There has possibly never been a happier celebration of a sinking. Hannes Wader croons over the carefree, fumbling chords of his acoustic guitar, “That was a scorching March – despite the rain, snow, and all that.” But despite everything, it’s cold now that it’s snowing, blooms! The revolution that appeared to have won on the barricades in March 1848 was a failure, the subject of endless debate in the Paulskirchen Parliament in Frankfurt, and it erupted in Vienna and Berlin.
Even if the devil is in power right now, complete with hooves and horns, there is no need to step down. Because of this, people will reach out to one another in a spirit of brotherhood: “Despite everything, people will extend out their brotherly hand to people!”
The first song on the 1975 album “Hannes Wader: Volkssänger” is called “Trotz alledem.” Wader performs the folk melodies “Der Kuckuck” and “How Beautiful the May Blooms for Us,” as well as the progress-pious “Bürgerlied” and “The Free Republic,” about six students who escaped from the Frankfurt prison. The record’s title was provocative. Almost no one in the singer-songwriter scene wanted to have anything to do with folk tunes since National Socialism had devalued everything folkish. Wader, however, wanted to delve even deeper into the history of music, to the hymns of the workers’ movement that came after and the songs of the early German democracy struggle before 1848.
When Napoleon was born, the doctor referred to him as “Napoleon, the arch pisser.”
Hannes Wader’s life motto and the title of his autobiography are both “In spite of everything.” From the beginning, he was a renegade. Napoleon had a curl on his forehead when he was born on June 23, 1942, in Bethel, close to Bielefeld, and he peed in the face of the doctor, who referred to him as “Napoleon, the arch pisser.”
Wader finished his apprenticeship as a decorator in a shoe store and, among other reasons, was fired for playing music while at work. In addition to playing clarinet and saxophone in bars, he also starts studying graphic design in Bielefeld and West Berlin. He starts writing his own songs after hearing George Brassens chansons, the first of which is “Das Loch unterm Dach.” At the “Chansons Folklore International” festival held on the remains of Waldeck Castle in the Hunsrück in 1966, Wader had his big break.
Songs of protest against capitalism’s evils
There had also been performances by Reinhard Mey, Franz Josef Degenhardt, and Dieter Süverkrüp, who sang protest songs about the inequities of capitalism and the prejudice of philistinism. Wader entered the stage, “People may have whistled or roared. They approved of my work. But I was unable to discern her response. They appeared to be kidding me, “Later, in an interview, he stated.
Wader is now something of a celebrity. He may make a fair life performing in Berlin on up to five stages in the evening, earning 25 Deutschmarks every show. He now admits, “I didn’t think for a second about the practicality of an artistic existence. “Future” has continued to be for me a topic that is more historical than personal.
Gudrun Ensslin sneaked in with him without his knowledge.
He used to hitchhike with his guitar to performances for years, but he had enough money to take a taxi to the Dreilinden border crossing only to cross his fingers. “Hannes Wader sings,” his coworker’s debut record, was produced by Knut Kiesewetter in 1969. The singer politicized throughout the 1970s, known as the “red decade” (Gerd Koenen). He relocates to Hamburg after becoming weary of Berlin and temporarily lets Hella Utesch, a young journalist, live in his apartment. Actually, the person working with explosives there is RAF terrorist Gudrun Ensslin.
Wader gets detained at a concert in Essen, and the legal system is looking into whether he supported a criminal group. Austria forbids him from entering and TV and radio stations slam him. On his German rock album “Nach Hamburg,” he subsequently succinctly summarized the situation: “Total powerlessness, the naked terror, and the feeling of shame.”
In 1977, he joined the DKP, then in 1991, he departed once more.
In 1977, the year of the “German Autumn,” Wader joins the German Communist Party, beginning an ideological tangent that culminates with his resignation in 1991. He decides to go away from Hamburg and spend the next 25 years living in a windmill in North Friesland. He responds, “Not at all,” when asked how the themes in his songs relate to owning property.
With “Here Today, There Tomorrow,” Hannes Wader has actually developed into a folk performer and written a contemporary folk song. It celebrates moving constantly and making movement a way of life. Wader sings, “Year after year passes, and it’s long been evident to me that nothing stays the same.”
He has consistently been the guitarist in the group.
He recently returned to living in Bielefeld at the age of 80. He continued to follow his youthful aspirations. He summarizes his life by saying, “Right from the start I was the man with the acoustic guitar and I never wanted to be anything else.”