Cornelis Vreeswijk – “Till Linnea Via Leonard Cohen” (For Linnea Via Leonard Cohen).

Hey people! 🙂

Today I thought that I’d share with you one of the songs that Cornelis Vreeswijk wrote to a woman called Linnea. All these Linnea songs are more or less erotically charged, and I always liked to think that this Linnea is at least based on his second wife – the actress Bim Warne – whose actual name was Birgitta Gunvor Linnea, and because I’ve always got the impression that, despite all the usual relationship storminess that was pretty much the norm in his life, his relationship with Bim was best out of his three wives. Besides, the album “Linneas Fina Visor” (Linnea’s Fine Songs) on which most if not all (can’t remember exactly) of the Linnea songs were released, came out when they were still a couple. And I still don’t know whether that is actually the case, but years later I read something that implied quite strongly that it’s possible. Especially that he based a lot of his characters on real life people. There’s also another version of this song called Till Gunnel. Honestly though, I’ve always been intrigued by what’s Leonard Cohen got to do with this, and I can only assume that, since Vreeswijk borrowed a lot of songs or melodies or motives etc. from other artists who wrote and/or sang in other languages, that includes “Nancy” by Cohen, so perhaps in some way it’s also the case with this one, perhaps it’s based on some song that was originally Leonard Cohen’s or something like that. But because I don’t really have much of an idea about Leonard Cohen’s music, I’ve no idea if this is true.

I thought I wouldn’t be able to write a translation for this, but I did it, and it wasn’t even all that difficult, though I did have several issues witt it. There’s one line that I absolutely cannot make out what it’s supposed to mean so I had no better option than to leave it out. In some places I feel like my English wording is a little off but I had no better ideas. Then there is the line that I translated as “Of my mother’s only son” but have a problem with the “of” because there’s actually the Swedish word “på” used in the original, which is typically translated as on, but it doesn’t really make sense to me. I of course know that prepositions work very differently from one language to another, but even in Swedish I feel like the word “av”, which would literally translate as “of” to English, would make much more sense here. So either my Swedish is a lot less advanced than I think (not that I think it’s actually, properly Advanced, but you don’t have to be extremely advanced to understand prepositions in a language I believe 😀 ), or I don’t understand the sense of this line, or perhaps “på” can be used instead of “av” in some more poetic contexts like here.

Another line I had ann issue with was about the pen that floats, where I left out a word because I had no idea what to do with it. The original word is “värdig” and it literally means worthy. Can a pen be worthy? Perhaps it’s supposed to mean something like that that it’s dear to him in a way, or deserving of appreciation, because it’s the pen with which he writes songs for Linnea and no other pen would suit this? That’s what came to my mind, but I doubt that it’s actually true. Perhaps in this case “värdig” is meant to be an adverb, but then it should be “värdigt”. You can have adverbs that look like their adjective counterparts in Norwegian, but I don’t think I’ve seen it in Swedish (well, unless an adjective ends with a “t” but that’s irrelevant here). So what is most likely imo is that the word “värdig” must have a wider scope than what I’m aware of.

Here’s the translation:

 

Linnea, what do you want to hear?

I forget it every time

I have something in my ear

That maybe can become a song

It quivers in the guitar

It asks for a beautiful grasp

Now I open the case

And kiss your lower lip

Sit still and quiet, Linnea

Here comes a beautiful verse

(…)

Chases me here and there

A crumhorn and two timbals

Disappear far away

The guitar shivers in the arms

Of [?] my mother’s only son

An Eskimo opens a window

Then the whole room becomes cool

Out flow seductive vapours

That rhyme was ingenious

You know I can keep the heat

I guess you know that I know it

I am as hot as Saturn, at least

And strong as a magnet

Now this song is soon over

You notice it already yourself

My pen floats forward (…)

Like the timber in some river

Sit still and quiet and wait

Remain in your picture frame

Because when I am done writing, Linnea

The pen is as good as lame [?]

Now all the stars become matt

And stiffen like tinfoil

On the deserts dry and flat

Watering holes spring up

Darkness gives way to the night

And it is not day yet

Linnea, here is your song

Linnea, and here am I

Song of the day (6th January) – Silver “Jag Drömmer” (I Dream).

Hey people! 🙂

I thought I’d share this nice, kind of idealistic-sounding, Swedish song with you. Silver are Ellen Vingren and Jenny Wahlström, who are also parts of other music projects, at least Ellen is for sure, I’m not 100% sure about Jenny. They’re also both Christian and perform Christian music as well. The lyrics to this are really easy so I was able to translate them for you:

 

I dream about loving myself

I dream about being genuine and for real

I dream about daring to feel

About being artistically sharp and free

And that the feeling survives the storm

That silver turns out to be gold

It looks like it could be so

But it feels difficult to reach just yet

Maybe I dream too little

I dream that the sail will be hoisted

That the last word in this has not yet been said

And that the ship survives the storm

That silver turns out to be gold

It looks like it could be so

But it feels difficult to reach just yet

Maybe I dream too little

You know what, you know what, you, I hear them everywhere

The tones that they stole we’ll get back thousandfold

You know what, you know what, you, I hear them everywhere

We shall get everything back

Those who lost themselves but have been found

Silver turns out to be gold

The ship survives the storm

Silver turns out to be gold

Jack Vreeswijk – “Tjuvjägaren” (The Poacher).

Recently, I shared with you a theme piece from Amir Chamdin’s 2010 film “Cornelis” about Cornelis Vreeswijk, which was composed by Cornelis’ son, Jack. Today I want to show you that this film was not the only close encounter Jack had with the world of film during his music career. There is a Swedish historical film from 2016, directed by John Tornblad, it’s called Tjuvjägaren which means the poacher in English, and the poacher is the main character of this film, however IMDB claims that this production is known in English under the name Lars and the Baron – Lars is the name of the poacher. – The theme song to this film was written by its director, as well as cinematographer Andreas Olsson, and is sung by none other than Jack Vreeswijk! I have to admit that I’ve never watched the film, despite I’ve wanted to because it sounds rather interesting, but somehow it never happened, mostly because with all my practical issues around film watching it feels like a huge undertaking and I’m not sure my motivation is equally huge. 😀 But ever since I’ve heard this song for the first time, I really really like it, and I think Jack vocals fit it so well.

Sara Parkman – “Fält” (Fields).

For today, I’m sharing with you a song from a very interesting Swedish contemporary folk singer, who is inspired by a lot of Scandinavian traditional folk acts that I love too, like Garmarna or Lena Villemark. As for Sara Parkman’s music itself, some of it I really like, some of it I’m totally neutral about, and some of it I dislike. But she’s a very interesting artist nonetheless who draws inspiration from and is influenced by a lot of different music, from things like the above mentioned Garmarna to st. Hildegard von Bingen. She is from the north of Sweden and collaborates with a lot of artists, not only folky ones. I find this particular song of hers very powerful. I found a good translation of it

here.

The days bellow, promise, and lie,

Cry and blink, blink and stop.

A thought at the end, made from ember.

I practise at night, the sky swells,

the sea is in me, the roads grow.

It is like you say: we still exist.

Come if you want to.

Come if you want to.

Come if you want to, to me.

Come if you want to.

Come if you want to.

Come to me, now.

Lichens that burn, firs that protect,

the sky in the moss, Sweden darkens.

The forests grow where I stand,

feelings that grind, outwardly.

Sanna Nielsen – “Inte Ok” (Not OK).

Hi guys! 🙂

Today, let’s listen to some Swedish pop. Inte OK is Sanna Nielsen’s 2017 single, written together with David Lindgren Zacharias and Olle Nyman. Sanna is a very popular singer in Sweden, known particularly for her multiple entrances into Melodifestivalen (the Swedish Eurovision preselections and the most watched programme on the Swedish TV). I don’t really follow Mello very diligently nor am I a huge fan of Sanna overall but from what I know she’s always ended up with a good result in there, yet it took her a total of seven attempts to actually win and thus represent Sweden at Eurovision 2014, with the song Undo. She’s also known from some other Swedish TV shows.

Sanna must have started singing at a really early age, because already when she was 7, she took part in all sorts of talent competitions. She had her first huge hit “Till en Fågel” (To a Bird), when she was 11, which still makes her the youngest artist whose song has made it to #1 on Svensktoppen (the Swedish weekly record chart aired at Sveriges Radio).

So, as you can see, she’s been quite successful from the very beginning. This, however, came at a high price as it seems, because this was exactly the reason why she was bullied at school by the other students, who would tell her quite diminishing things to make sure she didn’t feel any better than the rest of them just because she’s a good and successful singer. I can totally imagine this being possible anywhere just out of plain jealousy or something but I guess particularly in a country like Sweden, where

Jantelagen

is a thing.

And this song is about that time in her life, and the way she felt.

I’ve found a pretty good translation

here.

Your words burn and hurt

You look at me running home, in tears

I remember I wished you wouldn’t see me at all

I keep my eyes shut and vanish, until I dare

No, it’s not okay for me

I need to exist, to be exactly the way I want

No, it’s not okay for me

I feel my heart, when it dies, it cries, but no one hears

All you wanted was to see me frail

But you didn’t know who I was

I am stronger

No, it’s not okay for me

Reading burning, plaguing words

Hidden behind the screens, in tears

Please, start looking at us the way we are

We shall start living because we dare

No, it’s not okay for me

I need to exist, to be exactly the way I want

No, it’s not okay for me

I feel my heart, when it dies, it cries, but no one hears

All you wanted was to see me frail

But you didn’t know who I was

I am stronger

No, it’s not okay for me

You wanted to see me frail, but I’ve grown stronger

You wanted to see me frail, but I’ve grown stronger

No, it’s not okay for me

I need to exist, to be exactly the way I want

No, it’s not okay for me

I feel my heart, when it dies, it cries, but no one hears

All you wanted was to see me frail

But you didn’t know who I was

I am stronger

No, it’s not okay for me

You wanted to see me frail, but I’ve grown stronger

Cornelis Vreeswijk – “Helena”.

Hey people! 🙂

Something I heard earlier today reminded me of this song and it made me wonder whether I’ve shared it on here. I was quite sure I must have, because I really like this song in Vreeswijk’s interpretation, but, a bit oddly I suppose, that turns out not to be the case so I’m sharing it today.

This song was written by Lars Forssell, one of the artists by whom Cornelis was quite strongly inspired, a very versatile writer, and member of the Swedish Academy, who clearly, like Vreeswijk himself, must have had at least some socialist inclinations, which I base solely on the songs he wrote that were interpreted by Cornelis as I’m not really familiar with Forssell’s other works. Cornelis recorded a whole album, called “Visor, Svarta och Röda” (Songs, Black and Red) with interpretations of songs written by Forssell.

This song, however, is not exactly Forssell’s original work, because it’s a translation or should we say an adaptation, of a song written and recorded by American musician Tucker Zimmerman called “She’s an Easy Rider”.

It’s kind of weird that I like this song, actually. It’s nothing exciting musically, it feels super hippie, it’s a lot of things that I’m just not, or that I don’t really necessarily look out for in music. While I think I understand people who feel the way Helena does, that freedom is basically not having roots and wandering more or less aimlessly through life without too many possessions or connections to bring you down, I’m more inclined to think that freedom is something a lot more internal, and that actually, some sense of having roots can be helpful in feeling more free, at least in my experience. I get it that there’s no one, “true” way of experiencing freedom, and Helena’s way must have been quite appealing to Cornelis from all that I know about him, but mine is vastly different, so it’s not like I find this song hugely resonating or anything. Yet I do like it.

And I think the sole reason is how evocative it is. Seriously, looking at the English original, it feels like it must have been the Swedish version that came first, because it’s so much more detailed, and gives us a much more sophisticated idea of this girl, well, she even has a name, which gives me a lot to work with as a name nerd. Listening to this, I can easily imagine this Helena girl and what she’s like. And I was mightily surprised when I learned that this is not originally a Swedish song and that it’s so much poorer in the original. The bonus point is due to the fact that Helena has been my all-time favourite name. I initially felt that it sort of clashed with the heroine’s kinda rebel personality, because that’s not at all the default image I get for the name Helena, which I perceive as very refined and girly and subtle, but I think that’s what makes it all the more interesting and kind of multi-dimensional, suggesting that either there might be more to her than meets the eye, meaning that there might be some other layer of her personality that is more like a Helena that she just doesn’t show the world, or that just like she’s generally a very unconventional person, she might also be a very unconventional Helena, different from most of her fellow namesakes.

And then we have a translation of a translation, because Cornelis not only recorded it in Swedish, but also decided to translate it to Dutch.

I can’t speak Dutch as of yet, and haven’t been able to find a good translation of the Dutch version, but based on some words that I think I understand via English or Swedish or because I know them, and because after all it’s a translation, I doubt it differs in any very substantial way from the Swedish version.

I was able to translate the Swedish one though, which should give you an idea of what it’s about.

 

Can you hear her out there in the distance

disappearing?

She is so free, Helena

And not imprisoned here like us

And not bound here like us

She is so free, Helena

All she has is the motor cycle

And an open road

She is so free, Helena

And the wind learns her song

And falls into her song

How free you are, Helena

She is not bothered by guardians

Or good advice

Because she’s free, Helena

And her rite is her destination

And her road is her destination

She is so free, Helena

No roads are short

On her journey with no destination

Free ofmoney, free of us and geography of the map

She is so free, Helena

And not imprisoned here like us

And not bound here like us

Can you hear here out there in the distance

Disappearing?

Yes, she is free, Helena

And not bound here like us

And not imprisoned here like us

How free she is, Helena

Swedish:

Dutch:

Cornelis Vreeswijk – “Epistel 71 “Till Ulla i Fönstret på Fiskartorpet, Middagstiden, en Sommardag”” (Epistle 71 “To Ulla in the Window in Fiskartorpet, at Lunchtime, one Summer’s Day”).

Hey people! 🙂

I’ve shared quite a few songs by Cornelis Vreeswijk on this blog so far, but I believe I’ve never shared any of his interpretations of poems written by Carl Michael Bellman, a Swedish 18th century poet and musician whose works are still popular in Scandinavia. From what I know, part of why he is still well-known in his home country is thanks to Vreeswijk, who sort of gave a new life to some of his works, in particular Fredmans Epistlar (Fredman’s Epistles) which are poems set to, I believe mostly traditional, tunes.

Perhaps the reason why I so far haven’t shared any of those Vreeswijk interpretations of Bellman is that I don’t really find those Bellman’s poems hugely relatable. I mean, I absolutely love this old language, and I like how he portrays Stockholm from so many different sides in those poems and that it all feels still very alive and human and full of humour despite being ages old, but I just can’t say it speaks to me on any deeper level, unlike some of Cornelis’ own music. I remember my first encounters with those epistles and being all indignant and like, gosh, the guy must have had some proper drinking obsession. 😀 Everything there revolves more or less around drinking (alternatively copulating and the like) in various contexts. Of course, when you have a closer look, it’s not the only thing these epistles are supposed to be about, but still, it’s the dominating theme, and as a non-, or hardly-ever-drinker, I just don’t feel it. Perhaps more importantly, I’m not a Swede… well okay, neither was Cornelis, but practically he almost was as he lived in Sweden since the age of 12. Oddly enough, while Bellman isn’t really well-known outside of his home country and if you asked some random Polish folks if they know who he was I doubt anyone would have a clue, Fredman’s Epistles were actually translated into Polish, by Leonard Neuger, and I was even able to get hold of this translation when I was having a major faza on Vreeswijk, and when you have a major faza on someone you want to know as much as possible about the individual and he had quite a strong interest in Bellman so I wanted to read them just out of curiosity and in Swedish that wouldn’t be possible with all that archaic language. Except, I didn’t even end up reading the entire collection in Polish either. I really like reading books written in archaic or obsolete language in Polish but this one felt extremely clunky, often I felt like I couldn’t even quite follow what I was reading. 😀 Maybe I’m less competent in my own language than I think, but it didn’t make me like Bellman anymore. Still, it’s funny how there’s all that fancy, archaic, sophisticated and sublime language, while the themes are what they are, I like disonances like that.

Apart from all the drinking, a very characteristic element of Fredman’s Epistles is a woman called Ulla Winblad (she’s a lot like Ann-Katarin Rosenblad in Vreeswijk’s songs and poems), and she seems to be some kind of a nymph or other deity or something like that but at the same time something like a prostitute, anyway the narrator – Fredman – definitely has a huge crush on her to put it colloquially and simplistically.

This epistle has also to do with Ulla, and while of course there are a few mentions of wine here, it’s pretty low-key and it’s a pastoral so it has a very idyllic feel to it. The melody, apparently, was in case of this epistle written by Bellman himself. A shorter title under which this epistle is known is Ulla, Min Ulla (Ulla, My Ulla) or Ulla, Min Ulla, Säj Får Jag Dig Bjuda (Ulla, My Ulla, Say, May I Thee Offer) and the long name under which it functions on Vreeswijk’s album is the subtitle.

And as we can figure out from this subtitle, what we have here is a scene where Fredman basically sings a serenade to Ulla, sitting on a horse outside her window at lunchtime on a summer’s day in a place north of Stockholm called Fiskartorpet which is some sort of a recreational area. He’s thirsty and apparently also sleepy and invites Ulla to come out to him and eat and promises her all sorts of food. While sitting and eating together, they admire and relish the view of the place, and Fredman asks Ulla “Isn’t it heavenly?”, and she meekly agrees.

This poem, as many others, was inspired by Bellman’s friendship with a wealthy and quite interesting lady called Helena Quiding, who had her summer house called Heleneberg, where she frequently invited him as well as a circle of some other friends, and this house still exists in Fiskartorpet.

I really really like Cornelis’ skillful and delicate interpretation of this piece. He recorded it on his 1971 album with Bellman interpretations called Spring mot Ulla, Spring! (Run to Ulla, Run!).

I guess there have been several English translations of Fredman’s Epistles, but a more recent one was written by Eva Toller, and it’s her translation that I’m including in this piece. She has her own website and you can find it

here.

 

Ulla, my Ulla, pray, can I offer you

strawberries so red, in a mixture of milk and wine?

Or, fresh from the fish-chest, a jumping carp,

or, from the well, a tureen of water?

The doors are opened by the wandering winds,

flowers and spruce-twigs give fragrance;

the drizzling skies herald the sunshine, as you can see.

Ain’t this heavenly, this Fisher Cottage, say?

“Heavenly to behold!”

Here, the proud tree trunks, lining up,

with their leaves so fresh?

Here, the tranquil bay outlined? “Oh, yes!”

(And) there, far away between the ditches, tilled fields,!

Ain’t they divine, these meadows?

“Heavenly, divine!”

Your health, and good day to you in your window, my lovely!

Harken to the bells, (audible) from the city.

And behold how the blowing road dust hides the greenery

between barouches and coaches in the courtyard.

(Please) reach out from the window, where you see me,

so sleepy in my saddle, mon cousine,

(give me) first a biscuit, and then a jug of red wine!

Ain’t this heavenly…

Now the stallion is taken to his stable-box, my Ulla,

whinnying, stampeding at a canter.

Yet in the door to the stable, its eyes are glancing

proudly at the window, up to where you are.

You set all Nature afire in flames

with the warm splendour of your eyes.

Cheers! down by the gate, in the warm rye(?),

cheers! here’s to you!

Ain’t this heavenly…

CajsaStina Åkerström – “Är Det Så Här Det Känns Att Komma Hem?” (Is This What it Feels Like to Come Home?).

Hey guys! 🙂

Today I’m sharing with you the second, and the last, song from this Swedish pop singer that I like. Just like with the one I shared yesterday, I don’t really know why I do, because as I said overall her music isn’t very much my thing. Perhaps it’s because of the time when I first came across it, and that due to this I have some nice associations with it. It also has quite interesting lyrics, which I was even able to translate for you. There probably are some things wrong with this translation or things that perhaps could have been phrased better or that I haven’t understood myself for what exactly they’re supposed to mean, but as I always say these translations are only to give you a reasonably good idea of what the song is about and in my opinion this one is good enough to do just this. There is one word in it that I absolutely wasn’t able to figure out what it might be called in English, the Swedish word is sly and I thinkit’s some kind of either lower vegetation layer or an individual shrub.

 

Led lights from a window

through layers of haze

A smell of freshly baked rye bread

traces of solicitude and life

Summer-bleached sheets

In a nice, freshly made bed

Is this what it feels like

To come home

Years and miles of longing

Have brought me to your door

I inhale this freedom

That lifts guilt off the back

The song is playing on the radio

With a beloved, known chorus

Is this what it feels like

to come home_

Days come go

The despair lasts for years

In mould that died the spring is blooming

A sigh for every step

I was ready to give up

But then you came

Like a long awaited, beloved friend

Is this what it feels like

To come home

The air after thunderstorm

Like starting over from scratch

The mask I once wore

Has now played its role

With you a circle has closed

Now that time becomes too long ago

Is this what it feels like

To come home

Days come go

The despair lasts for years

In mould that died the spring is blooming

A sigh for every step

I was ready to give up

But then you came

Like a long awaited, beloved friend

Is this what it feels like

To come home

Remains of a closed down track

With fireweed and sly

A deserted building plot, a thicket of nettles

Once the world was new

What caused the hope to escape

Led lights from a window

through layers of haze

A smell of freshly baked rye bread

traces of solicitude and life

Summer-bleached sheets

In a nice, freshly made bed

Is this what it feels like

To come home

Days come go

The despair lasts for years

In mould that died the spring is blooming

A sigh for every step

I was ready to give up

But then you came

Like a long awaited, beloved friend

Is this what it feels like

To come home

Like a long awaited, beloved friend

Is this what it feels like

To come home

CajsaStina Åkerström – “När” (When).

Hey people! 🙂

Today’s song of the day is from a Swedish singer with whose music I’ve been familiar for quite a few years. If I remember correctly, it was around the time she took part in Swedish Eurovision preselections Melodifestivalen when I was starting to take deeper interest in Swedish popular music, and was relying on Last.fm for music discovery, and as a result Last.fm often recommended her music to me since I believe she was particularly popular at that moment or something. I don’t really love her music, but there are a few songs by her that I like, like this one. I don’t know why, as they’re not really very much my style, but I just do.

CajsaStina Åkerström is a well-known artist in her home country. She also sounds quite versatile because not only is she a singer, but has a degree in archaeology and since I believe quite recently has gotten some attention as a painter. She is the daughter of the famous Swedish vissångare (visa is a typical Swedish/Scandinavian folk song) Fred Åkerström, who was particularly known for interpreting the works of the 18th-century Swedish poet Carl Michael Bellman, which is why I always think that she should have been called Cajsa Lisa rather than CajsaStina, because there’s a poem by Carl Michael Bellman called Glimmande Nymf (Gleaming Nymph) where the nymph’s name is Cajsa Lisa. Lol yeah, my inner name nerd/baby namer never sleeps. 😀

Fred Åkerström collaborated a fair bit with Cornelis Vreeswijk (one of my faza peeps) especially at the beginning of Vreeswijk’s career and helped to promote his music. I’ve never really felt Åkerström or his music quite as much as I do Vreeswijk despite all the similarities between them.

CajsaStina wrote her autobiography, which I haven’t read, but even looking at it’s title – “Du och Jag, Farsan” (You and Me, Daddy) we can assume that a lot of place in there has been dedicated to her relationship with her father. Later on she also toured together with Jack Vreeswijk – son of Cornelis. – These two definitely must have had very similar childhood experiences – having had larger-than-life, talented or even ingenious (certainly the case with Vreeswijk, don’t know enough about Åkerström to say that) fathers, who both struggled with addictions, were both quite obsessed about Bellman and other such people, and, from what I gather, were really cool fathers when they were around but more often they were not present or at least not in a secure way. – Both CajsaStina and Jack also lost their fathers in their twenties so that’s really early.

The song of her that I want to share with you comes from her album Vreden och Stormen (The Anger and the Storm). I really wanted to translate it for you but the results were rather meh, so I’ll just tell you what it’s about. The way I see it it’s about how the time of the lyrical subject’s life is passing, and she still doesn’t feel like she’s truly living the life she wants and like she doesn’t know who she exactly is or is playing some role that’s not really her, it’s about not having some deeper meaning, or truth, to her existence, and I guess it all feeling quite empty and she expects and longs for something more from her life than what she has.

Question of the day.

What was the last book you read? Did you enjoy it?

My answer:

Village School by Miss Read. I’d been wanting for the longest time to read something from this author, particularly Miss Clare Remembers and No Holly For Miss Quinn, which are two books in her Fairacre series which inspired Enya (one of my faza people) to compose two pieces of music with the same names. Just listening to those songs I always thought that if they have book equivalents, they must be great, and reading their synopses made me think they were right up my alley, but there was no Polish translation, or at least I couldn’t find any, and it’s fairly recently, some two years ago I guess, that I’ve seriously started reading English-language books of all sorts more regularly and casually, that is not solely for learning the language and new vocabulary. GoodReads must have also figured that it would be right up my alley, because recently I’ve found the first book from this series (the aforementioned Village School) in my recommendations on there, and since now I have access to different places where I can get English books and I read them regularly, I figured I really need to give this series a go now. It took me some time to get into it properly, but I really did enjoy this book and I felt really at home in it by the time I finished. It was really sweet and charming and I absolutely loved her way of describing characters, I love authors whose characters I can actually imagine and who seem life-like, her way of describing things in general is amazing, and I liked her sense of humour.

At more or less the same time I happened to learn that a guy I used to follow quite regularly some years ago, who teaches Swedish online and is a Swede himself and generally seems quite crazy about languages, has written a handbook for Swedish learners, called A Lagom Guide To Swedish. I figured I could really use some good Swedish offline resource that I wouldn’t need to scan or anything, so I bought the ebook right away. And while it’s a handbook, so generally not something you’d just read like from cover to cover, that was precisely what I ended up doing, in just a few sittings. 😀 I was quite curious how much of the things in this book I would have already known, so I started just skimming through it, but then got positively surprised that I actually know SO much of the stuff he covered in it, and even more surprised and happy whenever I came across something I didn’t know or realise, that I just didn’t want to put it aside. It really boosted my self-esteem in terms of Swedish, because ever since my English has leapt so much forward, I’ve been feeling less confident about my Swedish than I was before, even despite I managed with it quite well in Stockholm and I can get along with people just fine, I always have an impression that my Swedish, compared with my English, feels kind of clunky and it’s not as easy for me to express everything in it as it is in English, even though there was a time when my Swedish was waay better than my English. So I’m really glad I came across that book, even for this one reason. And it’ll definitely still be useful in different situations.

How about you? 🙂

Gjallarhorn – “Herr Olof” (Master Olof) & Nordman – “Herr Olof Och Havsfrun” (Master Olof And The Mermaid).

Hiya people! 🙂

So recently I’ve shared the music of quite a few Nordic folk artists with you, and I thought we’d stay in this Nordic folk climate for a while yet. The song I want to share with you is one of the first Swedish folk songs that I’ve heard of. Herr Olof (or master/sir Olof in English, Gjallarhorn translate it as master so we’ll stick to it here) is a young knight, who one day decided to visit the court or homestead of a mermaid. She greets him very happily, stating that she’s awaited him for fifteen years, and then proceeds to ask him all sorts of nosy questions – where he was born, where his family live, where are his fields and meadows etc. etc. but most importantly “Where do you have your fiancee, with whom you want to live and die?” Herr Olof has one answer to all these questions, that he has all these things and people at the king’s court. Then the mermaid finally lets him in and gives him “the clearest wine” to drink, after which herr Olof actually changes his mind and decides that all he has is now at the mermaid’s court, and that she is the one with whom he wants to live and die.

Usually, if I share two or more versions of the same song with you in one post, it’s because I can’t decide which one I like more. It’s not the case here though. I’m very partial to Gjallarhorn’s version, because I love Gjallarhorn in general, but I also do like Nordman’s version because this is the first version of this song that I’ve ever heard and I thought it would be interesting for people to compare perhaps. This is also one of very few songs by Nordman that I actually like, because their way of mixing folk and pop together just doesn’t speak to me. Of course I’ve nothing against mixing folk and pop, I often love it, but I simply don’t like the way they specifically do it with most of their music, it feels a bit cheesy.

When it comes to Gjallarhorn, it is thanks to them that I developed an interest in Finland Swedish, or at least the amazingly cute accent that Finns have when speaking Swedish. The band’s members are all Swedish-speaking Finns, but I didn’t know it when I first came across the music, so I was very amazed hearing the vocalist’s accent, and then I figured out why she sounds the way she does and that she’s Finnish, I decided to have a deeper look at finlandssvenska and totally sank. It’s just such a cute accent! The name Gjallarhorn means hollering horn in Old Norse, and refers to the horn belonging to Heimdal – the watchman of the Norse gods – who, according to the Norse people’s beliefs, was to blow this horn during Ragnarok, so loud that the whole world would hear it.

Gjallarhorn – “Herr Olof”:

Nordman: “Herr Olof Och Havsfrun”:

Myrkur – “Två Konungabarn” (Two Children of the Kings).

Hey people! 🙂

For today, I decided to share with you a beautiful Swedish folk song, performed by a Danish artist. Myrkur means darkness in Icelandic and is a project of Amalie Bruun, who is into everything from black metal to folk, often with very strong pagan connections, which is why I don’t really listen to her particularly much but I appreciate her and her music for how invested she is into it. She can play several traditional instruments like nyckelharpa or lyre. And this is my favourite song of hers. The translation of the lyrics is below, I’ve taken it from

here,

although I’m not perfectly sure that everything in it is correct and some bits seem a bit weird compared with the original, but perhaps it wasn’t meant to be a literal translation so I didn’t change anything.

 

There were two noble children of the kings

Who exchanged their vows

And the one who will break it

Will live in great unrest

There was an old witch

Who overheard them talking

“I want to destroy their love

If I may live that day”

And the duke got ready and sailed

And the billow hit him in his chest

But when he was sinking

The light in the lantern ceased burning

The young maiden asked her father

“Near the little green river

Am I allowed to go for a walk

Near the little green river?”

“It’s enough I give a permission to go for a walk

Near the little green river

Wake up your younger brother

He can well go with you”

“What will my brother do there?

He doesn’t understand much

He shoots all little birds

That go along his way”

And the young maiden went for a walk

Near the little green river

And there she saw a fisherman

Who was fishing on his boat.

“Good day, good day to you fisherman

Good day to your boat

Have you seen a nobleman

Floating on the blue waves?”

“His socks were made of silk,

His shoes were with golden buckles

And I would never thought

That I’ll see a corpse smiling”

And the young maiden took the rings off her hand

And golden chain off her neck

And gave them to the little fisherman

Who lead the boats forward

Hep Stars – “Sagan om Lilla Sofi” (The Story of Little Sofi).

Hiya people! 🙂

This Swedish song is over 50 years old but it’s brand new to me. And I like collecting cool songs with a Sofi/Sofia/Sofie/Sophia/Sophie in them, so it sparked my interest right away when I heard it. I’ve often mentioned on here that I always listen to some music quietly at night, or if not music from Spotify then some radio in one of my favourite languages. And last night I was listening to the Swedish public station P4, and that’s where I heard this song, in the middle of the night. Funnily enough, my Sofi was here too. It’s been freakishly hot here, and also unbearably humid, and Sofi has like a double room. There’s just a normal, big room that she uses during the day, and then there’s a hole in the wall where there is another room and she sleeps there, it’s like a little cave or something, the ceiling is very low there and there’s only a very small window. And as it’s a very small and tight space, it heats up very quickly. Sofi used to sleep in her main room and used that little one for playing video games or other stuff like that, but then she decided that she wants to make the little room into a bedroom, only she didn’t predict how hellish it would get in the summer. And so Sofi couldn’t sleep last night and came to me at about 2 AM, asking if she could sleep here, because I have AC in here.

She had to make herself a makeshift bed on the floor as it would be quite unbearable for both of us to sleep together in my bed, and as she was making it, this song played on the radio. 😀 I wouldn’t even pay much attention to it because it was just playing very softly in the background, but Sofi heard it and was laughing because it sounded funny to her and was asking why do I listen to such weird, antiquated-sounding stuff. 😀 So then I listened more closely and agreed that something about it sounds funny, and I turned the volume up a little bit, and then I realised that it’s about a “lilla Sofi”, so we were both laughing that they’re spying on us. Even though it was funny and even though I usually don’t feel older Swedish music really, I made sure to memorise a bit of lyrics and decided to check it out properly today and I really quite like it. It’s a really sad song though, while at the same time I still think it’s funny.

I’m not perfectly sure if it’s Sofi or Sofie in the title, as I’ve seen both, but Sofi seems to occur more frequently.

The song was written by Benny Andersson (from ABBA, except ABBA wasn’t a thing yet for a couple years) and Lars Berghagen, and released in 1968.

Here’s my literal English translation of it:

 

Little Sofi, she shines like a sun,

Makes a wreath of meadow flowers and violets,

The sky is shining nicely blue as she slowly goes home,

Sits down by her gate,

Holds the wreath against her cheek

Then a song is heard, then a cloud of dust is seen,

A little soldier is marching along the road,

He has striped trousers and he has a big rifle,

He is marching so pluckily,

A little, big soldier

Little Sofi, she shouts ”Hello to you!

My name is Sofi, come here and play with me”

But then the soldier replies

No, I have to hurry up

I am going far away

The whole world is on fire”

May I join you, I promise to be nice

We’ll surely be back here by the evening”

But then he answers her

It will be far for you to go

Stay here my little friend

For I will come soon again

Day turns to night, and months to years

And little Sofi, she waits every spring

But the wind that is drawing toward north

Can give the answer but has no words

Never comes back again

So she is still waiting for sure

Cornelis Vreeswijk – “Somliga Går med Trasiga Skor” (Some People Walk in Tattered Shoes”.

Hiya people! 🙂

So as you may know, I’ve recently managed to translate a couple of songs by one of my faza people, Cornelis Vreeswijk, from Swedish, and I’m quite satisfied with the results, and I thought I should try translating this one, as it has fairly easy lyrics and also is one of his more popular and recognisable songs in Sweden, I guess only the one about Cecilia Lind whichh I also shared years ago is more popular. It comes from one of his earlier albums – “Tio Vackra Visor och Personliga Persson” (Ten Beautiful Songs and Personal Persson) from 1968. Even though, being a Christian myself, I don’t agree with a fair bit of stuff he sings about in this song, at the same time I think I do understand why someone would have this kind of perspective on things and even though I don’t agree with some things here, I feel similar about not getting attached to life too much, which is why I like it. Interestingly, the shoes problem seems to be very persistent and intergenerational, because Jack Vreeswijk (Cornelis’ son) also has an original song called “Mina Gamla Skor” (My Old Shoes). 😀

 

Some people walk in tattered shoes

Say why is it so?

God father who lives in heaven

Maybe wants to have it this way

God father who lives in heaven

Closes his eyes and sleeps sweetly

Who cares about a pair of tattered shoes

When one is tired and old?

Who cares about how the days go?

They wander as they want

Citizen, in one hundred years

You will no longer exist.

Then someone else will take your chair

You won’t know about it

You’ll feel neither rain nor sun

Down in your dark grave.

Who cares about how the nights pass_

I couldn’t care less

As long as I can keep my face

Hidden in my darling’s hair.

I am a shady character

Not enough for much

Death stands lurking behind the corner

He takes me when he wants.

Some people walk in tattered shoes

Until they stop walking

The devil who lives in hell

Gets a good laugh then

Suvi Teräsniska ft. Arttu Wiskari – “Sininen Uni” (Blue Dream) & Cornelis Vreeswijk – “Den Blåa Drömmen” (The Blue Dream”.

Hey guys! 🙂

Let’s listen to yet another, beautiful and cute lullaby today. It was written by a Finn of many talents – Tapio Rautavaara (1915-1979) – who was a successful athlete (javelin thrower and archer) and then (also successful) singer and actor. Some of his songs, from what I know, were quite big hits at the time of his career. While I don’t really feel them musically all that much as they just don’t stand out to me I guess and are totally not my thing, I like the lyrics of some of them, which are often humourous, sometimes a bit ironical and often have a fair bit of wisdom in them, in which they remind me of Cornelis Vreeswijk. Their political views were also very similar from what I know. It is not surprising then, with that similarity, that Cornelis Vreeswijk actually did an album consisting of Rautavaara’s songs that he – Vreeswijk – translated to Swedish. The album is called “En Spjutkastares Visor” (Songs of a Javelin Thrower) and was released in 1980. Among these songs is “Sininen Uni” in Finnish, or “Den Blåa Drömmen” in the Swedish translation, or Blue Dream in English – a lovely lullaby about the Sandman, or Nukkumatti in Finnish, or John Blund in Swedish (blund means close your eyes and is the imperative form of the verb blunda).

Sandman is one of my most favourite folklore characters, next to Jack Frost, selkies, changelings and some others, because I love sleep and dreams and I just really like the concept of the Sandman, so I instantly fell in love with this lullaby when I heard it for the first time and understood well enough (in Vreeswijk’s version).

Thanks to Spotify, a couple months ago I also came across a cover version in Finnish sung by Suvi Teräsniska and Arttu Wiskari, which speaks to me more than the original. And I thought that, because Finnish is just as beautiful a language in my opinion as Swedish, and because it’s interesting to hear how the song sounds in its original language, I would share this Finnish version too, and also I just plain like it, unlike the original.

I don’t speak Finnish (yet), so I don’t understand any of the Finnish lyrics, but I tried my best at translating the Swedish translation into English for you. I got Google to translate the Finnish one for me out of curiosity and it doesn’t seem like there are any huge differences between the two language versions, perhaps except for that, according to Google, the Finnish Nukkumatti “devours ice cream” whereas John Blund is better and gives you a sleepy cookie.

 

Every evening when the lamp goes out

And the night is about to come

The Sandman knocks on the door

So quietly and so carefully.

He tiptoes in through the door

In his sleepy shoes

And sits down nicely by the bed

In the room where you live.

He has such a sleepy cap.

It is full of sleepy sand.

He gives you a sleepy cookie

With his sleepy little hand.

His car is blue, can you see it_

It’s going to drive away soon.

Vroom, vroom, says the car

In me you can ride.

Now he puts up the umbrella

And puts on his cap.

What does he carry under his arm_

Well, a dream book which is blue.

And the car drives to the dream land

With a sleepy speed

Vroom, vroom, says the car.

Now I guess we’ll fall asleep very soon.

And there you see the golden trees

That grow in the forest of dreams.

And the dream blue bird.

Well, I guess you know him.

Crawl now down under the bird’s wings

And sleep well and fine.

Hear the bird sing a song:

La la la la la la la.

   Suvi Teräsniska ft. Arttu Wiskari:

Cornelis Vreeswijk:

Cornelis Vreeswijk – “Vaggvisa” (Lullaby) & Sarah Riedel ft. Nikolai Dunger – “Vaggvisa”.

Hey people! 🙂

So today I thought we’d listen to a lullaby. I love love listening to lullabies, and not just for sleep. They are very comforting and often have either a fair bit of folklore in them or hide something interesting in between the lines about the times when they were sung/written, kind of like this one although in this one I guess it’s not even hidden very deeply at all but rather straightforward.

This lullaby was written by Cornelis Vreeswijk (one of my faza people, if you don’t know yet) for his son, Jack, and recorded on his debut album in 1964, so exactly the year when Jack was born. It reminds me of very old Polish lullabies, which often go something like this in a nutshell: sleep, my little baby, while you have the time for such luxuries, and while you sleep, grow very big and strong and grow very quickly, so you can start working right away, preferably tomorrow, and help your poor old mother or father because that’s how life works and once you’re big and strong you’ll only get to sleep after you die. I suppose it may not be just a Polish phenomenon but simply something I happened to notice with Polish lullabies specifically.

This lullaby is kind of similar to that pattern, and, given that Cornelis had a lot of knowledge of European folklore and various motives in it and used them a lot, I wonder if he knew about that lullabies actually used to be very much like that in the past and whether this similarity was intended. Here, little Jack, who can’t have more than half a year, is already being made aware of how life generally sucks and is all about making money, so he should take his time to sleep now when he has it. I’m not sure how good a strategy that seriously is to convincing your child to sleep, I’d be afraid I’m going to raise a neurotic and a ruminator who won’t sleep at night because of thinking about all the shitty stuff that is awaiting him in the future, but perhaps that’s just me as I’m a neurotic ruminator myself.

Whether this similarity to old lullabies was or was not intended, surely his main inspiration behind it, just like a lot of his other music, were his strongly socialist views, which shows clearly and I guess especially when you know about his leanings in this direction, but also, since it’s a lullaby, here I feel it isn’t as much in-your-face with the socialism as some of his other songs are. I – being anything but socialist – really love it, which I can’t say about all of his works because I simply do not agree with a lot of stuff in them. Whether you are a socialist or not, I guess most of us agree that adulting is shitty and the idea of being a carefree baby who can sleep the time away, be taken care of, have everything he wants and be free (because for Cornelis, from what we can assume from his other lullaby, one is only free when one is asleep) is more appealing, at least to us escapists for sure.

I also really love this song musically. Vreeswijk, while highly regarded in Sweden for his lyricism, language skills, expression and guitar style, is not considered the greatest composer and I totally agree, usually those of his songs who were composed by other people sound better. Yet there are some absolutely mind-blowing exceptions (I’m thinking “Grimasch om Morgonen” for example, which I’ve shared on my blog before) and “Vaggvisa” is one of them, at least to me. It’s just a simple tune and there’s just Cornelis and the guitar, but there’s something very grand about it.

For comparison, I also want to share with you a cover version from the album Cornelis vs Riedel, where there are Cornelis’ poems in Georg Riedel’s jazz arrangements, sung by his daughter Sarah Riedel and Nikolai Dunger, and a few of his already published songs but with new melodies composed by Riedel. Even though I’m not a huge fan of jazz, I really love this album because there’s just so much real feeling in it, so much care put into it and it’s very friendly for a jazz layman like myself. Their version does not have the same lyrics as the one Cornelis originally wrote for Jack, but they are from the film Rännstensungar (Guttersnipes), where Cornelis played Johan Fahlen and sang this lullaby in this shortened and more neutral, less personalised version to Ninni – the main character. – One day I may also share this song sung by Jack himself.

Below is my attempt at translating the lyrics (the original ones), very literally of course, just to give you an idea what this is about. I’ve always found that metaphor here about working hard as the cat very amusing, ’cause since which time do cats work hard. 😀 I don’t think this is a legit Swedish idiom, never heard of it, and I doubt it especially that it’s “the cat”, so it looks like he means some specific cat. I wonder why is that, perhaps just for the sake of rhyming? As for the factory thing in the lyrics, among quite a few things that Cornelis did before becoming a singer and poet, he did work in a factory for a while.

 

  Sleep now, my little prince

When I turn the light off

Father is going to his machine

Mother shall guard the house

Sleep now, prince, you who can

Father he goes to the factory

Working hard like the cat

All night long.

The moon shines yellow and full

Up on the sky

Life is a money game

Nobody gets away

Complaining doesn’t help, comrade

Banners and placards

You can’t eat

The prince should know it.

Relax now, little prince

You have plenty of time

Use it when there is a chance

Then there will be hurry

Then there will be trouble and battle

For piece work and overtime

Don’t worry for now

Just take it easy.

Sleep now, my little prince

When I turn the light of

Father is going to his machine

Mother shall guard the house

Here at mother’s you are fine

Mother has everything you want to have

For I can promise it

Now the prince shall sleep

   Cornelis Vreeswijk:

Sarah Riedel ft. Nikolai Dunger:

Cornelis Vreeswijk – “Min Polare Per” (My Buddy Per).

Hey people! 🙂

Today I have for you another song from Cornelis Vreeswijk, ’cause why not? The original version even comes from the same album as the song I shared with you yesterday (that is, his debut album from 1964), but I decided to share with you a live version.

I’ve introduced you before to some recurring figures in Cornelis Vreeswijk’s music and poems like Ann-Katrin Rosenblad or Fredrik Åkare, but so far I don’t think I’ve ever mentioned Polaren Per, who is like Cornelis Vreeswijk’s buddy or pal. Like the other two characters, he’s also supposedly based on a real-life person, namely Pär Hägg. And he features in quite a few Cornelis’ songs. This is the first one that was ever released.

This time round, I haven’t managed to translate it because I don’t even fully understand some pieces in it, especially the first verse. It’s about Polaren Per’s mysterious disappearance. He used to live with his girlfriend but something happened between them (this is the part I don’t understand fully, I believe she cheated on him but I’m not quite sure) that he couldn’t get over it, so he moved out and no one knows where he is. So, obviously, his friend is very concerned, and asks people if they’ve seen him, and looks for him himself all around Stockholm. He’s also worried about his – Per’s, of course – mother, who will miss her only son, and the fact that Per owes him fifty bucks. He has multiple theories as for what could be going on with Per and where he might be, like he may be at sea, drinking his problems away or may have moved into a cheap hotel, or maybe he’s just sitting in a pub, in which case there’s nothing to worry about at all. Luckily though, he must have been found, since there are so many other songs about Polaren Per that were released later on.

Cornelis Vreeswijk – “Visa I Vinden” (Song In The Wind).

Hiya people! 🙂

Today, I have a beautiful Cornelis Vreeswijk song for you (or Swedes would say a Cornelisk song, Cornelisk is an adjective and I like it because it shows how he really is a huge and recognisable part of Swedish culture. I think this is one of my favourites. We could say nowadays that it is so beautifully emo. 😀

It is a very sad and beautiful love song, and if we’re talking Cornelis and love songs, of course we’re also talking Ann-Katrin Rosenblad, to whom he most often dedicates his love songs, and other of his songs often mention her too. If you’re not yet in the know, Ann-Kat(a)rin Rosenblad was his fictional muse, based on the real life one – Ann-Christin Wennerström. – This comes from his debut album – “Ballader Och Oförskämdheter” (Ballads And Rudenesses/Impertinencies) from 1964.

I even managed to translate the lyrics (go Bibielle!!! I guess it’s my fourth Swedish-English translation if I’m counting right) and they surely do tell you what the song is about, but I wonder if it’s just me who feels that the English lyrics are way clunkier than Swedish. Perhaps it’s because it can’t be otherwise, or maybe I could do it better, I don’t know. If you speak Swedish and read this, lemme know.

Also, honestly, ever since I’ve first listened to this song (which was like… 2016 I guess?) and then understood its lyrics fully, I’ve never really figured out what’s the deal with the “sieve” in the lyrics (see translation below). I thought maybe this word has more meanings in Swedish or it’s some idiom or something, but when I was translating this today I couldn’t find anything like that. So I still don’t know. Maybe it means that she was so selective in love or didn’t retain her emotions for long, meaning that she easily fell out of love, or something? I found out that sieve can symbolise virginity, because of a vestal in ancient Rome who proved her virginity by carrying water in a sieve and not spilling any of it. Cornelis read a whole lot and we could say that he was quite nerdy, and there are mythological references in some of his poems and songs. But here it doesn’t seem very likely to be the case. Yeah, I was the best in my class at poem analyses but have always felt like I’m not very good at it actually. 😀

 

I’m singing a song in the wind,

And hope the wind will bring

This song to my beautiful one’s cheek,

And sprinkle it in her ear,

And move her heart.

I have been to many countries,

And not been to many more.

I guess I could stop going,

If you ask me to do so.

And lovingly look at me.

But wish me luck on the journey,

When I now pull away from you.

And the reason, Ann-Katrin, is this:

I cannot stay,

Where I do not have your love.

I’m singing a song in the wind,

I’m singing a song in a storm.

My heart is like a granite,

My heart has lost its shape,

And my pain is enormous.

But listen to my march under the moon,

It swings in steady minor.

It does not fit on the gramophone,

It’s about you, you troll,

That your heart is a sieve.

Renaida – “Ett Andetag I Taget” (One Breath At A Time).

Hiya people! 🙂

Today I have a very beautiful and sad Swedish song for you which captivated me from the very first time I heard it. The singer – Renaida Braun – was actually bornn in Tanzania, before her parents emigrated to Sweden. She took part in the Swedish TV competition Idol, and also in Melodifestivalen (Melodifestivalen, commonly known as Mello, which is the biggest and most popular Swedish TV show and whose winner goes on to take part in the Eurovision Song Contest the same year). I really like how emotive and strong her voice is and I absolutely love this song.

The lyrics are really simple, so I managed to translate them with no problem, yay!

 

I feel the pulse in my blood

My heart beats again

I stop for a while

Can I smile again?

It was nothing I understood

I only wanted to go home

The thought of losing me

Before the dawn

When the sky falls to the ground

And all the trees are burning in the park

The birds fall to the ground

And all the words disappear

When the sky falls to the ground

And all the trees are burning in the park

The birds fall to the ground

And all the words disappear

I lose my breath in a dream

A kiss from nowhere

Everything falls apart inside

Can’t see again

When a memory arises

As if the fairytale never existed

The truth shall be revealed

Before the dawn

When the sky falls to the ground

And all the trees are burning in the park

The birds fall to the ground

And all the words disappear

One breath at a time

I take one breath at a time

One breath at a time

I take one breath

When the sky falls to the ground

And all the trees are burning in the park

The birds fall to the ground

And all the words disappear

Rebecka Enholm – “Bara Få Va Mig Själv” (Just Get To Be Myself).

Hey people! 🙂

Some time ago on my blog, I shared with you some music from a famous Iranian-Swedish pop singer – Laleh. – One of her songs that I like and shared with you was “Bara Få Va Mig Själv” and I thought that now I’d also share with you this cover by a very young singer Rebecka Enholm, a more acoustic one. I do prefer Laleh’s version as I think it has more character, but this one is really nice too.

Here is my post with the song by Laleh and the English translation for it.

 

Rebecka Enholm – “Bara Få Va Mig Själv”.