LL-L "Songs" 2007.05.29 (02) [E]

Tue May 29 15:02:25 UTC 2007

L O W L A N D S - L  -  29 May 2007 - Volume 02

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From: Karl-Heinz Lorenz <Karl-Heinz.Lorenz at gmx.net>
Subject: LL-L "Songs" 2007.05.28 (05) [E]

Ron wrote:

> ...., and I consider it wisest to stay away from anything
> that
> can easily be construed or twisted as nationalistic or the like.

d'accord, totally.

> Actually, I've never heard "De Wind vun Hamborg".

You must have heard it, because you provided the links:

http://www.inamueller.de
http://www.inamueller.de/platt_nachlesen.html)
http://www.inamueller.de/audio/ina_mueller_nicole.ram (RealAudio)
http://www.inamueller.de/audio/ina_mueller_nicole.mp3 (MP3

You posted them twice, but these links didn't work, so I came up with:

http://www.youtube.com/watch?v=FUGu9vkMCDU

The lyrics are not available, so I've written down the words, just as I hear
them. A good exercixe for me. Now it looks like a mixture out of Low Saxon,
Dutch and German. The one or another nonsense verse, a lot of mistakes, but
maybe you, Ron or someone else could check it:

De Wind vun Hamborg

Kinners, oh Kinners, ik he(ff) mi freiht op jau
Ik ben nu so veel in de wegen sweevt
Un glövt mi mann de tied vergeiht so gau
Wenn mi een frou't wo et am schönsten weer
Denn seg ik hü(ü)m nur dat weet ik nich mehr
ook wenn't logen is
ik heff doch jümmmer wüst
wo ik eenig hingehöhr

Ik heff al souken in Kiel
Harr in Leklaar gewählt
De Probstei wo mi jümmer ganz hei
Ik heff sogar mal in Brisaf wohlt
Um wohl zu kawweln an de Schlei

Ik heff min auto sülb schoben
Damals döör Wilhelmshoben
Un do weerd se mi sogar blind
Ik heff mi jümmer freiht,
wenn de wind vun Hamborg weiht

Okay (kinners), wow kinners
't is nich so da(t) mi wat fehlt
Boben afs alleen mine freiht so kolt
De Falten liegt deep un ik föhl mi so old
Heb do noch 'n Kind und die kümmert mi 'n Hund
Bloß für mien Bindegewebe is so 'n Kind nich gesund
wat ik wirklik bruuk wat bi mi hölten weiht
dat is d(i)e wind d(i)e hier bobenop weiht

Oh ik had op Sylt schon m(al) hühlt
Stell de Liebe in de küllt
Un in Gelting da heb ik al draiht
Heff op St. Pauli die Nutten sehn
Un bün mit Hunel döör Husum eilt

Ik heff sogar 'n Verdrag
mit'n Quickborn Verlag
Un in Aurich do heb ik mal blaht
Ik heb mi jümmer freiht
wenn d(i)e Wind vun Hamborg weiht

Wie mi dat freiht
wenn dat düchtig weiht
wenn man loopt wurd die Kopp richtig klar
Un wenn du denn in de Nordsee speihst
Du denn mol ans wat liebensch du da eens wor

Un denn is Plön so wat schöns
Wenn si an Plön amol ween
Wenn de Wind do so richtig döör naiht
Ik heff mi jümmer freiht
wenn d(i)e Wind, d(i)e Wind vun Hamborg weiht

Oh mmm, d(i)e Wind vun Hamborg weiht

> Thanks for reminding me that you may submit new lyrics to existing tunes.
> But careful!  Do not use existing tunes that are still copyrighted, unless
> you can prove permission!
>
> I believe (i.e. am not sure) that the tune of La paloma is no longer
> copyrighted, only specific newer versions and performances of it are. This
> is why its original Spanish lyrics are in the public domain and can be
> found
> online, while for instance the German version and No More (Elvis Presley's
> version of it in Blue Hawaii) have been withdrawn online because there
> have
> been copyright issues lately.
>
> I don't think there are Low Saxon words to La paloma, Karl-Heinz.

So if we'd translate the Spanish version into LS, there should be no
problems. I'd like to sing it in a Leonard Cohen style, although La Paloma
is maybe too melodic for that.

> Incidentally, La paloma surely counts among the most beloved, most
> performed, most rewritten and most misunderstood songs ever. It sure was
> my
> father's favorite.  Like so many people of his generation, he believed it
> was German, because Hans Albers had sung it in German in a famous 1930s
> movie.

It was defintely also among my father's favourites. The records of Hans
Albers and Freddy Quinn were one of the first I've heard in my life. I don't
know if they can be put under the label of "Schlager", but I think they were
one of the first of this genre, at a time, when this expression didn't exist
yet.

Karl-Heinz

----------

From: R. F. Hahn <sassisch at yahoo.com>
Subject: Songs

Hi, Karl-Heinz!

You asked:

> So if we'd translate the Spanish version into LS, there should be no
problems.

Probably not. Are you up to translating it? You could write altogether new
words as well, and it doesn't have to be about sailors only.

> I'd like to sing it in a Leonard
> Cohen style, although La Paloma is maybe too melodic for that.

This sounds like something to look forward to.

Yes, Hans Albers (en.wikipedia.org/wiki/Hans_Albers) was quite the hero of
the German-speaking generation that had its glory days, sadly, in the 1930s
and 1940s. For them he was something like John Wayne, Hank Williams, Johnny
Depp and various others rolled up in one. I think he represented something
they dreamed off during that time of totalitarianism: being a
rough-and-tumble free spirit, perhaps a bad boy, and a guy that gets to
travel around the world.  Women were crazy about him.  I think Albers, a
dinky-dye Hamburger (from St. Georg), was quite aware of that and used it to
his and other people's advantage. He was very famous but managed to stay
away from the Nazi elite, even from photo ops with them (which was very hard
to do), and he was obviously opposed to the regime and its doings and
propaganda.  I suspect that he was keenly aware of his role as a glimmer of
hope for many ordinary people.  His fame saveguarded him and his long-time
Jewish girlfriend Hansi Burg, until she went to Switzerland and from there
to England.  Even that didn't harm him, nor did the knowledge that he kept
in touch with her.  In fact, as soon as the war was over the two of them got
back together again, perhaps had never really been apart.  So there's quite
a love story.  Incidentally, *Große Freiheit Nr. 7*,* the famous movie in
which La Paloma was featured, had to be shot in Prague, although it was set
in Hamburg. That's the Allie were bombing the hell out of Hamburg at the
time ...

Regards,
Reinhard/Ron

* *Große Freiheit* is the name of a (later notorious) street in St. Pauli,
Hamburg's red light district. (If I remember correctly, it's were the Star
Club was in which the Beetles started their career.)  *Große Freiheit* happens
to mean "Great Freedom." Some people thought of it as referring to it being
the center of free-for-all and no-holes-barred entertainment.  I would not
be surprised if the name was deliberately chosen by the film makers for its
value as a subliminal political message in conjunction with the milieu of
people of the night and of the open sea.  They certainly pushed the
envelope, considering the state of affairs at that time, and I think they
got away with it mostly because Hanz Albers and Ilse Werner, the main
actors, were so popular that they were practically untouchable by the
regime.
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