כדי לשחזר את השיר בשפה המקורית אם אינו מופיע לאחר לחיצה על שם השיר המסומן כאן בקוו תחתון או כדי למצוא גירסות נוספות העתיקו/הדביקו את שם השיר בשפת המקור מדף זה לאתר YOUTUBE
To restore the song in the original language if it does not appear after clicking on the name of the song marked here with a bottom line or to find additional versions Copy/Paste the song name in the original language from this page to the YOUTUBE website
התרגומים לאנגלית נעשו באמצעות המנוע "מתרגם גוגל" והתרגום הועתק לאתר בצורתו המקורית ללא עריכה נוספת
The English translations were done using the "Google Translate" engine and the translations were copied to the site in their original form without further editing.
Notes written by Izzy Hod: The song of the burlaks [barge tugs] of the Volga Hey Pull, Pull [Ey Ukhneim], appeared for the first time, as a poem of only one stanza, which, at that time, only described the way in which, by pulling a rope, they would trample the birch trees, which are the most common trees throughout Russia, to make from them the Dubinushka, a tree trunk that is tied to the boats, to float them, above the bottom of the river. After that, the stanzas related to the tugs of the trading barges, in the waters of the Volga, were written, a work assigned to the Volga villagers, those who lived in the villages along the Volga, in the pre-steam engine times. Each village was obliged to pull the barges, from the entrance of the village to the entrance of the next village. There the pullers were replaced. The song was recorded for the first time in Russia, in 1906, but in the limited version of the lyrics. The legendary singer, the bass-baritone Fyodor Shalyapin, who spent most of the period of the Russian Revolution and the Civil War, out of Russia, published, in a concert in the United States, the song [1925], already with all its verses, which concern the barge pullers and the song gradually became a song known all over the world and finally also in Russia. The song, whose authors are not known at all, became a musical property, when the jazz king of the 1930s and 1940s, of the 20th century, Glenn Miller, made a jazz arrangement of the tune. The Russian composer, Alexander Konstantinovich Glazunov, incorporated the song into his Stanka Razin symphony, and the Spanish composer, Manuel de Falla, reworked the song under the title, Song of the Sailors [Oarsmen] of the Volga. Falla musical project of the song was in 1922 and the goal was to collect funds to help two million and more Russians who were exiled from their homes during the First World War. Igor Fyodorovitch Stravinsky, the Russian composer, also made a concert arrangement of the song. The song was first discovered by the composer, Milli Aleksievich Balakirev, who in 1860-1861, recorded the song from the editor, poet and playwright, Nikolay Makarovich Oleynikov and in 1861, published the song in his book. Paul Robeson, was an African-American bass-baritone singer whose involvement in the song, The Volga Burlaks, Hey Ukhniem, was unique. Paul Robson, was born into a poor family but was educated and licensed to practice law, but because of his skin color and origin, he could not practice his profession and was a porter, waiter, delivery boy, farm worker, professional rugby player, athlete and even a dramatic stage actor. In 1925, Paul Robeson wowed the world with a concert of African-American folk songs and by 1929 he was a rising star in American culture. The collapse of the American economy in 1929 left Paul Robeson penniless and jobless and he left America and came to Europe. In 1934, the famous film director and film theorist, Sergei Mikhailovich Eisenstein, invited Paul Robeson to Russia and Paul Robeson was captivated by the Russian charm, were he felt for the first time as a person and in 1936, when Russia supported the communist nationalists, in the Spanish Civil War, Paul Robeson flowed with this situation and appeared in Spain about a year, in front of the international brigade of fighters from many countries who supported the nationalists. Paul Robeson was immediately suspected, in what America did not like very much, of membership in the American Communist Party, but he himself rejected this possibility and this suspicion was never proven to be true. Robeson, returned to America in 1939 and wanted to travel repeatedly to Russia to perform in concerts there, this was prevented from him by the American authorities until 1958 and then he returned and gave concerts in Russia and even sang with the famous Russian tenor, Ivan Samionovich Kozlovsky, who also taught Paul Robeson Basic Russian. During the McCarthyism period, the persecution of communism in America, led in the 1950s by the Republican Senator, Joseph Raymond McCarthy, due to the Cold War with Russia, Paul Robeson and everyone who was close to him, or was at his concerts, or his lectures, were suspected and interrogated as communists. During these years, Paul Robeson left his profession as a great bass singer and joined the war for democracy in America and for this he was awarded the Stalin Prize in 1952, a year before Stalin's death. The award did not stop Paul Robeson from also demanding from the authorities in Russia, to let go of Russian artists, writers and poets who were oppressed at the time, which caused a rift between him and Russia for a long time. The Volga Borlaks Song was first recorded by Paul Robeson in 1938, in the company In English, His Master's Voice. Paul Robeson was very fond of Volga Burlaks song, because it was similar in concept to the famous African-American folk song Oi' man river.
Additional notes written by Izzy Hod: Two related songs exist, one its name is, Dubinushka [meaning green club (tree)], the other its name is, Hey-Ukhniem [meaning-lets pull]. The two songs were translated to our website by Grimi [Zvi Gilad] who gave them their names, both according to their original names in the original language, Russian, and also to differentiate them from each other, because their literal content is very similar, however, relatively different too. We found that there is room again, to try to connect and then separate the songs according to their similar and different content. The reason? The two songs are sometimes called in the literature by the same name, Dubinushka-Дубинушка, or, in general, by some other names. The song was born somewhere in a rural Russian, time and place, unknown. The authors are also unknown. The first meeting with the songs in a known time and place was, probably, by the initiative of the composer, Mili Aleksievich Balakirev, who in the mid-sixties of the nineteenth century [the dates differ in different sources between 1857 and 1861], recorded the poem, Hey-Ukhniem [meaning-lets pull] from the editor, poet and playwright, Nikolai Makarovich Olynikov and in the same time [probably 1861], published the poem in his book, The Collection of Russian Folk Songs. The song did not have a well-known poet and composer at that time and there was only one stanza in the song, Hey-Ukhniem [meaning-lets pull], yes! Hey-Ukhniem [meaning-lets pull], yes! Give another and additional pull, Hey-Ukhniem [meaning-lets pull], yes! Hey-Ukhniem [meaning-lets pull], yes! Again, pull and pull. Solid and curled birch trunk is cut down. Hi da da hi da, hi da da hi da, Solid and curled birch trunk, is cut down and in once, is touched down. This song was probably a rural song that described the work of the villagers in the action of expanding agricultural areas by uprooting the birch trees, in the groves and forests around the villages. The origin of the call, Hey Ukhniem [meaning-lets pull] in the original song, which was translated into Hebrew to, Hey Pull, is in the action of cut down birch trees, by pulling on a rope tied to the top of the tree. This is how the name of the song was born, Hey ukhniem [meaning-lets pull] [and later it was also called, the song of the Boat tugs (borlaks) of the Volga]. The publication of the poem's content probably stimulated at that time, the writing of a new poem, by the poet and naval doctor, Vasily Ivanovich Bogdanov, under the name, Dubinushka [meaning green club (tree)], and at the end of the nineteenth century [probably in 1880] it was reedited by the poet and lawyer, Alexander Alexandrovich Olkhin, who fought against slavery and corruption, in order that the song would appear more revolutionary [toward the revolutions in Russia that ended in the October Revolution of 1917]. The first stanza of Bogdanov and Olkhin, in the song, Dubinushka [meaning green club (tree)], recalled the story of the group of workers pulling the rope tied to the top of the tree in the song, Hey ukhniem [meaning-lets pull], but, the ones being pulled, are no longer the birch trees, but the cargo boats, on the Volga River. I have long heard songs about land and sea, they told me about grief or sorrow, but I will remember only one song out of all of them, because it tells about a bunch of people pulling together Dubinushka [meaning green club (tree)], Ukhniem [meaning-lets pull], you help when the cargo is heavy, pull and pull and she moved. This is how the song Dubinushka [meaning green club (tree)] was added to the song Hey Ukhniem [meaning green club (tree)] for the first time. Dubinushka is an affectionate nickname for a felled tree trunk, which was attached to the bottom of a cargo boat on the river, in order to float it above the bottom of the river and thus, ease the friction between the boat and the bottom of the river and hence, ease the pull of the ship. The pull in the song Dubinushka is relates to the pull during the felling of the tree, from which the Dubinushka was prepared, to topple it, after it was cut off from its roots. The continuation of the poem, Dubinushka, is telling the story, the burlaks, [a kind of porters], peasants from a village who were obliged, for almost zero wages, and under conditions of slavery and tyranny, to pull boats along and up stream of the Volga, from their village to the neighboring village, where they were replaced by the people of the nearby village, under the same unbearably difficult conditions, which later caused the future uprising of the burlaks, against the regime of slavery and tyranny. A phenomenon first seen in the sixteenth century. There is a version that says that the term, burlaks, originates from the name of an affluent, honest and reliable merchant named, Burlakov, who employed the many burlaks that asked to work for him. The English, mentioned in the poem Dubinushka, refers to the English Royal Navy, which supported the fighters against the revolutionaries [later against the Bolsheviks] until the end of the Russian Civil War. The continuation of the stanzas of the song, Hey Ukhniem, does indeed mention the Volga, but only in a hint together with the pull of the boat along it, without a revolutionary attitude.
This is the content of the song Dubinushka, I have already heard songs about land and sea, they told me about sorrow or joy, but only one song I will remember most of all, about that group that pulls with me together. Hey Dubinushka, Ukhniem, you help when the yoke is heavy, you pull and pull and she moves. The Englishman is cunning and invents inventions, how the craft has become routine. The Russian witnesses death, his hands will touch his heart then he pours out in the Dobina song. Hey Dubinushka, Ukhniem, you help when the yoke is heavy, you pull and pull and she moves. Come a time, when the worker will face his day, his body will be upright and his head will not be bowed down, and he will strike wherever they suck his blood, with a beloved beam, the dobina. Hey Dubinushka, Ukhniem, you help when the yoke is heavy, you pull and pull and she moves. I have already heard songs about land and sea, they told me about sorrow or joy, but only one song I will remember most of all, about that group that pulls with me together. Hi Dubinushka, Ukhniem, you help when the yoke is heavy, you pull and pull and she moves.
This is the content of the song Hey Ukhniem, Hey pull, pull! Hey pull pull! Give another pull and another. Hey pull pull! Hey pull pull! Again pull and add another. A strong and curled birch tree is felled, felled at once. Hi da da hi da, hi da da hi da, it's curled, it's been cut. It's curled, in one felled. Hey pull, pull! Hey pull, pull! Give another pull, and another. We will walk with the river, to the sun the song will sang. Hi da da hi da, hi da da hi da, to the sun above, this song is sang. Hey hey, we'll pull and not let go, give us another push and pull, hey pull, yes! Hey pull, yes! Give another pull and another. Volga, the beloved mother, you are deep and wide. Hey here, here, here, here, here, you are deep and wide. Hey hey, so many miles. Volga Volga mother river. Hey pull, pull! Hey pull, pull! Give another pull and another. Hey pull, pull! Hey pull, pull! Give another pull and another. Hey pull, pull Hi pull, pull.
בחזרה לשירי ארבות הוולגה
שני שירים, האחד מופיע באתר שלנו בשם, דובינושקה-Дубинушка, השני מופיע באתר שלנו בשם, היי נמשוכה-Эй, ухнем. שני השירים תורגמו לאתר שלנו על ידי, גרימי [צבי גלעד] אשר נתן להם את שמם, גם על פי שמם בשפת המקור, רוסית וגם כדי להבדיל ביניהם, כי תוכנם המילולי דומה מאד, אך לחנם שונה. מצאנו שיש שוב מקום, לנסות לחבר ואחר כך להפריד את השירים על פי תוכנם הדומה. הסיבה? שני השירים נקראים לפעמים בספרות באותו השם, דובינושקה-Дубинушка, או, בכלל בשמות אחרים. השיר נולד אי שם בזמן ובמרחב רוסי כפרי, לא ידועים. כך גם המחברים אינם ידועים. המפגש בזמן ובמרחב ידועים, היה, כנראה לראשונה, ביוזמתו של המלחין, מילי אלכסייביץ' באלאקירב, שבאמצע שנות השישים של המאה התשע עשרה [התאריכים שונים במקורות שונים בין 1857 ו-1861], רשם את השיר מהעורך, המשורר והמחזאי, ניקולאי מאקארוביץ אולייניקוב ובאותו מרחב זמן [כנראה 1961], פרסם את השיר בספרו, אוסף שירי העם הרוסיים. לשיר לא היו אז עוד משורר ומלחין ידועים והיה לא בית אחד בלבד, הֵיי מְשׁוֹךְ, יֵשׁ! הֵיי מְשׁוֹךְ, יֵשׁ! תְנוּ עוֹד מְשִיכוֹנֶת וְנוֹסֶפֶת. הֵיי מְשׁוֹךְ, יֵשׁ! הֵיי מְשׁוֹךְ, יֵשׁ! שׁוּב נִמְשוֹכָה וְנוֹסִיפָה. עֵץ לִיבְנֶה מוּצָק נִכְרָת, מְסוּלְסָל בְּבַת אַחַת. הָי דָא דָא הָי דָא, הָי דָא דָא הָי דָא, מְסוּלְסָל זֶה, חִישׁ נִכְרָת. מְסוּלְסָל זֶה, בְּאַחַת מָט [צבי גלעד, גרימי]. השיר הזה, היה כנראה, שיר כפרי שתיאר את עבודתם של הכפריים בהרחבת שטחי חקלאות על ידי עקירת עצי הלבנה, בחורשות והיערות בסביבת הכפרים. מקורה של הקריאה בשיר המקורי, היי אוכניים, שתורגמה לעברית, היי נמשוכה, הוא בעבודה קבוצתית של הפלת עצי ליבנה, ע"י משיכה בחבל שנקשר לצמרת העץ. כך נולד שם השיר, היי נמשוכה [ומאוחר יותר נקרא גם, שיר גוררי הספינות (בורלאקים) של הוולגה]. פרסום תוכן השיר, עורר כנראה באותה תקופה, כתיבת שיר חדש, על ידי המשורר ורופא הצי, וואסילי איבאנוביץ' בוגדאנוב, בשם, דובינושקה, ובסוף המאה התשע עשרה [כנראה בשנת 1880] ערך אותו מחדש המשורר ועורך הדין, אלכסנדר אלכסנדרוביץ' אולכין, שלחם בעבדות ובשחיתות, כך שיראה מהפכני יותר [לקראת המהפכות ברוסיה שהסתיימו במהפכת אוקטובר 1917]. הבית הראשון של, בוגדאנוב ואולכין, בשיר, דובינושקה, הזכיר את סיפור המשיכה הקבוצתית בחבל בשיר, היי נמשוכה, אך, הנמשכים, כבר אינם עצי הלבנה, אלא, אראבות המשא, על נהר הוולגה. כְּבָר שָׁמַעְתִּי שִׁירִים עֲלֵי אֶרֶץ וָיָם, הֵם סִפְּרוּ לִי עַל צַעַר אוֹ נַחַת, אֲבָל שִׁיר רַק אֶחָד אֶזְכְּרָה מִכֻּלָּם, עַל אוֹתָהּ חֲבוּרַת מוֹשְׁכֵי יַחַד. הֵי דּוּבִּינוּשְׁקָה, אוּכְנְייֶם, אַתְּ עוֹזֶרֶת כְּשֶׁהָעֹל כָּבֵד, מוֹשְׁכִים וּמוֹשְׁכִים וְהִיא זָזָה. כך צורפה לראשונה, הדובינושקה, לשירים האלה. תחילה בשיר, דובינושקה ואחר כך ברמז בלבד לשיר, היי נמשוכה [אזכרת הוולגה]. מה לדובינושקה ולאראבות הוולגה?, דובינושקה, הוא כינוי חיבה, לגזע עץ כרות, שהיה מוצמד אל האראבה הנמשכת על הנהר, כדי להציפה מעל קרקעית הנהר ובכך, להקל על החיכוך בין הספינה וקרקעית הנהר ומכאן, על משיכת הספינה. המשיכה בשיר, נוגעת למשיכה בעת כריתת העץ, ממנו הוכנה, הדובינושקה, להפלתו, לאחר שנותק משורשיו. המשך השיר, דובינושקה, כבר סיפר את את סיפור, הבורלאקים, [מעין סבלים], איכרים בני כפר שחויבו, בשכר אפסי, ובתנאי עבדות ועריצות, למשוך ספינות לאורך ובמעלה הוולגה, מכפרם ועד הכפר הסמוך, שם החליפו אותם בני הכפר הסמוך, באותם תנאים וכן, את ההתקוממות העתידה של הבורלאקים, כנגד משטר העבדות והעריצות. תופעה שנראתה לראשונה במאה השש עשרה. הָאַנְגְּלִי עַרְמוּמִי וּמַמְצִיא הַמְצָאוֹת, אֵיךְ עֲשׂוֹת הַמְּלָאכָה לְרוּטִינָה. הָרוּסִי עֲדֵי מָוֶת יָדָיו יְגֵעוֹת, לֵב שׁוֹפֵךְ אָז בְּשִׁיר הַדּוּבִּינָה. הֵי דּוּבִּינוּשְׁקָה, אוּכְנְייֶם, אַתְּ עוֹזֶרֶת כְּשֶׁהָעֹל כָּבֵד, מוֹשְׁכִים וּמוֹשְׁכִים וְהִיא זָזָה. בּוֹאִי עֵת, עֵת יֵעוֹר הָעוֹבֵד אֶל יוֹמוֹ, גֵּו יִזְקֹף וְרֹאשׁוֹ לֹא יַרְכִּינָה, וְיַכֶּה בַּאֲשֶׁר מָצְצוּ אֶת דָּמוֹ, בְּקוֹרָה אֲהוּבָה, הַדּוּבִּינָה. הֵי דּוּבִּינוּשְׁקָה, אוּכְנְייֶם, אַתְּ עוֹזֶרֶת כְּשֶׁהָעֹל כָּבֵד, מוֹשְׁכִים וּמוֹשְׁכִים וְהִיא זָזָה. כְּבָר שָׁמַעְתִּי שִׁירִים עֲלֵי אֶרֶץ וָיָם, הֵם סִפְּרוּ לִי עַל צַעַר אוֹ נַחַת, אֲבָל שִׁיר רַק אֶחָד אֶזְכְּרָה מִכֻּלָּם, עַל אוֹתָהּ חֲבוּרַת מוֹשְׁכֵי יַחַד. הֵיי דּוּבִּינוּשְׁקָה, אוּכְנְייֶם, אַתְּ עוֹזֶרֶת כְּשֶׁהָעֹל כָּבֵד, מוֹשְׁכִים וּמוֹשְׁכִים וְהִיא זָזָה. ישנה גרסה האומרת שהמונח, בורלאקים, מקורו בשמו של סוחר אמיד, ישר ואמין בשם, בורלאקוב, שהיה מעסיק את רב הבורלאקים שרבים בקשו לעבוד אצלו. האנגלי, המוזכר בשיר, מתייחס לצי המלכותי האנגלי, שתמך בלוחמים נגד המהפכנים [אחר כך נגד הבולשביקים] עד סוף מלחמת האזרחים הרוסית. המשך הבתים של השיר, היי נמשוכה, מזכיר אמנם את, הוולגה, אך רק ברמז גם את משיכת האראבות לאורכה, ללא גוון מהפכני. הֵיי מְשׁוֹךְ, יֵשׁ! הֵיי מְשׁוֹךְ, יֵשׁ! תְנוּ עוֹד מְשִׁיכָה, וְנוֹסֶפֶת. נְהָלֵךְ עִם הַנָהָר, לַחַמָה הַשִׁיר יוּשָׁר. הָי דָא דָא הָי דָא, הָי דָא דָא הָי דָא, לַחַמָה מֵעָל, שִׁיר זֶה יוּשָׁר. הֵיי הֵיי, נִמְשֹׁךְ וְלֹא נְרַפֶּה, תְנוּ עוֹד מְשִׁיכוֹנֶת וְנוֹסֶפֶת, הֵיי מְשׁוֹךְ, יֵשׁ! הֵיי מְשׁוֹךְ, יֵשׁ! תְנוּ עוֹד מְשִיכוֹנֶת וְנוֹסֶפֶת. ווֹלְגָה אֵם הָאֲהוּבָה, עֲמוּקָה אַת וּרְחָבָה. הָי דָא דָא הָי דָא, הָי דָא דָא הָי דָא, עֲמוּקָה אַתְּ וּרְחָבָה. הֵיי הֵיי, מִלִּים כָּל כָּךְ הַרְבֵּה. ווֹלְגָה ווֹלְגָה אֵם נָהָר. הֵיי מְשׁוֹךְ, יֵשׁ! הֵיי מְשׁוֹךְ, יֵשׁ! תְנוּ עוֹד מְשִׁיכָה וְנוֹסֶפֶת. הֵיי מְשׁוֹךְ, יֵשׁ! הֵיי מְשׁוֹךְ, יֵש! תְנוּ עוֹד מְשִׁיכָה וְנוֹסֶפֶת. הֵיי מְשׁוֹךְ, יֵשׁ! הֵיי מְשׁוֹךְ, יֵשׁ. השירים אכן משרתים יחד את ההנחה, שתחילה היו אלה שירי עם של איכרים בכפרם, על כל עבודה קשה שהצריכה צוות עבודה הפועל בקצב זהה, אחר כך הופיעו השירים של כורתי העצים, לאחריהם השירים של מושכי הספינות על הנהרות, ואחריהם שירי המחתרות לקראת מהפכת 1917, כולם מבוססים על אותו הלחן העממי.
Texts from the references
At its core is a song about the writhing of trees to free the land under the arable land. The tree was cut by the roots, then it was pulled by a rope tied to the top-and then the "double"-tree "will go" (it will fall). The choruses from these songs are "Hey, we're going to die!", "Let's get on with it, let's pull it off!", "Eh, you're going to die! Eh, the green itself will go!" and so on, they went to the songs of the burlaks pulling the ships along the rivers against the current, and then to the songs of the populist revolutionaries-"Dubinushka"and "Barca". cm. also a song about dragging a pack-"Yes you guys take it together."
The "Song of the Volga Boatmen" (known in Russian as Эй, ухнем! [Ey, ukhnem!, "yo, heave-ho!"], after the refrain) is a well-known traditional Russian song collected by Mily Balakirev, and published in his book of folk songs in 1866. It was sung by burlaks, or barge-haulers, on the Volga River. Balakirev published it with only one verse (the first). The other two verses were added at a later date. Ilya Repin's famous painting Barge Haulers on the Volga depicts such burlaks in Tsarist Russia toiling along the Volga. The song was popularized by Feodor Chaliapin, and has been a favorite concert piece of bass singers ever since. Bill Finegan's jazz arrangement for the Glenn Miller band took the song to #1 in the US charts in 1941. Russian composer Alexander Glazunov based one of the themes of his symphonic poem "Stenka Razin" on the song. Spanish composer Manuel De Falla wrote an arrangement of the song, which was published under the name Canto de los remeros del Volga (del cancionero musical ruso) in 1922. He did so at the behest of diplomat Ricardo Baeza, who was working with the League of Nations to provide financial relief for the more than two million Russian refugees who had been displaced and imprisoned during World War I. All proceeds from the song's publication were donated to this effort. Igor Stravinsky made an arrangement for orchestra.
A version of the song was recorded by Mily Balakirev (a Russian composer) from Nikolay Aleynikov in Nizhny Novgorod in 1860 or 1861. Already in 1866, the musician published it in his book A collection of Russian folk songs by M. Balakirev (Russian: «Сборникъ русскихъ народныхъ пѣсенъ»; 1866), with his own arrangement. Probably, the first released version of the song was recorded in Russia in 1900 by Alexander Makarov-Yunev (Russian: Александр Макаров-Юнев) on Gramophone (#22086).
Robson, Paul, Born into a poor black family. He won a scholarship and graduated from Rutgers University with a bachelor's degree was the only black man studying there in the corresponding period and the third in history, received a law degree at Columbia University, but due to his black origin he could not get a job in his specialty. He worked as a loader, waiter, delivery boy, farm laborer, played professional football; versatile athlete. From 1924 to 1944 he was a dramatic actor. In April 1925, he held the first public concert in the United States in New York, consisting of Negro folk songs. On this day, as the press wrote, "a new star has risen in the world of American art." In 1929, left without work, he left for Europe. During the Spanish Civil War 1936-37 he performed in front of the soldiers of the International Brigade. Having visited the Soviet Union for the first time in 1934 at the invitation of S. Eisenstein, Paul Robson got a strong impression of the country. “From the moment I arrived in Russia, I realized that I had found what I had been striving for all my life. Only in the Soviet Union did I feel like a full-fledged person ...”. Despite the huge volumes of intelligence collected by the American intelligence services about Robson, no evidence has ever been presented that Robson was ever a member of the US Communist Party. Although there are still rumors of his secret membership in the party, his main biographers, as well as his son, Paul Robson Jr., himself a former member of the American Communist Party, deny this. In 1939 he returned to the United States. He toured the USSR since 1934, but soon received a ban on leaving the United States, which was canceled only in 1958 as a result of a court decision. In 1958 and 1959 Robson again came to the Soviet Union, gave concerts, sang a duet with I. S. Kozlovsky, who taught Robson Russian songs. During the years of McCarthyism, his name was associated in the United States with the proximity to the USSR and the Communists to such an extent that the following way of revealing the belonging of an American to the Communist Party was proposed: “everyone who attends events at which Paul Robson speaks, who applauds him should be considered communists and listens to his communist songs. " In 1946 he was summoned to testify before the House of Representatives Commission on the Investigation of Anti-American Activities, where he declared that he was not a communist, but admired the activities of the communists fighting for democracy. Has been threatened by the Ku Klux Klan. In 1947, he left the professional scene to devote himself entirely to the struggle for civil rights and justice. Speaking at the World Peace Conference in Paris in April 1949, stated: "It is inconceivable that Negro Americans would go to war on behalf of those who have oppressed us for generations against a country that has raised our people to the highest level of human dignity in one generation." In 1950, the McCarthy Commission was blacklisted in Hollywood. In 1952, Paul Robson was awarded the International Stalin Prize "For Strengthening Peace Among Nations". At the same time, Robson, exclusively in personal meetings with Soviet officials, spoke in defense of Soviet cultural figures who were unjustifiably repressed or persecuted for political and ideological reasons, as well as on ethnic grounds, which caused latent discontent in official Soviet circles. In 1950, the McCarthy Commission was blacklisted in Hollywood. In 1952, Paul Robson was awarded the International Stalin Prize "For Strengthening Peace Among Nations". At the same time, Robson, exclusively in personal meetings with Soviet officials, spoke in defense of Soviet cultural figures who were unjustifiably repressed or persecuted for political and ideological reasons, as well as on ethnic grounds, which caused latent discontent in official Soviet circles. In 1950, the McCarthy Commission was blacklisted in Hollywood. In 1952, Paul Robson was awarded the International Stalin Prize "For Strengthening Peace Among Nations". At the same time, Robson, exclusively in personal meetings with Soviet officials, spoke in defense of Soviet cultural figures who were unjustifiably repressed or persecuted for political and ideological reasons, as well as on ethnic grounds, which caused latent discontent in official Soviet circles.
"Hey, let's go!" History of the song, variants of classical and modern performance, perspectives. "Political propaganda". Having listened to the remark of bass vocalist David Larson about the underestimation of the Russian folk song "Hey, uhnem!" (see the post "PP" dated March 17, 2021 "From the" viral "Wellerman" to the need to popularize Russian folk songs. "Hey, let's go!". Part 2"), I decided to correct the situation and post a post with materials on history creation, interspersing it with variants of modern execution of such. My text is highlighted in blue, the text of articles is in black, quoting from other sources, including the translation of comments, is in green. The song of the Volga barge haulers "Hey, let's go" is a famous Russian folk song. It was recorded by the composer Mily Balakirev (the head of the “mighty bunch” of composers) and published in 1889 in Nizhny Novgorod in the book “Collection of Russian Folk Lyric Songs by N. M. Lopatin and V. P. Prokunin”. At first, Balakirev published only one first quatrain, while the other two were added much later. Basically, this is a song about uprooting trees in order to free the land for arable land. The roots of the tree were cut off, then it was pulled by a rope tied to the top - and then the "club" - the tree "will go by itself" (it will fall by itself). The refrains from these songs are “Hey, let's go!”, “We'll pull, we'll pull!”, “Oh, bludgeon, let's go! Oh, the green one will go!” and so on, then moved into the songs of the Volga barge haulers pulling ships along the rivers against the current, and then into the songs of the populist revolutionaries - "Dubinushka", "Barka", "Yes, you guys take it together." ("PP" See also about the "development" / "curling" of a birch here. I can add on my own that the rite of "curling" or "breaking" (as in the song "There was a birch in the field" ) - the rite is firmly and accurately pre-Christianassociated with the traditional beliefs of the Slavs, Finno-Ugrians, Balts and other components of the Russian people. Well, sobsno, the song is sung to the "sun", for it is the sun-worshippers who glorify the luminary). The first barge haulers appeared in Russia at the end of the 16th century. Burlak is a hired worker in Russia who, walking along the shore, pulled (dragged) a river vessel (bark) against the current with the help of a string. Burlatsky labor was seasonal. The boats were pulled along the “big water”: in spring and autumn, since in winter the rivers simply froze. To fulfill the order, barge haulers united in artels (brigades). The work of a barge hauler was extremely difficult and monotonous. The speed of movement depended on the strength of the tail or head wind. With a fair wind on the vessel (bark), the sail was raised, which significantly accelerated the movement. Songs helped barge haulers maintain the pace of movement. One of the well-known burlak songs is “Oh, bludgeon, let’s go”, which was usually sung to coordinate the forces of the artel in one of the most difficult moments: pulling the bark from its place after lifting the anchor. When the bark was loaded with stone, there were moments when the ship's draft increased and the ship sank tightly to the bottom. Then barge haulers cut down a huge pine tree, dragged it into the Volga River and tied the bark to it with a chain. This is the moment the song is about. The branches of a huge pine tree were bursting with a fast current and the pine tree was pulling the bark from the shallow water.
Additional refernces update
https://general-kollaps.livejournal.com/55919.html///The history of one song. "Dubinushka"
https://www.phys.msu.ru/rus/about/sovphys/ISSUES-2015/04(113)-2015/22201/ /
https://dic.academic.ru/dic.nsf/ruwiki/411482///Author's text " Dubinushka " ( Fyodor Chaliapin )
https://zhiznteatr.mirtesen.ru/blog/43836314602/Istoriya-odnoy-pesni.-Dubinushka-ili-Ey,-uhnem.