Guide Kein Schwein ruft mich an (German Edition)

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Make sure to edit your flair so it also contains some info about your region natives or your native language learners. We are a community focused on discussion related to learning the German language. It is also a place to discuss the language at large and we welcome submissions that elaborate on the reasons why we're interested in the German language. No Low-Effort Homework Requests: Please do not post homework requests with no signs of effort - we are happy to make corrections and suggestions, but we won't do the work for you.

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No Translation Requests : This community is focused on learning German. No Low-Quality or Low-Effort Submissions : Memes, image macros, images of text, and other similar low-effort submissions are not suitable for out community. No Surveys, Questionnaires, Petitions, or Polls : All surveys, questionnaires, petitions, polls, contests, or other similar content are not are not suitable for our community. It hails from a song by Tocotronic, " Eis ". Chorus goes something like this:.

There's also "kein Aas," as I recall, which I find amusing since it literally means "no carrion". Maybe local, I haven't ever heard that.

Or "keine alte Sau". This reminds me of a recent BBC language article. It was all but inevitable that pork would become thoroughly baked into the German psyche, its savoury juices trickling down into everyday speech. Proofreader, translator, editor. It basically means, "nobody will call me", but it's rather referring to "nobody will care about me". I don't come back anymore, I'll find my luck by myself and then nobody will call me again.

To call someone a Sau is an insult but in this case "Keine Sau" just means nobody, not even a sow.

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So "Keine Sau ruft mehr an" can be used when you are happy but also when you are sad about that fact. I doesn't imply that people calling you are annoying. I really enjoy thinking about German expressions. There are many more references to animals when I compare to my native language.

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I wonder why. Interesting, what's your native language, if you don't mind? Also, I used to watch black and white films that were shown on Sunday TV and which often featured large orchestras like the Palast Orchester. Henrik: You became famous worldwide for bringing back to life the sound of German and American dance and film music of the s and s. How did that fascination with music of days gone by evolve? Max: One day, I discovered a shellac record in the record cabinet of my parents.

Henrik: In one of your interviews , you describe the period in Germany with people like Marlene Dietrich, Albert Einstein, and Bertolt Brecht—all of whom fled to the U. In what ways do you connect with the zeitgeist of those days and the turbulence in our own time through your shows? M ax: The music we perform was often written by musicians with a classical background.

In spite of the times, the songs were light and elegant, and technically absolutely brilliant. We take the music very seriously, approach it as if it were composed by Brahms or Beethoven, and put thought into every note. Today, the music and the lyrics have the same power as when they were composed; people laugh spontaneously as they did in those days. The songs are timeless; one does not require historic knowledge to enjoy them.

Mostly the compositions are apolitical, which of course is part of pop music up to this day. Lady Gaga does not bore us either with political statements. That is also our approach. Max: I like to present the lyrics with ease, but at the same time it is vital that they are clearly understood.

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To achieve this, it helps to choose a mixture of half spoken and sung words. During my studies, much emphasis was laid on text intelligibility. My aim is to transport the lyrics and not to bother the audience with my feelings. How tempting is it for you to stay in that mode at receptions afterwards or in interviews?

Max: Actually, this is very much the way I am, part of my personality.


I only break with this behavior if I get furious, which, thank God hardly happens—and never on stage or in a professional context. Henrik: You studied music at the Berlin University of the Arts, ready to become a baritone opera singer. But then you changed gears, and, together with eleven fellow music students, formed the Palast Orchester in the mids.

What led to you giving up your operatic aspirations? We soon discovered, however, that people really enjoyed what we were doing and so slowly, year by year, we found ourselves performing more and more. By the time I finished my singing training, I was relatively well-known, and things were going so well with the Palast Orchester that we realized what a gem we had and eventually needed to turn professional.

Yet, you persevered. Tell us more about it and the vision you had for your fledgling orchestra.

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Max: We found the first arrangements at flea markets and in attics. The only vision we had was to play those wonderful arrangements as well as we could and, if possible, in the original sound: the typical vibrato of the sax section, trumpets with a gentle mellifluousness, a lilting rhythm section and the melody lines of the violin hovering above everything like a butterfly. We want to thrill the audience with the contrasts that lie in these colorful arrangements—from slight and gentle to big and full.

Henrik: Apparently, you and your musician friends spent over a year rehearsing those old and rarely performed songs. And then, something extraordinary happened one night in , which changed your life and put you and the new orchestra in Berlin on the cultural map.

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  8. Max: True. We had been rehearsing for over a year and were offered the unique opportunity to perform at the yearly theater ball in Berlin. Our stage was in the lobby, so people had to pass us to get into the main hall. However, to our astonishment, they all stopped to listen to our music; people even came back from the main hall.

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    At the time, our repertoire was fairly small and we eventually reached the last song, but the audience was cheering for more, so we wound up repeating the songs we had already played. Looking back, this was a pivotal event. Had it not happened, I am sure we would have broken up. It spread your name all over Germany. What impact did this success have on your writing more original songs? The other thing was that I used the old-fashioned sound of the s but wrote about a modern topic—the story centers around an answering machine.

    I followed this concept for a while, writing songs for instance about mad cow disease and cloning. We only performed those in Germany, however, because, of course, it was important to understand the lyrics. How did those singers and composers respond to your reinterpretations?