Below are Atlantic notes, from James Fallows with suggestions from many readers, about the lasting effects of the song that Brazilian listeners chose as their country’s greatest musical creation, Águas de Março, by Antonio Carlos “Tom” Jobim.
It has been unexpectedly rewarding to raise the topic of The Greatest Song Ever™, Águas de Março by Antonio Carlos Jobim. The new versions keep coming in. (For previous installments, see “The Greatest Song Ever” and “Question for the Ages.”) Here are three more worth mentioning:
David Byrne and Marisa Monte. A fan of the music writes:
I'm happy to see you writing about this amazing song, which I also happen to have been listening to all week. However, your omission of the version that introduced me to the tune, which remains my favorite rendition, makes me worried that you've never heard it! [JF note: you’re right. I had not.]
It's by (former Talking Head) David Byrne and Marisa Monte. Their version is bilingual, and includes some brilliant soaring singing from Byrne and instrumentation that only hints at the song's South American roots.
Yes, this is really something. When you hear it, the song itself couldn’t be by anyone but Jobim, but the (English half of) the singing couldn’t be by anyone by Byrne.
Luciana Souza. A straightfoward but nice English-language version, with some variations in the English translation:
Colas de Março. I was living in Japan when the video below came out, so I had not seen it until today. Wow. This is the “agony” part of this item’s headline. The tech writer and editor Harry McCracken sets up what you are about to see, if you dare:
I’ve been enjoying the series about what really is my favorite song. I first encountered it thirty years ago--long before I knew who Tom Jobim was--in [the video below}.
Coke took a piece which would later be voted the greatest Brazilian song of all time and did everything in its power to hyper-Americanize it, with all-new lyrics which are barked more than sung, plus visuals of baseball, basketball, football, Marines raising a flag, the Statue of Liberty, and pseudo-Flashdance dance moves. And, of course, Coke!
It was silly at the time, and in retrospect, the 1980s vibe is overwhelming. I'm still not sure whether Coke thought that people would recognize the tune, or whether it was attempting to co-opt an unfamiliar piece by the composer of The Girl From Ipanema. But I find it fascinating that the song is able to withstand this interpretation and retain some of its appeal.
Wow. Or maybe: USA! USA!
Still to come: Yo-yo Ma, Cassandra Wilson, John Pizzarelli, and more. Thanks to all.
Following an item this week on the world’s greatest song, or one of them, some followup discussion on the song (Águas de Março, “Waters of March”), its composer (the great Antonio Carlos “Tom” Jobim), and the rich variety of recordings available.
1) A hypnotically simple version. Somehow I associate one stage of my writing life with having this hypnotically spare guitar version, by João Gilberto, playing in the headsets. It’s the first five minutes of this clip.
2) Susannah McCorkle. I hadn’t heard her version before. It presents the song with an entirely different mood and speed and is wonderful. McCorkle had been a modern languages student at Berkeley, and she translated the lyrics into English in a more elegant and idiomatic form than Jobim’s, plus here she handles the lyrics in Portuguese well. I don’t see any video of her singing the song, but her voice is on the version I’ve found, from closing credits for Jerry Seinfeld’s movie Comedian.
Further on McCorkle, from a friend who is a genuine music expert (as opposed to an amateur “know what I like” fan like me):
Thanks for that irresistible video of Regina and Jobim singing “Waters of March.” I’d never seen it before, and you may be right in your top rankings.
But I’d say there are much livelier English-language versions than the one you show: e.g., Susannah McCorkle, Stacey Kent (though, I can’t remember now, hers might be in French), or Oleta Adams & Al Jarreau.
3) The friends and readers ask, I provide! Here is a YouTube version of Oleta Adams and Al Jarreau:
And as a bonus, here is Stacey Kent with Les Eaux de Mars, which as my reader half-suspected is en français (she is American). Even though I can understand the words here, unlike those in the original Portuguese, for me they still have that alluring cat-purr sound I noted about the original, and which I find an improvement over English-lyric versions even as elegant as McCorkle’s.
From another reader, a hypothesis I won’t take time to track down. It concerns the bewitching video of Jobim and the singer Elis Regina performing Aguas:
One fascinating story I've heard (I think it's in Sergio Cabral's biography of Jobim but I'm finding it frustratingly hard to find a link) is that Elis & Tom apparently could barely stand each other in these sessions.
In this version of the story, she'd agreed to do the album for contractual reasons, and he disagreed with the arrangements, and the producer's biggest task was keeping either one of them from walking out.
It's a striking story because it's such a contrast to the audible and, in the case of that video, visible intimacy of the recordings. And I've seen other accounts saying they all stayed at the same LA hotel, shared riotous group dinners and generally had a ball.
I'm genuinely confused and fascinated by which account is true but I almost prefer the bitter to the sweet version. If it's true it's an amazing -- almost scary -- example of what consummate professionals these two musicians were, to spin such tension into such a convincing simulacrum of affection.
OK, there are lots of great songs. But for me this one has always been in the very first tier, maybe because it became popular, as did the Beach Boys and Pet Sounds, when I was in that teen-aged acute-music-registering stage of life.
The video below is the Absolute Classic version of Águas de Março, “Waters of March,” by the song’s composer, Antonio Carlos “Tom” Jobim, and the deathless (though sadly dead, as is Jobim) Elis Regina. This is just magical:
Tell me you would not like to know these people, or be them.
I think it adds to rather than detracts from the power of this performance that the lyrics are in Portuguese, with the cat-purr-like stream of fricatives (as they sound to the non-Portuguese speaker) and repetitive rhymes, unburdened by literal meanings.
Over the years, and most recently 18 months ago, I’ve chronicled the adventures of the indie group Pomplamoose. Its members are the singer / guitarist Nataly Dawn, and the all-purpose-musician Jack Conte. If you go here, you’ll see that early-2014 report, plus links to the previous ones, including from the surprisingly vociferous tribe of Pomplamoose-haters who keep writing in.
You’ll also see three embedded videos of songs even the haters would have a hard time hating: the Pomplamoose versions of Happy, September, and Mister Sandman.
Now Nataly Dawn is back, with the drummer and singer Carlos Cabrera (who has toured with Pomplamoose), with their own version of Waters of March. The singing, like that title, is in English, and it has a completely different vibe from the Jobim/Regina classic. But worth checking out!
To round out this theme, I’ll include a link to a 2012 dispatch that attempted to link the cool of Jobim’s music to that year’s presidential race.
“James’s performance, I’m sure, is causing grief for an accountant somewhere.”
Ken Jennings rose to fame after an unprecedented run on Jeopardy 15 years ago: Over the course of 74 episodes, he won a total of roughly $2.5 million.
Recently, a contestant named James Holzhauer has been working toward Jennings’s record at an astonishing pace. After the Friday-evening broadcast of the quiz program, Holzhauer had won about $850,000 over just 12 episodes. If he keeps up that rate, he’ll reach $2.5 million in less than half the time it took Jennings to do so.
It’s much less scientific—and more prone to gratuitous procedures—than you may think.
In the early 2000s Terry Mitchell’s dentist retired. For a while, Mitchell, an electrician in his 50s, stopped seeking dental care altogether. But when one of his wisdom teeth began to ache, he started looking for someone new. An acquaintance recommended John Roger Lund, whose practice was a convenient 10-minute walk from Mitchell’s home, in San Jose, California. Lund’s practice was situated in a one-story building with clay roof tiles that housed several dental offices. The interior was a little dated, but not dingy. The waiting room was small and the decor minimal: some plants and photos, no fish. Lund was a good-looking middle-aged guy with arched eyebrows, round glasses, and graying hair that framed a youthful face. He was charming, chatty, and upbeat. At the time, Mitchell and Lund both owned Chevrolet Chevelles, and they bonded over their mutual love of classic cars.
A lot of software developers, according to an unprecedented new analysis.
Updated on April 19 at 1:28 p.m. ET.
There has never been a town like the one San Francisco is becoming, a place where a single industry composed almost entirely of rich people thoroughly dominates the local economy. Much of the money that’s been squished out of the rest of the world gets funneled by the internet pipes to this little sliver of land on the Pacific Ocean, jutting out into the glory of the bay. The city now sits atop a geyser of cash created from what the scholar Shoshana Zuboff calls “behavioral surplus”—the natural resource created from your behavior, which is to say your mind.
What the life of Richard Holbrooke tells us about the decay of Pax Americana
What’s called the American century was really just a little more than half a century, and that was the span of Richard Holbrooke’s life. It began with the Second World War and the creative burst that followed—the United Nations, the Atlantic alliance, containment, the free world—and it went through dizzying lows and highs, until it expired the day before yesterday. The thing that brings on doom to great powers—is it simple hubris, or decadence and squander, a kind of inattention, loss of faith, or just the passage of years? At some point that thing set in, and so we are talking about an age gone by. It wasn’t a golden age—there was plenty of folly and wrong—but I already miss it. The best about us was inseparable from the worst. Our feeling that we could do anything gave us the Marshall Plan and Vietnam, the peace at Dayton and the endless Afghan War. Our confidence and energy, our reach and grasp, our excess and blindness—they were not so different from Holbrooke’s. He was our man. That’s the reason to tell you this story.
Why don’t the two holidays always coincide? It is, to some degree, the moon’s fault.
Let’s get some things straight.
Passover is a springtime Jewish festival celebrating the early Israelites’ exodus from Egypt and freedom from slavery. Jews observe it by hosting a ritual dinner, called a seder, and then by abstaining from eating all leavened bread for about a week. (Some of us abstain from someother stuff, too.) Instead, we eat matzo, a thin, unleavened cracker.
Easter is a springtime Christian holiday celebrating the resurrection of Jesus Christ and freedom from sin and death. It is preceded by a series of holidays commemorating Jesus’s path to the cross. One of these holidays is Maundy Thursday, which, aside from being a great name for a holiday, is a remembrance of the Last Supper, which was a seder. In the United States, many Christians observe Easter by attending a ritual meal between breakfast and lunch, called a brunch.
More and more Americans are reporting near-constant cannabis use, as legalization forges ahead.
The proliferation of retail boutiques in California did not really bother him, Evan told me, but the billboards did. Advertisements for delivery, advertisements promoting the substance for relaxation, for fun, for health. “Shop. It’s legal.” “Hello marijuana, goodbye hangover.” “It’s not a trigger,” he told me. “But it is in your face.”
When we spoke, he had been sober for a hard-fought seven weeks: seven weeks of sleepless nights, intermittent nausea, irritability, trouble focusing, and psychological turmoil. There were upsides, he said, in terms of reduced mental fog, a fatter wallet, and a growing sense of confidence that he could quit. “I don’t think it’s a ‘can’ as much as a ‘must,’” he said.
Better to run than to have your liver squeezed out.
The great white shark—a fast, powerful, 16-foot-long torpedo that’s armed to the teeth with teeth—has little to fear except fear itself. But also: killer whales.
For almost 15 years, Salvador Jorgensen from the Monterey Bay Aquarium has been studying great white sharks off the coast of California. He and his colleagues would lure the predators to their boats using bits of old carpet that they had cut in the shape of a seal. When the sharks approached, the team would shoot them with electronic tags that periodically emit ultrasonic signals. Underwater receivers, moored throughout Californian waters, detected these signals as the sharks swam by, allowing the team to track their whereabouts over time.
Behind the scenes at the celebrity rounds of the iconic game show
Behind the scenes at the celebrity rounds of the iconic game show
As the Jeopardy! crew pauses for a commercial break, Alex Trebek—the blisteringly intelligent host of the long-running syndicated game show—steps forward, as is his custom, to answer questions from the audience. Looking over the crowd, he leans over to address an adorable, bespectacled little girl, who asks the Jeopardy! host if he has any pets. Just one dog, he says: Willie. He pauses thoughtfully before explaining that he used to have another dog named Spammer—"but unfortunately, we have coyotes in southern California."
There's a collective gasp from the audience—did he really just say that?—and a series of nervous giggles. But Trebek, eternally unflappable, doesn't miss a beat. He walks back to the set, taking his place as the lights come up. The Applause sign blinks, and the unmistakable Jeopardy! theme music—one of the most iconic tunes in television history—signals the start of yet another game.
It only took five minutes for Gavin Schmidt to out-speculate me.
Schmidt is the director of NASA’s Goddard Institute for Space Studies (a.k.a. GISS) a world-class climate-science facility. One day last year, I came to GISS with a far-out proposal. In my work as an astrophysicist, I’d begun researching global warming from an “astrobiological perspective.” That meant asking whether any industrial civilization that rises on any planet will, through their own activity, trigger their own version of a climate shift. I was visiting GISS that day hoping to gain some climate science insights and, perhaps, collaborators. That’s how I ended up in Gavin’s office.
Just as I was revving up my pitch, Gavin stopped me in my tracks.
Gérard Araud says that Trump is right about trade. Kushner is “extremely smart” but has “no guts.” And John Bolton’s not so bad, actually.
Gérard Araud, the charmingly blunt French ambassador to the United States, is famous for two things: the lavish parties he hosts at his Kalorama mansion, and his willingness to say (and tweet) things that other ambassadors might not even think, much less state in public.
Araud ends his nearly five-year tenure in Washington today, and when I spoke with him last week, he was, even by his usual standards, direct to the point of discomfort. He told me his view of the U.S. (“The role of the United States as a policeman of the world, it’s over”) and Donald Trump (“brutal, a bit primitive, but in a sense he’s right” on free trade), and he shared his opinions of John Bolton (he’s a “real professional,” even though “he hates international organizations”) and Jared Kushner (“extremely smart, but he has no guts”).