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> rebetiko rembetiko
47777
פורסם ב: Dec 29 2013, 01:02 PM
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כמעט מכור
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קבוצה: חברי פורום איליוס
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תאריך הצטרפות: 14-September 09



hi
markos vamvakris documentary.

Μάρκος Βαμβακάρης - Ντοκιμαντέρ μέρος 1.
https://www.youtube.com/watch?v=gM11FUvZJa0

Μάρκος Βαμβακάρης - Ντοκιμαντέρ μέρος 2.
https://www.youtube.com/watch?v=r4mtSvbWO4Y

Μάρκος Βαμβακάρης - Ντοκιμαντέρ μέρος 3.
https://www.youtube.com/watch?v=_jplJcTUUIM

Μάρκος Βαμβακάρης - Ντοκιμαντέρ μέρος 4.
https://www.youtube.com/watch?v=38CU_anfWSE

Μάρκος Βαμβακάρης - Ντοκιμαντέρ μέρος 5.
https://www.youtube.com/watch?v=-MnuSLi6EdM

Μάρκος Βαμβακάρης - Ντοκιμαντέρ μέρος 6.
https://www.youtube.com/watch?v=Z7ZG3JLbFXA

Μάρκος Βαμβακάρης - Ντοκιμαντέρ μέρος 7.
https://www.youtube.com/watch?v=QvA0Lfk1rfE

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47777
פורסם ב: Jan 8 2014, 06:18 PM
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כמעט מכור
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קבוצה: חברי פורום איליוס
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תאריך הצטרפות: 14-September 09



hi
Τετράς η ξακουστή του Πειραιώς,

Τετράς η ξακουστή του Πειραιώς, επ.1, Η κόντρα γέφυρα
https://www.youtube.com/watch?v=qk3C3nSr_hY

Τετράς η ξακουστή του Πειραιώς, επ.2,Η τετράς η ξακουστή
https://www.youtube.com/watch?v=AXTtxjbhX8Q

Τετράς η ξακουστή του Πειραιώς, επ.3,Οι ρεμπετοφύλακες
https://www.youtube.com/watch?v=6gVOtJaGYKo


https://www.youtube.com/watch?v=WNXP8ta_Cwc
Τετράς η ξακουστή του Πειραιώς, επ.4,Ρεμπετες τ Ντουνια

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47777
פורסם ב: Jan 9 2014, 04:14 PM
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כמעט מכור
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קבוצה: חברי פורום איליוס
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תאריך הצטרפות: 14-September 09



hi.

ΧΑΣΙΚΛΙΔΙΚΑ ΜΕΛΩΔΗΜΑΤΑ ΜΕΡΟΣ 1/6
https://www.youtube.com/watch?v=hRRs8Wcrd-w

ΧΑΣΙΚΛΙΔΙΚΑ ΜΕΛΩΔΗΜΑΤΑ ΜΕΡΟΣ 2/6
https://www.youtube.com/watch?v=FUyRls2tA1A


ΧΑΣΙΚΛΙΔΙΚΑ ΜΕΛΩΔΗΜΑΤΑ ΜΕΡΟΣ 3/6
https://www.youtube.com/watch?v=GB3aTUsZRxw

ΧΑΣΙΚΛΙΔΙΚΑ ΜΕΛΩΔΗΜΑΤΑ ΜΕΡΟΣ 4/6
https://www.youtube.com/watch?v=Tec7XoB8Gjs

https://www.youtube.com/watch?v=HD68YnvUex8
ΧΑΣΙΚΛΙΔΙΚΑ ΜΕΛΩΔΗΜΑΤΑ ΜΕΡΟΣ 5/6

ΧΑΣΙΚΛΙΔΙΚΑ ΜΕΛΩΔΗΜΑΤΑ ΜΕΡΟΣ 6/6
https://www.youtube.com/watch?v=2clibIudY28
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47777
פורסם ב: Apr 14 2014, 11:43 AM
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כמעט מכור
****

קבוצה: חברי פורום איליוס
הודעות: 270
משתמש מספר: 2384
תאריך הצטרפות: 14-September 09



ΠΑΝΕΠΙΣΤΗΜΙΟ ΠΕΛΟΠΟΝΝΗΣΟΥ
ΣΧΟΛΗ ΚΟΙΝΩΝΙΚΩΝ ΕΠΙΣΤΗΜΩΝ
ΤΜΗΜΑ ΚΟΙΝΩΝΙΚΗΣ & ΕΚΠΑΙΔΕΥΤΙΚΗΣ ΠΟΛΙΤΙΚΗΣ
ΠΡΑΚΤΙΚΗ ΑΣΚΗΣΗ
5ον ΕΞΑΜΗΝΟΥ
ΑΝΤΙΚΕΙΜΕΝΟ ΕΡΓ ΑΣΙΑΣ:
Urban song and Criminalization of a Way
of Life ίη Mid-War Greece
ΚΑΘΗΓΗΤΗΣ: ΚΑΡΥ ΔΗΣ ΒΑΣΙΛΕΙΟΣ
ΦΟΙΤΗΤΡΙΕΣ:
ΜΑΚΡΟΓΙΑΝΝΑΚΗ ΧΡΥΣΟΥΛΑ Α.Μ.: 3032200400041
ΚΑΣΙΜΑΤΗ ΔΑΝΑΗ Α.Μ.: 3032200400051


The rebetiko did not appear ουt of the blue, bυt a series of longstanding factors helped its creation. The evolυtion of the rebetiko lasted
for aboυt 30 to 40 years and inflυenced greatly the Greek song.
After the Greek revolυtion in 1821, the first independent Greek
state is created in 1829, but Greeks also inhabit other areas, oυtside the
new state, like Macedonia, the Dodecanese and Minor Asia. Between
1833 -1863, the period of Otto's monarchy. Syros becomes a trade centre
and the crossroads for commercial and cultυral exchange between the
East and the West.
Ιη the l 870's and 1880's Athens and Piraeus become the centre of
economic activity where 38 steam-powered factories exist. The
development of the port of Piraeus coincides with the industrial
revolution in Greece and an immigration wave from Russia, Euxine
Pontυs and the Minor Asia, mainly from Smyrni. This is when an era of
commerce and urbanization begins.
The population of Athens and Piraeus in 1879 is 60.000 (sixty
thoυsand). Ιη a decade the popυlation triples and in the meantime the
borders of the Greek state are extended, including Thessaly and Crete. Ιη
1907 according to the National Demographic Censυs the Greek
population comes to a total of about (2.631.952) 2 and a half millions of
people. 250.000 Two hυndred and fifty thousands of them are inhabitants
of Athens and Piraeus.
After the Balkan War (1912-1913) and the first World War in
1917, the most devastating event that deeply affects Greek society and as
a conseqυence the urban popular song is the Greek - Tυrkish War that
results in the destruction in Smyrna in 1922 and the exchange of
populations with the Treaty of Lausanne. Approximately 1.500.000 one
million five hundred thousand Greeks arrive as refυgees from Minor Asia
(1922-1923). Many of these refugees settled in big Greek cities bringing
their cυstoms, morals and traditional music with them and so the folk
music of Smyrna and Constantinople became widespread. From the
blending of the mυsic from Minor Asia - called Smyrnaic song - and
Greek elements we have the creation of rebetiko. The refugees were more
extravert and cosmopolitan, their women were more liberated, and they
loved music and dancing and started spreading new habits, morals and
conduct norms.
This rapid increase in population has a great impact οη the existing
social and financial condition in Greece. Social classes and hierarchy that
already existed changed greatly dυe to the difficulties and the struggle for
survival. Dwellings are not enough to accommodate the newly-arrivals
and health and education services are insufficient. Unemployment
becomes a norm since creating new jobs from scratch is difficult in
addition to racism the new-comers face.
After the foundation of the Greek state and until 1880, the ltalian
melodrama is prevalent in Athens. The Greek music of that period is
greatly influenced by the ltalian music. The first attempt for the creation
of Greek songs results in the Eptaneasian serenade and Athenian songs.
From l 890's since the threshold of the 20
century, a wave of
emigration to America occurs. The Greek emigrants are the ones who
record Greek songs and especially rebetika for the first time (1910-1934)
and as it is widely claimed these songs had older roots. Rebetiko,
Smyrnaic songs and folk songs, which until then existed only as songs
written by unknown people in prisons or opium dens (tekedes) and were
spread orally, are recorded. The period of the creation and proliferation of
rebetiko coincides with the development of the Greek industrial society.
Due to industrialization, new urban centers are created with
different characteristics and organization that their residents have never
experienced before. The new cities are very different from the citiesmarkets of the Ottoman Empire.
The urban growth and planning, the capital investments and the
advance of technology contribute to the manufacture of machinery, in the
operation of factories etc. Athens accumulates the greatest part of
population as it is considered to be the most important financial centre of
the country. Since then, there is a gradual formation of a social class of
capitalists, which is based οη the local production force. The new cities
-urban centers function as the main organizers of production.
This is when the difference and the division of social classes in
those who possess capital and those who struggle for survival, becomes
obvious.
Most of the population works part time in various jobs and lives
under terrible conditions. They work in factories, at the port, helping with
the construction of the railway system, in small industries and shops,
greengrocers', shoemakers' etc and every possible job which created in
the attempt to follow the economy and way of life in Europe, while being
dependent οη the capital of the West.
The ideology and policy adopted by Greek governments is based
οη this political and economical dependence. The succeeding results of
this dependence stabilise the official governmental views concerning the
internal affairs of Greece. It also results in a definite refusal of all Greek
governrnents to acknowledge the existence of the working class' culture
as it is considered to be greatly influenced by the East, as well as a
recollection of the years of the Ottoman occupation. Officially, it is
commonly believed that the economic and social prosperity should be
based not only οη the acceptance of the Western culture but also οη its
immediate assimilation by each and every citizen.
The middle and upper class have the means and interest to support
this dominant official ideology as it is to their advantage in order to
obtain economic and social prosperity. Οη the other hand, the lower
classes don't accept these principles as their objective is to retain their
identity and evolve their existing culture adjusting it to the new ideology
and way of life. Through this process a new ideology and way of life
emerges among the workers and the poor of the urban neighborhoods.
The songs composed at the end of the 19th century and the
beginning of the zoth century come from the lower classes that live in big
urban centers-harbors (Smyrna, Thessalonica, Constantinople, Piraeus ).
During the period of urbanization, industrialization and the incoming
Western elements, the rebetiko is evolved by common citizens working
part-time, prisoners, the poor, offenders etc. as well as the mass of the
refugees.
Officials care less about these groups of people and as a
consequence don't have them under strict surveillance and control,
forcing them to inhabit the outskirts of the cities where they find space to
express themselves and be creative.
The accumulation of population in ghettoes at the outskirts and in
the urban centres contributed to the creation and the development of
rebetiko. This reflects an effort for obtaining social identity, way of
expressing themselves and a struggle for survival.
Ιη contrast to the impersonal relationships which are typical of a
capitalistic society, these groups live in secluded communities but shared
the same worries and fate. This common life creates a special way of
thinking which is expressed in their songs.
The unity, stability and continuance of this culture (the customs,
the way of life and expression and the social structure) depend οη the
extent of assimilation of this culture by the existing social system.
During this period of time the biggest part of population has ηο
political power, ηο jobs and ηο income. Many of them are arrested and
imprisoned even for minor offences. Being marginalised, the excluded
groups of people develop the instinct of self-preservation and try to
preserve their originality.
The inability of the state to function properly, results in the refusal
of these oppressed groups to cooperate with the system as it is commonly
believed to be unfair and inhuman. This situation is reflected in the lyrics
of their songs, for example " ... 1 blame society, for this situation ... "
The content of rebetiko is mostly erotic and deals with illegal acts
such as the use of drugs. Moreover, the influence from Smyrnaic music is
dominant in such a degree that it is difficult to distinguish rebetiko from
Smyrnaeko. Gradually, rebetiko acquired its own special characteristics
and due to its being widespread, its concept changed dealing also with
social issues apart from love which is still prevalent. Rebetika songs were
composed concerning love, jealousy, drugs, tekedes, prisons, death,
poverty, friendship, dignity, honour, entertainment, etc.
As far as the lyrics are concerned, the quantity of Turkish words
that were used in them is really impressing. However, it's something
completely understandable, because during the Ottoman Empire period,
Greek organists played for Greeks but they were also played for the
Turkish. The use of Turkish words was typical of the low-class' culture.
They knew and used the Turkish language in their daily life as most of
them were immigrants from Minor Asia and didn't go to Greek schools.
This was noticeable from their general philosophy in life, being at
tekedes, using the Turkish names of the musical instruments etc. For
example defi is a Turkish word, but in Greek "timpano", which means
drums, is its equivalent. However, this way of expression was not
acceptable by the middle class who had adopted the Western way of life
and culture.
Although the origin of the word "rebetis" is not clear, not even if it
comes from a Turkish or a Greek root, its content and meaning has to do
with a bohemian person, loving life and pleasure, anti-conformist,
defying authority and conventional values. Generally, they were people
facing hardship and they abstained from the life of elite or "civilized"
society. They had more or less developed their own way of life. However,
this does not mean that they were dangerous or criminals, but most of the
rebetes had developed habits that were illegal (smoking hash, getting into
trouble etc.) and often ended up in prison.
The word "rebetes" was also used by Greeks to distinguish which
of these people were organists, wrote songs and hang around at tekes,
playing and singing.
Baglamas and bσuzouki are the two basic instruments that are used
in rebetiko. Bouzouki has been used as an instrument that escorted at
traditional songs in Byzantine age, but also during the Ottoman
domination.
Many support that rebetiko was born in prison and in tekes (big
smoking areas) or taverns. lndeed, these places were the places where
rebetes composed and sang their songs. Many great rebetes were
imprisoned, experiencing the horror and the difficulties of the place. Ιη
prison, using handcrafted instruments (usually baglamadakia which were
small and easily hidden). They composed many melodies and sang for
their pain, the unfairness of society and generally their life. "Prison is
school" says an old rebetiko. Generally, prisons were a basic topic in
rebetiko.
Another important place for rebetiko was tekes. At the beginning
of 20
century' they gathered at tekes where they smoked nargile filled
with Turkish hash in small teams. Ιη these handicraft tekes, there were
instrumentalists that accompanied the company. Ιη his autobiography,
Markos Vamνakaris explains how he started playing bouzouki and how
he became famous at tekes. The abuse of hash was illegal, of course, but
law was not enforced properly. Hash was usually given for free and was
the only way for poor people to forget their problems. Rebetes smoked
hash οη the hills or in caves. The habit of smoking hash was also strong
among the refugees from Minor Asia.
When rebetiko was initially created, the organist played not only
for his own amusement, but also for his friends. He didn't follow rules;
but improvised. The composer of a rebetiko was mainly inspired by the
communication between members of the team or the community. This
member conceived and expressed the atmosphere, the mood and the
conditions that existed during these common moments. Improvising when
composing music as well as describing every aspect of their life was the
main ingredient for a song full of energy, liveliness and authentic
features.
The organists and the songwriters didn't know how to write music;
the spread of the songs was done orally and by the members σf the
company.
The organist, composer, lyrist and singer are the same person that
works οη the rhythm, the lyrics and the singing of the song at the same
time. All these steps of the process influence one another.
Rebetes, however, had developed their own community in the
society. Particular clothing (koutsavakides), particular dialect (slang) and
eventful love life. Most of them had a job and tried to get by. Music,
which was a basic part of their life, was a means of expression of their
emotions and a way to share their problems with the rest of the
community. Due to some of these problems, such as lack of education,
poverty and low social level they possibly found an alternative in hash
and music. Nevertheless, rebetes didn 't stop preserving their ideals and
believing in them. Dignity and honor were their basic concerns. The love
for their women and especially their mothers, friendship, mutual help and
respect show their generosity of heart.
It wasn 't rare for them to get involved ίη a fight, especially οη
issues of honor and dignity or even to defend a friend or the reputation of
a woman. Although they respected women , in matters of faith they could
be very strict and demanding.
These people put great emphasis οη their personality and special
aspects of their character. Each member of the community contributed to
the growth and continuance of the team, according to his skill. Some sang
better than the others, others were more courageous or braver when
fought using daggers, others played the baglamadaki or the bouzouki
better, others danced better, or just owned the place for gathering and
smoking hash, listening to music and communicating in their own way.
These people claimed that, they knew how to live well. Living well meant
singing, dancing, being in love and smoking hash with their friends.
Someone was dressed tastefully if he did not wear a tie. For residence,
they had a rented room, where they went only to sleep.
Their job was not a pleasant aspect of their life. It was just
necessary labour for their survival and not for acquiring social power or
imposition. They neither cared about profit, nor had the desire for money.
Οη the contrary, money was thought to be responsible for their
unhappiness; either personal or social. Rebetes thought money changed
the personality of everyone and ruined the relationship between them.
They had to spend the less possible time οη making money.
Their personality was judged according to their own morals,
beliefs, and way of life, which was against routine imposed by people out
of their community boundaries. School was of ηο importance to them.
Rebetes were barely literate. They believed that the experiences they
acquired through life and the difficulties of survival were the actual
school for them. They refused to follow every rule imposed by the
authorities including having a job, going to school, getting married and
having a family. Ιη prison, they managed to pass hash illegally, and they
created their own hierarchy and conduct norms and values.
Rebetes were marginalized and stigmatized as being illegal.
Bouzouki and the use of drugs were the main reasons for that. Ιη Greece
laws that banned the use of hash were introduced in 1890 but they
weren't strictly enforced until 1930. Ιη 1930 smoking hash became a
punishable offence, something that made its users to find illegal ways of
purchasing and using it. Until 1936 anybody who was arrested for
smoking hash remained in jail for 3 days while they could also pay a fine
and be released.
The ruling bourgeoisie during the historical period in question
made an intensive effort to impose itself culturally, economically and
politically, even if that meant curtailing civil liberties and criminalizing
various "opposing" groups. Rebetes should be eliminated as being one of
these groups because the authorities resented the use of hash, the
existence of the tekedes and rebetiko. They expected frσm rebetes to give
priority to their jobs and adopt the "civilized" way of life.
Rebetika underwent difficulties during the dictatorship of Metaxas
and in 1936 they were banned. Metaxas tried to enforce the discipline in
the society with the imposition of conservative values, the obliteration of
rebetiko music, their way of life and the censorship of the lyrics. Thus, he
imposed strict measures and he criminalizes the use of drugs.
The composers of rebetiko were frequently arrested and maltreated
by the authorities. For instance, the police raided in tekedes and anybody
who sang this kind of songs was automatically arrested or even exiled
while tekedes were shut down.
K.Gardikas, Professor of Criminology at the University of Athens
speaks of the harmful effect of ''vulgar music", characterized by "filth
produced by the basic forms of animal instincts", and cites the vίews of a
great classical pianist of the time, who believes that" the hideous Turkish
Oriental amane has the effect of coπupting popular musical instinct" as
well as that "many unmentionable pieces sung in Turkish or Albanian, in
a vulgar and earthly manner, drag the art of sound down to the lowest
levels of carnal musical filth". The Dictator himself had stated that" Art
is not a manifestation of the culture of an individual but a manifestation
of the culture of society as whole and an artist can not be examined
outsίde space and time, but within social, climatic, racial and national
contexts as a purely collective expressίon". After that, censorship was
employed to materialize these views and suppress the detrimental effects
of rebetiko which allegedly pandered the vulgar predilections of the
public. Law 1619/1939 introduced preventive censorship of songs which
"ought not to offend against public morals, to corrupt the artistic
sensibility of the public or adulterate and pervert the authentic spirit of
Greek musical tradition". Ιη order to make a recording, the company
interested should apply for license to the Ministry of Press, submitting
together the lyrics and the scores of the songs to be recorded. Then the
Directorate for Popular Enlightenment should forward the documents to a
competent Committee, which if it thought it necessary could demand
even a performance of the musical pieces under consideration.
Vamvakaris, a great composer of the time states: "Before 1936 we wrote
differently. During the censorship people called me and told me: ''you
must stop writing like this ... " whatever looked unlikely to get through Ι
did not include. Ι would put ίη a different word for it to get it through.
Why should Ι write and have to put up such an effort only to go there and
have it rejected?". However, another important composer refused to
create under censorship and he stopped recording. It is worthwhile to
describe the event. He applied for license, but in one song with the title
"The Down-and-Out" there was a verse saying 'Ί am trying to fιnd my
fate and ask her if Ι have the right to live free". So, the censors asked him
to change the phrase ''live free" with "live happily". So, the composer,
Vangelis Papazoglou told them 'Ί don't like it like that. Ι am not happy if
Ι am not free. If Ι feel tyrannized Ι don't laugh. That's the way Ι am. Ι am
not handing the application"
From that time, the demise of rebetiko started. After a war, four
years of foreign occupation and a subsequent devastating three-year civil
war, Greece in the 50's and 60's was an entirely different society. The
social context in which rebetes lived and created was deeply transformed.
Bouzouki music was now acceptable but in new form and thematic. The
context of rebetiko song was still poverty and social injustice, but also the
sorrows of emigration and separation from loved ones were predominant.
The lyrics about hashish and prison were extinguished. Orchestras
became bigger, the instruments went electric, and all strands of the
society became familiar with this new style of bouzouki music and
entertained themselves in nice night clubs. The founders of rebetiko song
were forgotten and most of them remained in the margin and died very
poor. However, the spontaneity and creativity of the rebetiko song made
it firstly an important part of the working class culture and then a
common aspect of the Greek cultural tradition. After the falJ of Colonels'
dictatorship in 1974, the original rebetiko song became again fashionable
mainly among students and intellectuals. Ιη the 80's many groups of new
musicians reproduced these songs, making them once again known to the
people. Today, in many places all over Greece, people from all classes
and all ages entertain themselves listening, singing and dancing the
sounds of the infamous, illiterate, hashish smokers of the inter-war
period.

ΒΙΒΛΙΟΓΡΑΦΙΑ
• www.rebetiko.gr
• http:Uwww .soi.city.ac. uk/% 7Elivantes/ARTHRA/Rebetiko.html
• http:Uwww .rempetika.com(bibliography.htm
• http:Uwww.oud.gr/rembetika gr.htm
• http:Uwww.musicporta].gr/rebetiko music/?lang=el
• http:Uwww .n1usicheaven.gr/html/modules.php?na1ne=News&file=article&sid=579
• \1ttp:Uwww.de.sch.gr/mikiasia/keimenlO.htm
http://tzanakosnikos.gr/docs/rempetiko l .pdf
• File:UC:\DOCUME-1\Ternp\C2GAUB6 l .htm
• Art as Crime: Restrictions and prohibitions or Urban popular song in Greece during
the interwar period, Evangelos Aligizakis, October 2002.
• www.rebetica.com/diafora/koinvniologίkh2.ht




















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47777
פורסם ב: May 25 2014, 05:41 PM
צטט הודעה


כמעט מכור
****

קבוצה: חברי פורום איליוס
הודעות: 270
משתמש מספר: 2384
תאריך הצטרפות: 14-September 09



Stellakis Perpiniadis

"some day [ probably by mistake ] the greek underground published a list [ partial ], - the names of the undergroud members.
Rembetika: Songs of the Greek Underground

http://www.allaboutjazz.com/rembetika-song...24#.U4H6THZadw4

according the list - Stellakis Perpiniadis was a member !

yes ? - no ? made search.
search- result-
a singer, player,wrote musik @ lyrics. see:
Stellakis Perpiniadis-An Hmoun Petra
Mousiki/Stihi Stellakis Perpiniadis
http://www.youtube.com/watch?v=wZboilYVIGo

played guitar in the rebetiko style.
http://en.wikipedia.org/wiki/Stelios_Perpiniadis

in the church appeard as cantor [probably to hide his real involvment with Greek Underground.]
"A religious man, he sang at his local church as a cantor."
http://wiki.phantis.com/index.php/Stellakis_Perpiniadis

he was so good to the Underground organization that was nominated as a singer of varvara
therfore he was arrested, "[ real rebet ]"

"One of the early cases that went to trial even before the law went into effect, was the song “Varvara” (Barbara), released in 1936 with music and lyrics credited to Panagiotis Tountas. Its satirical lyrics and sexual connotations made it a hit throughout Athens and the provinces and a source of criticism and negative publicity by the press. The song was banned and its composer Tountas and singer Stelakis Perpeniadis, along with the director of Columbia Record Company, Themistocles Lambropoulos, and some ninety owners of record shops went on trial on December 21, 1936"
http://rebetoparea.blogspot.co.il/2012/01/...o-bykosmas.html

47777 well educated musician

how the "rebet" Perpiniadis is connected to this topic?
the reason is:
" "The singer Stelios Perpiniadis confesses that he first came across the word " “rebetiko” in 1918,
when he read an article by the musicologist Faltaits. ""
see:
http://asiaminor.ehw.gr/Forms/fLemmaBodyEx...px?lemmaID=8911

we can assume:
that the rebet perpiniadis [ who is interested as profesional, in music [ reading musicologist Faltaits.]
and didnt came across the word " “rebetiko” -
that the word rebetiko was not used as a SPOKEN word and not as a slang.
and not as music general term.

how to explain that: the tiki tiki tak record was pressed with the word rebetiko
http://www.elin.ttu.ee/~parveto/Interest/M...kh_istorikh.htm

Nesc. - "τίκι τίκι τακ" (1905, first disc noted as "ρεμπέτικο"/"rempétiko")
Ψαμαθιανός - "τίκι τίκι τακ" (1913, 3:06)
and he did not knew:-
the record was popular in constantinopol as bohemian music.
probably he had no interes in this style of music.
and : he was "A religious man".-- psamathianos on the other hand- astablished himself as brothel style singer.
Γιάγκος Ψαμαθιανός GIAGKOS PSAMATHIANOS - HIOTIKOS MANES (1911)
http://www.youtube.com/watch?v=fwJmwpu4r_I

p.s this HIOTIKOS MANES is the answer to those smart scholars that are preaching- tiki tiki tak=
= children song.
see also :Μαρκος Βαμβακαρης - τικ τακ κανει η καρδια μου
http://www.youtube.com/watch?v=q-fX46PqHUU&feature=related
another singer for children.
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47777
פורסם ב: May 29 2016, 09:01 PM
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47777
פורסם ב: Mar 12 2017, 11:18 PM
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47777
פורסם ב: Mar 13 2017, 10:46 PM
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כמעט מכור
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קבוצה: חברי פורום איליוס
הודעות: 270
משתמש מספר: 2384
תאריך הצטרפות: 14-September 09



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