philosopher Michel Foucault), female protagonism still encounters a certain barrier in transposition into the language of comic books. Biographical graphic novels are a good example of how representation can both promote advances, but also hinder them.

When examining the portrayal of male and female characters in graphic novels, it becomes evident that these depictions often intertwine with and reflect the pervasive elements of the sexist social structure within which we exist. Particularly noteworthy is the prevalence of extremely eroticized bodies among the heroines in the superhero comics niche.

This trend not only perpetuates unrealistic and hypersexualized standards of beauty, but also perpetuates gender stereotypes and reinforces the objectification of female characters within the medium. These portrayals can serve to underscore the need for a more progressive and inclusive approach to character representation within graphic novels, one that embraces diversity, rejects traditional gender norms, and strives for more authentic and multidimensional characterizations.

It is also often observed that representations tend to focus more on personal scandals rather than on the professional achievements of these remarkable women. This imbalance can lead to a skewed perception of their contributions to the world of jazz and their impact on the broader cultural landscape. Furthermore, such stereotypes have detrimental effects on the visibility and appreciation of women in music in general and particularly in jazz, and their importance to the history of the genre, overlooking and or undervaluating it.

A good example of how the practice of victimization of the protagonist in graphic biographies of jazz icons constitutes a widespread and naturalized visual grammar is the comparison of the covers of the biographies of jazz legends Billie Holiday and Charles Mingus, both published by NBM – Graphic Novels.

The portrayal of the universe of Billie and Mingus, presents striking divergences in terms of the elements chosen to convey its essence. While certain aspects converge, such as the pervasive atmosphere infused with the smoke of cigarettes and cigars, the semiotic representations greatly differ in both covers.

The female figure is depicted in a state of desolation, completely devoid of any reference to her instrument, the voice, and reduced to a dramatic figure. In stark contrast, Mingus is rendered majestically, symbolizing power and authority in his musical prowess (and the reference to his instrument is there, too)

These observations are intended to remind us that comic books, like jazz, provide a lens through which we can examine and question the attitudes of society towards gender issues and, therefore, serve as important platforms for advocating gender equality and challenge preconceived notions about gender roles.

Be seeing you!

G.F.