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The Style Council was one of my favorite groups back on my teen years. Some of its songs still fit me really well on my mid years. I wold even dare to say only now I really get the point.

There were some verses I particularly liked to repeat (eyes shut to enjoy the moment):

I am only sad in a natural way

and I enjoy, sometimes, feeling this way…

Sad in a natural way in a great pitch, but what does it mean? It is funny, but so many years after listening it, I finally felt them. The melancholic joy of a natural sadness is something hard to explain, but I knew I was experiencing it when I finally hit the “send” button.

I was a hard to finish task, suggested by a mentorship on business management for musicians I am taking, and it consisted of making a playlist of my unpublished songs, the ones which are on phase 0, roughly more than a draft, just my voice and nothing else.

What a difficult thing it was to open dusty archives and come across old recordings! It was like leafing through a photo album of older versions of myself, and I had no idea how outdated I was about myself. So many surprises! And I mean surprise on every level of the word.

Some songs were far more developed than I remembered. Others were mere fragments that worked better once connected. I had much better finished material than I remembered, and truly enjoyed what I found out when I looked closely at it. But if I was so pleased, why did I feel “sad in a natural way”?

Because in those songs of my past self were also my past stories, pains and joys. The odes to the objects of my passions, the memories of the moments lived.

If I could, how much advice would I not have given to my past self! Would I have lost the idea of many songs? Sure, but it would also have saved me many nights of sleep and many tears, as well.Would it have been worth it?

How many of those experiences could I have done without and still be the person I am today?But would it really have been better? Would I be a better me, so to speak? In other words, would I have been able to create what I create today if I hadn’t had these experiences?

I highly doubt it. Not that my current persona is the pinnacle of human development, far from it, but it is indisputably the result of the experiences I have had so far. For better or for worse.

If being stuck in the past sounds like being a prisoner of a specific period of your life, pretending the past never existed sounds like a detachment from reality. Of course, looking back on the past is never the same. As we move forward in our lives, the conflicts we have overcome tend to seem silly and we ask ourselves: “How could I have suffered so much over something so unimportant?”

But instead of invalidating my past selves, I think it is much more productive to keep the precious lessons they have to teach me, and use them whenever a new challenge presents itself: After all, yesterday’s difficulty also seemed insurmountable at some point, and yet here we are.

Have I overcome all the difficulties I encountered along the way? Of course not! Some I have overcome, others I have simply bypassed, and there is always the risk that I will still have to overcome them at the next turn. It is all part of the game.

It might sound sad, but only in a natural way.

Be seeing you!

G.F.

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You may cry for no reason at all. Or for all sorts of reasons.

Searching through your memories, you may remember a song you haven’t heard in years and feel a warm feeling in your heart when you hear it again.

You mayl remember what was happening in your life back then come to the conclusion that you are much better now, but that something was definitely lost along the way.

What is it?

You may then finally understand that you will have to go on without that answer.

You may feel as though the day is passing smoothly as the diffuse afternoon light enters the room. Perhaps the silence sounds, at first, like a buzzing in your suddenly peaceful mind, but you will get used to it, even when the dog next door starts barking again.

Maybe you will find te time to make a list of the things you have accomplished this year and are surprised at how long it is.

Maybe you will feel a sudden urge to cook something exotic and very spicy while listening to Ella and Louis and then you feel like dancing around the house and even get scared when you remember that just a few hours ago you were crying for no reason at all.

Or for all the good reasons.

Be seeing you!

G.F.

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At the end of last month I went into the studio twice to record. I have already talked about the experience of the first day here, and at the end of this text you will find the video of the second day of recording. The track is a samba and is called “Todo Domingo É Assim” (Every Sunday It Is The Same). The next step is to mix and master the material while planning the release strategy.

Recording work, like rehearsals, involves a lot of repetition and preparation, and the final product is a future prospect. The way I see it, the opposite of this situation, the moment in which you deliver the product is the moment of the live performance. And talking abou live performances, last week I had a delightful experience at a concert by the great master of the harmonica Mauricio Einhorn.

In a very inspired evening, four musicians had great fun on a small stage and entertained us even more with impeccable performances and fantastic improvisations. The fact that the band leader was about to turn 93, in top form, made the night even more memorable.

And how beautiful it is to see the affection of the audience for the musicians! But of all these exciting aspects, nothing compares to watching the musicians perform on stage. If there is a face for a blessing, for a state of ecstasy and transcendence, it is the ones of performing artists doing their thing: dancers dancing, painters during the act of painting, writers during the act of writing and so on.

When it comes to musicians performing, each performer will have their own way of experiencing the bliss: some will close their eyes, immersing themselves completely in the music, allowing the melodies to wash over them like a warm wave, while others will contort their faces in a vivid reflection of the emotions stirred within.

There are also those who seem so intensely focused, as if the only thing present at that moment were the instrument itself, and in this trance-like state, they create a connection that transcends the physical realm. Others may even mark the time with subtle movements, tapping their feet or nodding their heads, creating a rhythmic pulse that echoes through the space, and for me, it is a spectacle in itself to watch them, as each performance tells its own story, enveloping the audience in a shared dreamlike aura, which not even the forty-degree Celsius heat outside and the wobbly air conditioning can disturb.

Perhaps this is (another) good definition for art: it is what makes you greater than the adversities of life, a powerful force that transforms our struggles into something beautiful and meaningful.

When facing challenges, art acts as a refuge, allowing us to express our emotions and thoughts, fostering resilience. It is a powerful tool to turn pain into creativity and sorrow into hope, ultimately making it possible to rise above circumstances and connect with something bigger than us.

It is a beacon of light, illuminating our potential for growth and renewal.

Be seeing you!

G.F.

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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.

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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 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!