While in Mexico City in 1988, Zelig Schnadover sang Beymer hakt men fun veldl aroys (Trees are Chopped Down in the Woods) for me, a song he remembered learning in Poland.
Pre-revolutionary view of Zelig Schnadover’s hometown, Slavuta, Ukraine (picture from www.jewua.org)
I cannot find other variants but would not be surprised if the melody turns out to be from a popular Polish song of the 1920s. Though he was raised in the Ukraine and Poland, Shnadover sings in a “standard Yiddish” with hardly any dialectical features.
Boymer [beymer] hakt men fun veldl aroys.
Shtern faln un leshn zikh oys.
Un shver iz der veyg durkh dem zamd.
Ober vi gut iz undz beyde baynand.
Fun der vaytns hert zikh a lid,
Un mir geyen un vern nisht mid.
Un vi shver iz der veg durkh dem zamd.
Un vi gut iz indz beyde baynand.
Trees are chopped down in the woods.
Stars fall and are extinguished.
And hard is the path through the sand;
But how good we feel when we’re together.
In the distance we hear a song.
and we walk and do not tire.
And hard is the path through the sand,
And how good we feel when we’re together.
This one-verse song ‘Mir af a shifl, dir af a lotke’ (“A Boat for Me, a Canoe for You”) was performed by Zelig Schnadover, and recorded by Itzik Gottesman in Mexico City, 1988. Curiously, the first line from this ditty appears under the boat in the above 1960s painting of the Israeli artist Arie Aroch (1908-1974), who spent his childhood in Kharkov (Kharkiv), Ukraine.
Zelig Schnadover was born in 1907 in Slavuta [Yiddish – Slavite סלאַוויטע ] Ukraine. In 1920 they “escaped the Bolsheviks” and the family went to Poland. He had his bar-mitsve in Brody, [Yiddish – Brod], Poland. He lived in Poland until 1926 and learned the song there. Schnadover emigrated to Mexico City in 1926/27.
To make money in the early years in Mexico City Schnadover was part of a group of singers who provided the soundtrack to silent movies, many of them Russian, so they sang Russian songs. They didn’t have much time to prepare – usually they had not seen the movie earlier so amusing things happened. An example he gave was for Abel Gance’s film Napoleon. The group was still singing a waltz as the projector was already showing a battle scene. When I knew him he had been the longtime owner of a stationary store, a papeleria, near the center of the city, the Zocolo.
Mir af a shifl,
Dir af a lotke.
Mir a sheyn meydl
Dir a tshekhotke
Me on a boat, you on a canoe. Me – a pretty girl You – one with tuberculosis.
Also, a variant of the song from Brest-Litovsk (Yiddish – Brisk, now in Belarus) appears in I. L. Cahan’s 1912 collection with no music but with a second verse and presents it as a dialogue. The first verse sung by “He”, the second one by “She”.
Ikh af a shifele
Du af a lodke,
Ikh a soldat,
Du a soldadtke.
Ikh af a shifele
Du af a lotke;
Ikh a sheyn meydele,
Du a sukhotke.
He: I on a boat You on a canoe. I – a [male] soldier You – a [female] soldier.
She: I on a boat, You on a canoe I – a pretty girl You – a girl with tuberculosis.
Here is how it appears in Cahan’s 1912 collection:
Special thanks for help with this week’s posting goes to Tamara Gleason Freidberg, Paul Glasser and Rachel Greene.
All of the previous recordings in this blog of the Bukovina singer Lifshe Schaechter-Widman [LSW] are from the 1954 recordings done by Leybl Kahn. But her daughter Beyle Schaechter-Gottesman recorded a few songs from her in the 1960s and early 1970s. This lullaby was recorded a few months before LSW died in 1973.
Lifshe Schaechter-Widman with her brother Luzer Gottesman. NYC ca. 1912
As usual, the transcription in English letters more accurately reflects her dialect than does the Yiddish transcription in the Yiddish alphabet in which we use standard Yiddish.
Spoken introduction by LSW: “Ikh fleyg dus zingen ven ikh bin nokh geveyn a kind mistame, finef, finef un zekhtsik yur tsurik. In dernokh hob eykh dus gezingen mane kinder. Kh’ob es gezingen Beyltsyen; Kh’ob es gezingen Mordkhen. Un hant vilt zikh es zingen…efsher veln mane eyniklekh es amul veln kenen.”
Shluf mayn feygele makh tsi dayn eygele.
Shluf mayn kroyndele, di bist a parshoyndele,
Shluf zhe, shluf lyu-lyu
Az di vest oyfshteyn fin deym zisn shluf
veln mir beyde geyn pasn di shuf.
Shluf zhe, shluf lyu-lyu
Oyf der khasene af daner, veln file mener
Mir veln geyn oyf di beler, tantsn in di zele*
Shluf zhe, shluf lyu-lyu.
*(German: säle) the usual Yiddish plural of “zal” – a large room, ballroom would be “zaln”. LSW uses the more Germanic form, perhaps the local Yiddish Bukovina form, to rhyme.
LSW spoken introduction:
“I used to sing this when I was still a child, probably about 65 years ago. Then I sang it for my children. I sang it for Beyltsye. I sang it for Mordkhe. And today I feel like singing it…perhaps my grandchildren will want to know it.”
Sleep my little bird, close your eye.
Sleep my little crown, you are someone special.
So sleep, sleep lyu-lyu
When you wake up from your sweet sleep
We will both go to tend to the sheep
So sleep, sleep lyu-lyu
At your wedding many men will
dance, my dear son.
We will to the balls and dance in the halls
So sleep, sleep -lyu-lyu
Since we start reading the book of Breyshis (Genesis) this week of Sukes, I thought it would be appropriate to post this recording of Ita (Eda) Taub singing a song about Adam and Eve and the snake. I recorded it from her in 1984 at the Circle Lodge Workmen’s Circle camp in Hopewell Junction, NY.
The words and music appear in Yiddish Folksongs from the Ruth Rubin Archive edited by Chana Mlotek and Mark Slobin. Wayne State University Press, 2007. Rubin recorded this song [tape 26] in 1962, and I recorded it again 20 years later at Circle Lodge, a camp for adults in upstate New York.The two versions are the same except for one or two words.
In the Rubin book she translates “Hot Got tsigenimen di reyd fun zayn layb” as “God perceived the needs of Adam’s body”. Literally, one should translate this line as “So God took away the speech from his body.” But I would think that the line once was “Hot Got tsigenimen di rip fun zayn layb” (God took out the rib from his body). This is supported by the version in Yiddisher folklor, ed. Y. L. Cahan (YIVO, Vilna, 1938), song #199 that is attached at the end (we’ve also included #200, for a similar melody).
The song, I believe, is very old and includes midrashim (interpretations or extensions) of the Biblical telling of Adam and Eve and the snake. Similar motifs can be found in the so-called “Women’s Bible”(the Tsene Rene) and the classic midrashic collections. The line “Eve, Eve what have you done? An entire world you did destroy” reflects the midrash that Eve had all the animals take a bit of the apple (except the immortal Phoenix bird) and therefore mortality was introduced into the world (see also Louis Ginzburg’s Legends of the Jews, Volume One).
Given the simplicity of the melody, almost a recitative, and the subject matter, my feeling is that the song evolved from a Yiddish woman’s prayer, a tkhine.
After the song Taub talks about the impression this song and her other song,Oy vey mame (also on the Yiddish Song of the Week Blog) left on her friend, the historian Raphael Mahler (who also recorded songs and nigunim for Ruth Rubin). She then tells us where she learned the songs.
The footnote in the printed Rubin version adds that the last verse refers to biting the umbilical cord, but this is not clear to the listener I believe.
Additionally, Michael Alpert and Julian Kytasty have recorded the song on their wonderful album Night Songs From a Neighboring Village (Oriente, 2014). You can hear it at the beginning of this video:
LYRICS TO TAUB’S VERSION:
1) Az got hot bashofn mentshn af der velt
oy, mentshn af der velt.
Oy, udem harishen tsum ershtn geshtelt.
2) Udem harishen iz shpatsirn gegangen in vayngurtn aran.
Oy iz im a vab in zin aran.
3) Hot Got tsigenimen di reyd fin zan lab,
Un hot im gegegeybn Khoven far a vab.
4) Oy Khove mit Udem zenen shpatsirn gegangen in vangurtn aran.
Iz Khoven an epl in der rekhter hont aran.
5) Iz tsigekimen di beyze shlong “Khove, Khove,
gib a bis dem epl, vesti zen vi zis er iz.”
6) Oy hot zi genimen un gegebn a bis deym epl.
Oy hot zi gezen vi zindik zi iz.
7) Hot zi genemen a blot kegn der levone,
un hot zikh tsigedekt dos zindike punim.
8) Hot zi genimen a blot kegn mist,
un hot zikh tsigedekt di zindike brist.
9) Khove, Khove vus hosti getrakht?
A velt mit mentshn imgebrakht.
10) “Nisht ekh hob es getun, nisht ekh hob es getun
di beyze shlong hot es tsigetrakht.”
11) “Zibn yur zolsti trugn, shver un biter zolsti hubn.
Af di skoles zolst dikh rasn, un ven di vest es hubn, zolst es tsebasn.”
Dialogue After the Song:
Dus iz take epes zeyer, zeyer originel. Vu’ zhe iz – hot er [Raphael Mahler] gevolt nemen di tsvey lider, un nokh tsvey lider, ikh gedenk shoyn nisht vus. Ober di zenen geveyn di ershte. Az er vil nemen un mekh arimfirn iber di kibutzim. Zol er zey vazn vus se meynt originele ekhtkayt. Un az zey farshteyn nisht di shkutsim, vel ikh zey shoyn derklern. Ikh vel shoyn derklern vus dus iz. Zey veln dus zeyer shtark upshatsn, zugt er. ___kibutz.]
Gottesman: Fin vanen kent ir dus lid?
Taub: Fin vanen dus lid? Dus lid gedenk ikh fin der heym ___ Dortn vi me hot geneyt. Es fleygn zan a pur meydlekh un zey fleygn zingen. Dus ershte lid [Oy mame ikh shpil a libe] hot gezingen man miters a shvester. Zi iz geveyn farlibt, hot zi demlt gezingen dus lid.
Gottesman: Vi hot ir dus gezingen?
Taub: In Skedinits, mayn shteytl.
Gottesman: Ven hot ir dus gehert, ven zi hot gearbet?
Taub: Zi hot gemakht di breyte kleydlekh vus di poyertes trugn. Fleyg zi neyen far zey. Iz zi gezesn bay a mashin un hot geneyt un ikh hob es zikh oysgelernt.
Gottesman: Tsi hot zi gezingen andere lider?
Taub: Ir veyst vifl yurn di ale zikhroynes…dus iz tsulib aykh vus ikh grub aroys ikh zol zikh dermanen. Ober ikh ken nisht gedenken.
When God created people in this world
O, people in this world,
O, Adam was the first one he made.
Adam went walking into the vineyard,
O, then a wife came into his head.
So God took out his speech from his body,
and gave him Eve for a wife.
O, Adam and Eve went walking in the vineyard
And a red apple came into Eve’s hand.
Then the evil snake came over – “Eve, Eve, Eve
Take a bite out of the apple,
So you will see how sweet it is.”
O, then she took a bite out of the apple,
and realized how sinful she is.
Then she took a leaf against the moon,
and covered up her sinful face.
Then she took a leaf against her waste,[?]
and covered up her sinful breast.
Eve, Eve what were you thinking?
A whole world full of people you’ve condemned to death.
“It was not I who did it, it was not I who did it –
the evil snake thought it up.
” Seven years you should be pregnant,
hard and bitter should your birth be, on the cliffs may you climb,
and when you give bith, you should bite it to death”.
Dialogue after the song:
Gottesman: Where do you know this song from ?
Taub: Where do I know this song from? This song I remember from home. ____ The place where we sewed. There used to be a few girls who used to sing.
The first song [Oy mame ikh shpil a libe] was sung by my mother’s sister. She was in love so she sang that song.
Gottesman: Where did you sing it?
Taub: In Skedinits (Stidenitse, Ukraine), my shtetl.
Gottesman: When did you hear it, when she worked?
Taub: She made the broad dresses that the peasant women used to wear.. She used to sew for them. So she sat at the [sewing] machine and sang.
Gottesman: Did she sing other songs?
Taub: Do you know how old these memories are?…For your sake I am digging them out and remembering them. But I can’t remember them.
As published in Yiddish Folksongs from the Ruth Rubin Archive edited by Chana Mlotek and Mark Slobin (Wayne State University Press, 2007):
As published in Yidisher folklor, ed. Y. L. Cahan (YIVO, Vilna, 1938):
The singer of this week’s ballad, Erev yon-kiper noent tsu kol-nidre (The Eve of Yom-kippur, Right Before Kol-Nidre), isSarah (Sore) Kessler. The recording is from the Ruth Rubin Collection at YIVO. Rubin recorded it in 1949.
This song tells of a Jewish girl running away with a non-Jewish boy on the eve of Yom-kippur. In Kessler’s version he is referred to as a “sheygets”.In two other versions from the Sofia Magid collection (Unser Rebbe, unser Stalin edited by Elvira Grozinger and Susi Hudak-Lazic, Harrasowitz Verlag, Wiesbaden, 2008) he is called an “eyn orl fun kristen geboyrn” (one who is uncircumcised born a Christian).
“Yom Kippur Eve” by Mayer Kirshenblatt from the book “They Called Me Mayer July: Painted Memories of a Jewish Childhood in Poland Before the Holocaust” (courtesy Prof. Barbara Kirshenblatt-Gimblett)
We have included the Kessler audio, the transliteration and translation, scans of the Magid versions and a PDF of the Yiddish words in Yiddish as sung by Kessler. The transliteration reflects her Yiddish dialect.
The singer, Soreh Kessler, from the Polish town of Czyżew (Yiddish name:”Tshizheve”) between Warsaw and Bialystok, recorded songs for Ruth Rubin at the beginning of Rubin’s field recording project in New York, 1947 to 1949.
When comparing the Magid versions and Kessler’s version it is clear that a crucial scene has been left out of Kessler’s: the one in which the Christian boy tells the runaway girl that he never loved her and was just kidding. She then returns to find that her parents died from grief.
One word is not clear to me – the fourth line of the first two stanzas – “____ un tinkl”. In Magid’s versions the word is “nakht” but here it sounds like “khmurne”, which means gloomy.
Recording is courtesy the Max and Frieda Weinstein Archive of Recorded Sound at the YIVO Institute for Jewish Research (Lorin Sklamberg, Sound Archivist). Thanks also to Dr. Paul Glasser for help with the town name.
SPOKEN: Dos lid hob ikh gehert in mayn shtetl Czyzew in poyln. Az es vet shoyn zayn tsvantsik, oder finf un tsvantsik yor tsayt.
Erev-yon-kiper noent tsi kol-nidre,
ven me geyt shoyn in talis in kitl.
un der futer der frimer er bentsht zayn bas-yekhidl,
In droysn vert khmurne (?) un tinkl.
Di muter di frime bay Got burekh-hi tit zi beytn,
bay di veksene likhtlekh in vinkl.
Ze bentsht oykh ir tokhter, ir bas-yekhidl.
In droysn vert khmurne un tinkl.
Ven di bas-yekhidl iz in hoyz aleyn farblibn,
a simen hot es zi im gegeybn.
Dort kletert eyner ariber iber dem parkan.
Dos iz ir gelibter geveyzn.
Ven futer un miter zenen tsurik aheymgekimen
zeyer bas-yekhidl nisht getrofn.
Dort bay di shkheynim hert zikh a troyerike shtime,
az mit a sheygetz iz zi antlofn.
Borves un naket lozt zi zikh loyfn,
iber berg un shteyner un toln.
Azoy vi zi iz nor tsu ir elterns hoyz gekimen –
kayn futer, kayn muter nisht getrofn.
Oyf deym beys-almon lozt zi zikh loyfn.
Zi iz shoyn arunter fun zinen.
Oyf deym beys-almon oyf dem mamenyus keyver
a teyter hot men zi gefinen.
Spoken: I heard this song in my town Czyzew in Poland. It must be 20 or 25 years ago.
On the eve of Yom-Kippur just before Kol Nidre
When one goes in talis and kitl [prayer shawl & white linen coat]
And the pious father blesses his only daughter
Outside it is gloomy and dark.
The pious mother prays to God, may he be blessed,
by wax candles in the corner.
She also blesses her daughter, her only daughter.
Outside is gloomy and dark.
When the only daughter remained alone at home,
she gave him a sign.
There climbs someone, over the fence –
that was her lover.
When father and mother returned home,
they did not find their only daughter.
From the neighbors you could hear a plaintive cry –
she ran off with a non-Jewish boy.
Barefoot and naked she wildly runs
Over mountains and stones and valleys
She approached her parent’s house –
but no father, no mother did she find.
To the cemetery she wildly runs.
She has already lost her mind.
On the cemetery on her mother’s grave
they found her dead.
EREV YOM KIPUR FROM SOFIA MAGID COLLECTION (Grozinger and Hudak-Lazic, 2008):
Ver es vil kayn tate-mame folgn (Whoever Does Not Listen to Their Parents) is a lyric love song performed by Lifshe Schaechter Widman (LSW) for this recording by Leybl Kahn, made in the Bronx in 1954. So far, I can find no other versions of the whole song in printed collections.
It seems LSW remembered the final fourth verse a little later so the song is presented on two audio files – the first three verses are on one audio file and the final verse on a second audio file. The song is unusual in that the melody changes for just the last verse.
As usual on this blog, the transliteration in the English alphabet reflects more accurately the singer’s dialect than the transcription in Yiddish that follows, which is done in standard Yiddish.
Ver es vil kayn tate-mame folgn.
Deym kimt dekh oys azoy tsi geyn.
Mayn mame hot mir geheysn shlufn geyn leygn.
Hob ekh getin in drosn shteyn.
Zenen derkhgegangen tsvey sheyne yingelekh.
In ekh bin mir geshtanen azoy betribt.
Az s’iz eynem bashert tsuris tsi ladn.
Hob ekh mekh in eynem farlibt.
Bay mayn mamen bin ekh eyn un eyntsik kind
Un mayn mame hot mekh zeyer lib.
Zeyt zhet mir tsi poyln bay mayn mame
Zi zol im lozn arayn in shtib.
From second file – final verse.
Di mame zogt shoyn yo.
Ober mayn tate zogt dekh neyn.
Zeyt zhet mir tsi poyln bay mayn tatn
Er zol meygn in shtib arayngeyn.
Whoever does not listen to their parents –
That is how it goes.
My mother told me to go to sleep
but I went outside to stand.
Then two handsome boys went by,
and i was standing there so sullenly.
If it’s your fortune to have troubles –
I fell in love with one of them.
I am my mother’s one and only child,
and my mother loves me very much.
So please help me convince my mother
to let him into the house.
My mother says “yes”.
But my father says “no”.
So please help me convince my father,
he should allow him to come into the house.
Sadly, as we were preparing this blog entry the Yiddish writer Masha Rolnik (Mascha Rolnikaite) passed away at age 89 in St. Petersburg, on April 7th, 2016. Her Yiddish diary of her experiences during the Holocaust, written as a teenager is entitled Ikh muz dertseyln (I Must Tell). It is considered one of the most important day-by-day descriptions of the Vilna ghetto.
In this Yiddish Song of the Week entry we are including a 10 minute unedited recording in which she sings two Yiddish songs written while in a labor camp during the second world war. She then talks about her life during the war. We have translated her introductory spoken remarks and the two songs, as well as transliterations of them.
The two songs that she sings, Der Shtrasenhofer hymn and Sport can be found in Shmerke Kaczerginski’s collection Lider in di getos un lagern (Congress for Jewish Culture, NY, 1948) (pages 228 – 229 and pages 224 – 225). There the author of the songs is listed as “unknown” but from this recording we are made aware that Rolnik wrote the words and apparently borrowed the melody from other songs.
We are attaching scans of the songs in Yiddish from the Kaczerginski collection. Since Rolnik’s versions of the songs vary only slightly from the printed versions, and, in fact, she is singing them from Kaczerginski’s book, we have only provided the Yiddish versions as found in that collection. The music to the Hymn is also found in the Kaczerginski collection and we have included a scan of that as well.
In the Kaczerginski collection, both songs were sung to the collector by Sarah Kogan from Vilna, and her performance of the Hymn can be heard in the Ben Stonehill collection. Also in the Stonehill collection you can hear Kaczerginski himself singing the Strassenhofer Hymn.
There are many websites to find out more about Rolnik’s life, and one can begin with her Wikipedia page. There is a Yad Vashem page on her father, Hirsh Rolnik, who was separated from the family at the beginning of the war. The Yad Vashem website additionally has information on the Strassenhof camp located near Vienna, where almost all the inmates survived.
Masha Rolnik speaks: “Sunday, we worked half a day, so during the second half we were free. That Jews should be free – they could not accept that notion. So we had to march in the camp singing a song that they provided. The song is called ‘We were the masters of the world; now we are’ – you’ll pardon me – ‘the lice of the world.’ I could not accept that. Where I got the melody I don’t know: I am no composer. It was in my head.
SONG 1: DI SHTRASENHOFER HYMN
lyrics: Masha Rolnik, music: unknown
Mir zaynen di shtrasenhofer yidn,
Dos “naye eyrope” boyen mir.
Di arbet, vos mir hobn – iz farshidn.
Ober tsores hobn mir on a shir.
Akh, shtrasenhof, oy biz tsum haldz bistu mir!
Akh, shtrasenhof, vi vert men poter shoyn fun dir?
Akh, shtrasenhof, ven vet shoyn kumen di tsayt,
un mir veln vider zayn bafrayt?
Mitn esn iz do zeyer biter –
Di zup, zi iz epes modne blo,
un dertsu – iz zi azoy shiter
vayl kartofl far undz iz nokh nito.
Di fabrikn-luft bakumt undz nit tsum gutn,
dos veysn mir ale gants genoy.
Es zol beser tsirkulirn undzere blutn,
shikt men zuntik undz afn barakn-boy.
Nor derfun ken men oykh nokh nit shtarbn –
dos meynt men mit undz gornit shlekht;
Mir viln krign in di bakn royte farbn –
Do iz der lager-elterer “gerekht”.
Mit der derloybenish fun eltern fun lager
vert yedn zuntik ovnt muzitsirt,
un loytn bafel fun eltern: oy a shlager,
vert yedn zuntik morgn eksertsirt.
Es muz vern marshirt un gezungen!
Ir tort nit zayn shtayf, vi a bret!
Ir muzst hobn gezunte lungen,
oyb ir vet amol farlozn dem katset!…
We are the Shrassenhofer Jews,
We are building the “New Europe”
The work that we do is varied,
But sorrows we have without end.
Akh, Strassenhof, I am up to my throat with you,
Akh, Strassenhof, how can I get rid of you?
Akh Strassenhof, when will the time return
And we will once more be free?
Concerning the food here, it’s very bitter –
The soup, its strangely blue.
In addition – it’s so thin
Because there are no potatos here for us.
The factory air makes us sick.
We all know this too well.
In order for our blood to circulate better
We are sent on Sunday to build barracks.
But yet from this one cannot die –
They have no evil designs on us.
We will get red colors in our cheeks.
The camp elder is right about that.
With the permission of the elders in the camp
Every Sunday we make music.
Following the order of the elders: Oh, a hit song!
Should get exercised every Sunday morning.
We must march and sing!
You cannot be stiff as a board!
You must have healthy lungs,
If you ever want to leave this camp.
SONG 2: SPORT
words: Masha Rolnik music: unknown
In Strasenhofer lager
derfunden hot men dort
far groys un kleyn,
far yung un alt –
a naye mode – sport.
Ver s’hot dem apel farshlofn,
Ver in nore farzamt zikh hot –
krigt glaykh nokhn apel
dem nayem sport-kompot
Oy, Shtrasenhof, farvos zog, Shtrasenhof,
Ikh freg dikh, Shtrasenhof, du veyst gevis.
Der sport iz grod nit shlekht, dos bistu yo gerekht
nor farvos shmartsn nokhdem azoy di fis?
Tsu morgns in fabrik gekumen,
dershlept zikh got-tsu-dank.
Dan nemt a yede brumen:
“Oy, vi bin ikh haynt krank”.
Eyne ken zikh nit rirn,
di tsveyte ken nit geyn,
di drite muz men firn,
di ferte ken nit shteyn.
Refrain – Oy Strasenhof….
Tsu peysekh git men undz
a geshenk gor fayn un shnel:
dray a zeyger ofshteyn
un fir in der apel.
Un Lides shtime hert men
“Ver vil nokh shlofn dort?
Tsi den hot ir fargesn
az ir muzst haynt makhn sport?”
Mit sport muzn mir oyfshteyn,
mit sport shlofn mir ayn,
sport ahin tui sport aher
Gevald! Ikh ken nit mer!
In Strassenhof camp
For big and small,
For young and old –
A new fad – sport.
Whoever slept past the “Apel” [line-up]
Whoever in her corner came late –
The new sport-pudding.
Oy Strassenhof, why, tell me, Strassenhof
I ask you Strassenhof; you know for sure.
The sport is actually not bad, in this you are right.
But why afterwards do my legs hurt so much?
Next day I came to the factory
I barely made it, thank God.
Then everyone starts to complain:
“Oy how sick I am today”.
One cannot move.
The other cannot walk.
The third one must be helped,
The fourth cannot stand.
For Passover they give us
A gift, real fine and fast;
Three o’oclock wake up
And by four at the Appel.
And Lide’s voice can be heard.
Who wants to sleep some more over there,
Did you forget
That you have to do sport today?!
With sport we must wake up.
With sport we fall asleep.
Sport here, sport there,
Help! I can’t anymore.