Alcool de Menthe Américaine

Alcool de Menthe Américaine‘ by Henri Kling, published by Oertel (Hannover, s.d.)

Our story starts with a cover for a commercial song to promote an ‘American’ mint alcohol. Well, not very American as you will learn from the little fait divers we are about to tell.

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No one should be fearful of tropical fevers when in possession of l’Alcool de Menthe Américaine.

But first this. Mint alcohol is a solution of essential mint oil diluted in alcohol. Not the best of recipes if you ask me, but hey someone even invented menthol cigarettes.
According to a publicity from 1884 the menthe américaine could  treat cholera. It was also a mixture of the highest quality to stop epidemics, and a remedy for dyspepsia, stomach cramps, head aches, nausea, colonial fevers or in the event of one or other epidemic. Mmm, haven’t we seen similar effects for an alcoholic beverage before?

From ‘Feuille d’avis de Neuchatel’, August 14, 1884.

This advertisement tells us that the medicinal drink was an American creation by R. Hayrwardt & Cie from Burlington in the United States, and exclusively imported by Jules Lecoultre, who owned a drug store in Genève. Now this Burlington-origin was a clever find because there are over a thirty places called Burlington in the US. Hard thus to verify the credentials of the merchandise…

In 1893 the company of Jules Lecoultre (by then Bonnet et Cie) had to appear before the court. Its biggest rival Ricqlès, who was selling L’Alcool de Menthe de Ricqlès, accused Lecoultre of fraudulently inventing the American house ‘R. Hayrwardt & Cie’. And indeed, after having searched the whole USA no such firm was found. Nonetheless the court ruled that —although being unfair— it didn’t matter that the advertisement was not entirely truthful because this fabrication did not actually harm Ricqlès.

Judgment of May 20, 1893 in the case of Ricqlès against Bonnet & C°.

So the court was lenient: a little white lie about the origins of your product couldn’t harm anybody. However, when it came to winning medals, now that was an altogether other matter: only the strictest rules could be applied, as we’ll see next.

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At one point Jules Lecoultre and his then associate Bonnet raised billboards all over Geneva, showing off all their medals and certificates. But they shrewdly omitted to mention for which competition Alcool de Menthe Américaine had been admitted ‘hors concours’. Ricqlès also brought this to court and claimed that Lecoultre & Bonnet mislead the public in letting it believe that they had participated at the Parisian World fair, while in fact they had only received a silver medal. Their hors concours participation was at a much lower graded fair in Genève. The court ruled that this was indeed an act of unfair competition to falsely promote the superiority of a product. As a consequence, Bonnet & Cie had to adapt all of their billboards!

Medals were clearly very important in these days.

mentheThe polka Alcool de Menthe Américaine was composed by Henri Kling (1842 – 1918), a French-German horn virtuoso and  professor at the Conservatoire in Geneva. He was also a prolific composer but with a penchant for the lighter music.

His peculiar Kitchen Concert for piano, snare drum, funnel, forks, glasses, shovel, egg beaters, wooden spoons and other kitchen utensils was probably written as (a Christmas) entertainment for  children.

Let the kid in you enjoy Henri Kling’s culinary rhythms. Fascinating!

The Spanish Cuplé: from rogue to bourgeois

 

Fumando Espero‘ by Tragan, Viladomat & Felix Garzo, published by Ildefonso Alier (Madrid, s.d.)

At the beginning of the 20th century a lot of popular music genres were created, all over the world. Spain saw the birth of a characteristic genre, influenced by French cabaret songs: the cuplé, coming from the French word couplet.

El baile y el amor – Couplets‘ by Clifton Worsley and Margarit, published by Manuel Villar (Valencia, 1917) and illustrated by Pouo.

Augusta Berges is said to have started this genre: with La Pulga (The Flea), in 1893 in Madrid. While singing, Augusta was looking for fleas in her clothes as an excuse for a bit of demure stripping. It was a huge success. Other singers followed suit with their own versions, frantically searching a flea, an ant or a spider under their frock, to the lascivious excitement of the whole male audience. Sara Montiel, a Spanish actress who achieved Hollywood-stardom, re-enacts such a Pulga song in the sixties film ‘La reina del Chantecler’. Chantecler being a Madrilenean theatre before the first World War.

La Pulga was the starting point for a profusion of more or less erotically explicit songs with simple, short and repetitive lyrics. But always with a lot of gesture. The performers, almost exclusively women and transvestites, told a story in three or four minutes with a large dose of theatricality and a load of double entendre and erotic allusions. An ample and voluptuous body was sometimes a better key to success than a good singing voice. Showing their ankles and clad in tulles that left little to the imagination, the cupletistas became sexual objects in seedy variety theatres.

‘Sicaliptico’, Spanish erotic magazine (1904)

The cuplé was part of the sicalipsis, a Spanish neologism of unclear origin to designate the trend of erotic manifestations in literature and the press, as well as in the visual arts, and in variety shows. Being part of this sicalipsis certainly added to the popularity of the cuplé, at least in its beginning.

Postcards of Cupletistas to promote their career.

The profession of cupletista was popular among women, many of them illiterate, trying to escape poverty. It was also frequently a stepping stone to the world of prostitution. A trigger to that was that the cupletista had to perform in ever smaller and cheaper salones, bringing the woman teasingly close to the male public.

While at first the cuplé was a frivolous, provocative and even erotic song with a lot of humour and spice, from 1910 on it became more ‘decent’ and sentimental. It became even considered as a higher quality art form. The cuplé reached a larger middle class public with an increasingly female audience. It became more of a sentimental love song. The singers abandoned their playful outfits and tended to dress in black and to wear a Mantilla.

La Goya (Aurora Jauffret)

The first one to bring this new kind of cuplé was La Goya (Aurora Jauffret, 1891-1950). She performed in well reputed theatres and changed her dress with each song to match the lyrics, taking care of the theatrical part of her performance.

‘Por tus caricias’ by E. Burrull & Pedro Puche, published by Ildefonso Alier (Madrid, sd) and illustrated by Pol, with a picture insert of La Goya.

In the Twenties, the cuplé had become a sentimental song mentioning contemporary social, cultural or political issues. Gone was the flea and the spider, no more bawdy undertones. The most famous cupletista was Raquel Meller, an international star who launched world hits like La Violetera and El relicario, both written by José Padilla Sánchez.

Left: ‘La Violetera’ by José Padilla & Eduardo Montesinos; Right: ‘El Relicario’ by José Padillia. Both published by Salabert (Paris, 1918) and illustrated by Roger de Valerio.

The cuplé was forbidden during Franco’s reign until it resurged in a nostalgic way, with the boom of Sara Montiel in the cinema. In the film El ultimo cuple, she plays the role of a cupletista struggling with her rise to fame and her subsequent downfall. Let’s listen to Sara Montiel —in real life a passionate cigar smoker— singing Fumando espero. This tantalizing cuplé by Joan Viladomat is the song we started with.
Now, enjoy Montiel reclining on her chaise longue, just like the lady on the sheet music cover.

Fumar es un placer
genial, sensual.
Fumando espero
al hombre a quien yo quiero

Smoking is a wonderful,
sensuous pleasure.
Smoking, I wait
for the man I love
behind the glasses
of gaily-colored windows.
And as I smoke,
my life does not burn away
because, on the drifting smoke
I tend to get sleepy…
Lying on the chaise-longue
smoking and loving…