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Lyssa
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PostSubject: Re: Greek Poems Mon Jul 27, 2015 7:52 pm




Let me tell you again

About past times

About the songs I love

The hurtful

One knot my joy

But if you come

drop by drop I'll give it to you to quench your thirst

Let me ask again

What will time bring

Sunlight and lightning

Set me a trap

One knot my joy but if you come

drop by drop

I'll give it to you

to quench your thirst

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"ἐδιζησάμην ἐμεωυτόν." [Heraclitus]

"All that exists is just and unjust and equally justified in both." [Aeschylus, Prometheus]

"The history of everyday is constituted by our habits. ... How have you lived today?" [N.]

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PostSubject: Re: Greek Poems Mon Jul 27, 2015 7:53 pm




I did not make distant trips

My years had roots were trees.

That were dressed with leaves by my heart, and left them to blossom in the rocks

i did not make long trips

The people I loved were forests

My friends moons were islands

That my heart thristed to seek out

The longest trip, was you

The night you, the dream of day

Small patrida, body and beginning

the land, you, my breath and the air

I did not make longs trips

My heart traveleld and that was enuogh for me

In dreams in wet feelnigs

the secret world to breath

The longest trip was you

Night, you, my daydream

Small patrida, body and begining

My land you, my breath and air

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"ἐδιζησάμην ἐμεωυτόν." [Heraclitus]

"All that exists is just and unjust and equally justified in both." [Aeschylus, Prometheus]

"The history of everyday is constituted by our habits. ... How have you lived today?" [N.]

*Become clean, my friends.*


Last edited by Lyssa on Mon Jul 27, 2015 8:43 pm; edited 1 time in total
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PostSubject: Re: Greek Poems Mon Jul 27, 2015 7:53 pm



Mother sweet mother

If they would take me to the gallows tomorrow

sweet mother

I know, whose tears, drop by drop, will fall from big eyes

Mother, sweet mother

Mother, poor mother

since they label me a murderer

I took the streets one by one, and life for a stroll

to do bad to the bad, who only you can hear but do not mind

In the desert where I found myself

one hand on the sword and the other on the bible, Mothers and orphans came and said to take the tears of a criminal and make it laughter

But now that the time has coem to close the ledgers, who, can, percahnce say that I had a heart for the children fo love and to be forgiven

one hand on the sword and the other on the Bible, Mothers and orphans came and said to take the tears of a criminal and make it laughter

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"ἐδιζησάμην ἐμεωυτόν." [Heraclitus]

"All that exists is just and unjust and equally justified in both." [Aeschylus, Prometheus]

"The history of everyday is constituted by our habits. ... How have you lived today?" [N.]

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PostSubject: Re: Greek Poems Mon Jul 27, 2015 7:54 pm




With a boat you come and you go

During the times the rain becomes angry

in the land of the Visigoths you sway

and you are won over by hanging gardens

But your own wings you saw

Covered by salt, your body is

I brought you in Delphi sweet water.

In two, you said, your life will be cut

And before i could reject you thrice

The key of paradise rusted

The caravan runs in the dust

And your crazy shadow it chases

how can you tame the mind with a sheet, how can you tie the Mediterranean with ropes

Agape who we called Antigone

What night-songs your light has take

and in what galaxy can I find you?

Here, is Attika, the gods garbage heap, and I a cheap firing field

Where soldiers train, swearing

What night-song has taken your light

And in what galaxy can I find you?

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"ἐδιζησάμην ἐμεωυτόν." [Heraclitus]

"All that exists is just and unjust and equally justified in both." [Aeschylus, Prometheus]

"The history of everyday is constituted by our habits. ... How have you lived today?" [N.]

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OhFortunae

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PostSubject: Re: Greek Poems Mon Jul 27, 2015 8:36 pm

Such Pearls - this kind of music strikes in my heart, Greek language has something where you truly can put emotions in your vocal vibrations; dramatic is the most beautiful of all.
[I have around 700 Greek songs on my laptop, a kind person gave me her usb to transfer; once I figure out I will share them].
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Satyr
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PostSubject: Re: Greek Poems Mon Jul 27, 2015 8:38 pm

The lyrics lose their effect when translated.
I can't help but tear up every time I listen to some Greeks songs. The pain of centuries leaving an imprint in the spirit of the people.

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OhFortunae

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PostSubject: Re: Greek Poems Mon Jul 27, 2015 8:45 pm

Satyr wrote:
The lyrics lose their effect when translated.
I can't help but tear up every time I listen to some Greeks songs. The pain of centuries leaving an imprint in the spirit of the people.

That is universal; as Nietzsche loses some of his power in English but might get another taste not present in his native writing. Could you translate this song into English (if too much trouble, I will ask the singer).
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PostSubject: Re: Greek Poems Mon Jul 27, 2015 8:55 pm

She's not a native Greek.
Hard to make out some of the words.

In that yonder road, that large road, in that endless, endless road
There is no mercy, there is no mercy,
in that yonder road there is no mercy

How much I love, the pain which is yours,
That endless, endless pain
There is no mercy, there is no mercy
In that yonder road there is no mercy




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PostSubject: Re: Greek Poems Mon Jul 27, 2015 8:59 pm



I went to the places where i first saw you
small girl, you were, and I was a boy

where are the years, beautiful years,
when you had flowers in your hair
Where is the love
sweet love
to warm us in the chill

In the palace, of your small home
I went to bitterly cry

where are the years, beautiful years,
when you had flowers in your hair
Where is the love
sweet love
to warm us in the chill

Closed door and lost keys
Raining in the streets and in my empty heart

where are the years, beautiful years,
when you had flowers in your hair
Where is the love
sweet love
to warm us in the chill

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OhFortunae

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PostSubject: Re: Greek Poems Mon Jul 27, 2015 9:00 pm

Satyr wrote:
She's not a native Greek.
Hard to make out some of the words.

In that yonder road, that large road, in that endless, endless road
There is no mercy, there is no mercy,
in that yonder road there is no mercy

How much I love, the pain which is yours,
That endless, endless pain
There is no mercy, there is no mercy
In that yonder road there is no mercy

Many thanks, I wondered for a time now but never bothered (or wanted to bother) to ask.
She is Dutch.
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PostSubject: Re: Greek Poems Mon Jul 27, 2015 9:07 pm



You sit on the balcony like an immortal flower
but I, like a songbird, play with death
I don't care if I die
I don't care if I'm lost
Only one thing makes me wilt
That you leave me on my own

I love you like sin
I hate you like prison
Cut me, if you will, in three
No drop of blood will come out

Your velvet lips
have never bled
You are the flame in the lamp
that burns my oil

On your hair hang me
Heartbeat and curse
So as to not see other lips
drinking your dew

I love you like sin
I hate you like prison
Cut me, if you will, in three
No drop of blood will come out


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PostSubject: Re: Greek Poems Mon Jul 27, 2015 9:31 pm



My eyes on your eyes
And, up above a star, my god
Ah, if only this hour would never end

Your fever, inside of me
A fire that spasms
The world has become small, and it no longer fits me

First time I love you
First I know you
First, in your hands, time, I am born and dying

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PostSubject: Re: Greek Poems Mon Jul 27, 2015 9:45 pm




On the paths of misery
on the bridge of sorrows
my mother had me
on an autumn night.
Life, my eyes, did see

with bells beautiful and colourful they put me to sleep
And small eyes saw the wonders of the world and agreed
my milk was bitter, and my water was stale
That raised me

And across from my crib my fate was admiring me
My crying was muffled
It was like I wanted to say something
But they never felt me
A sad breathe for the whore of a life they charged me with

That's how I began,
They never asked me, like, but I got used to you
Like an injured eagle in the dirt
I search for strength to hold on

On mud and nails I first walked the world's unjust fire
I first walked
Steady balance to reach life But I failed
Only the "A" and the "H" in my school years
I first spelled
For this "ah" and "why" is still following me though I'm in my forties
That's how time past, and me, hunched over, on the road, I made dreams
fortunately I was one of those who swam on foam and mud-waters
Blood from the soul runs, like rain, but who cares
And the invisible wound that inside me bleeds. who shares it?

That's how I began,
They never asked me, like, but I got used to you
Like an injured eagle in the dirt
I search for strength to hold on
god if only I knew what day I would die
to give a birthday to my death


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PostSubject: Re: Greek Poems Mon Jul 27, 2015 10:25 pm




Mes underground tavern,
amid smoke and insults
(Bumped shrilled the lantern)
none the less the drinker drank 'epses;
epses as all evenings,
go residents of drugs.

Clench one side to the other
somewhere eftyouse underfoot.
Oh! how much suffering
suffering is life!
As much as the mind tormented,
asprin day not desire.

Blue sea and Sun!
and a depth t 'prodigal' sky!
Oh! the avgis krokati gauze
Garoufalia the sunset,
shine, stop away from us,
without entering into our hearts!

(His menus father ten years
paralyzed same item;
t 'other kontoimer' wife
home melted from tuberculosis;
Palamidi his son Mazi
Mr. 'daughter Jávea Gazi.)

- Blame the Zavos our root!
- Blame God hates us!
- Blame head our bad!
- Blame first of all the wine!
Who is to blame? who is to blame? NONE mouth
not VRE and not WP yet.

So the dark tavern
always drink our stoop.
Like worms, each heel
where our Evreux treads us.
Cowards, fatal and spineless Adama,
We look forward, perhaps, a miracle!

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"ἐδιζησάμην ἐμεωυτόν." [Heraclitus]

"All that exists is just and unjust and equally justified in both." [Aeschylus, Prometheus]

"The history of everyday is constituted by our habits. ... How have you lived today?" [N.]

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PostSubject: Re: Greek Poems Mon Jul 27, 2015 10:29 pm

The Empty Word
by Nikiforos Vrettakos

"All that’s left of peace
is an empty word, a shed garment.
It’s scrawled everywhere, as if
to mock its own countenance:
the divine plenitude, the sap that flows
from flower to flower, the poetry.

Yet still I wouldn’t want
to find it among my own pages,
like a white corpse in a casket."

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"ἐδιζησάμην ἐμεωυτόν." [Heraclitus]

"All that exists is just and unjust and equally justified in both." [Aeschylus, Prometheus]

"The history of everyday is constituted by our habits. ... How have you lived today?" [N.]

*Become clean, my friends.*
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PostSubject: Re: Greek Poems Tue Nov 03, 2015 6:01 pm

I do not know the name of the song, but its very touching...

"ocean to live i will not find
in the soul of a fish
every night i come out to drown
sometimes stars, sometimes edge of abyss
something i am hunting
like the shipwreck
years of cigarettes to burn out
this night remains
aeons frozen
the two souls did not find shelters
and stayed in world as strangers
and condemned
to live an earthly love

i was also lost one night
the stars fell to mud
black the age, black like a snake
take a whiff of how the oil is burning
this night remains
frozen in the aeons
where two souls did not find shelter
and stayed in world as strangers
and condemned
to live an earthly love"

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"ἐδιζησάμην ἐμεωυτόν." [Heraclitus]

"All that exists is just and unjust and equally justified in both." [Aeschylus, Prometheus]

"The history of everyday is constituted by our habits. ... How have you lived today?" [N.]

*Become clean, my friends.*
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Satyr
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PostSubject: Re: Greek Poems Tue Nov 03, 2015 6:16 pm


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PostSubject: Re: Greek Poems Wed Jan 13, 2016 3:28 pm

[s: Satyr]


Anathema




"I have you, at times, by God
so much need
running from my eyes
seas and oceans

Send a letter, a syllable
if you got your God
hanging from your lips
and I'm at your mercy

Damn you do not feel sorry
when I burn and melt
That you made me love you
and now I languish

I locked my thoughts
amidst your mind basements
ah how much I want to tell you
but there are no words

Anathema at you,
you do not pity me,
when I burn and melt.
That you made me love you
and now i wither."

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"ἐδιζησάμην ἐμεωυτόν." [Heraclitus]

"All that exists is just and unjust and equally justified in both." [Aeschylus, Prometheus]

"The history of everyday is constituted by our habits. ... How have you lived today?" [N.]

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PostSubject: Re: Greek Poems Tue Feb 23, 2016 10:50 am

Quote :
"Greek and foreign scholars have traced numerous etymological origins of the term rebetika: the old Turkish word ―rebet‖ that means outlaw; the Turkish pronunciation of the word ―rou-beit that means four-verse (in Arabic, ―roubayiat means ―four-verse; a derivation of the Arabic ―boem that means bohemian; a derivation of the verb ―rebomai that means to rove futilely, to wander like a bum (Savvopoulos 2006, 13-14). Tasos Vournas suggests that rebetika comes from the word rebet, a term that originated among the Muslims of Kosovo in Serbia and that means ―rebel. Greek musicologists often trace the root of the word ρεμβ in the ancient Greek language, that resembles the verb ρέμβω / ρέμβομαι ( ̳turn‘, ̳roam‘, ̳rove‘, ̳roll about‘). In ancient Greek, the verb in its many forms maintains connotations of vagrancy and idleness: ρεμβεύω, ρέμπομαι, ρέμπς, ρεμβός, ρεμβάς, ρεμπιτός (Gauntlett 1984, 90). Today, the etymology of rebetika remains unknown. Perhaps, as Daphne Tragaki suggests, the attempt to determine its origins is indeed a ― "meaningless archeology" (Tragaki 2007, 24).  

Vergopoulos emphasizes the Greekness of the genre, tracing its roots to ancient Greece and the Byzantine Empire. He states that rebetika ―

Quote :
"joins Dionysus from ancient Greece,  mysticism from Byzantium, and dervisika in congruence with the dominant ideology in Greece, which came from Western Europe and North America" (Vergopoulos 1973, 1).

Rebetika songs were also scorned for their lyrical style—many songs were written in a manner of speaking that was popular amongst the urban poorest classes. This style of speaking was known as mangias, and was easily recognized by the use of slang and by a unique intonation. Savvopoulos cites three basic characteristic of the language of mangias: a. the melody, in other words, the prosody of the voice. b. the specific vocabulary, in other words the slang of mangias. c. unique constructions, and usages of ordinary words (Savvopoulos 2006, 100). Slang played a significant role in rebetika songs. The slang was specific to these classes and often was not understood by others.

―I Lahanades [The Wallet-Snatchers] (1934) of Vangelis Papazoglou is a well-known rebetika song that is filled with slang. The words in boldface type are examples of slang:

Quote :
"Κάησ ζηα ιε-, ξε θάησ ζηα ιε-, θάησ ζηα ιεκνλάδηθα Κάησ ζηα ιεκνλάδηθα γίλεθε θαζαξία
Δςο λασανάδερ πηάζαλε θαη κάμαν ηην κςπία

Τα ζίδεπα, ξε ηα ζίδεξα, ηα ζίδεξα ηνπο θόξεζαλ Τα ζίδεξα ηνπο θόξεζαλ, γηα ηε ζηελή ηνπο πάλε Κη αλ δε βξεζνύλ tα λάσανα ηο ξύλο πος θα θάνε

Κπξ αζηπλό-, ξε θπξ αζηπλό-, θπξ αζηπλόκε κε βαξάο Κπξ αζηπλόκε κε βαξάο γηαηί θαη ζπ ην μέξεηο
Πώο ε δνπιεηά καο εηλ‘απηή θαη πέθα κε γπξεύεηο

Δκείο ηξώκε, βξε εκείο ηξώκε, εμείρ ηπώμε ηα λάσανα Βξε εκείο ηξώκε ηα ιάραλα ηζιμπούμε ηιρ πανηόθλερ Γηα λα καο βιέπνπλ ηαθηηθά ηεο θπιαθήο νη πόξηεο"

Metaphorical Translation:

Quote :
"Down in the le-, down in the le-, down in the lemonadika
Down in the lemonadika there was a fuss
They caught two pick-pockets who were robbing a lady

In handcuffs, in handcuffs, they put them in handcuffs
They put them in handcuffs and took them to their cell
And if they don‘t find the wallets, the beating that they will take

Sir police sir police, sir policeman don‘t
Sir policeman don‘t insist
This is our work, don‘t wait for a bribe

We steal wallets
Hey we steal wallets and snatch purses
So that the doors of jails catch us"

Literal Translation:

Quote :
"Down in the le-, down in the le-, down in the lemonadika
Down in the lemonadika there was a fuss
They caught two vegetables who did a lady

In steal, in steal, in steal they put them
They put them in steal and took them to their cell
And if they don‘t find the vegetables the wood that they will eat

Sir police, sir police, sir policeman don‘t Sir policeman don‘t insist
This is our work and don‘t wait for a bribe

We eat, we eat vegetables
Hey we eat vegetables and nibble at slippers
So that the doors of jails catch us"

Georgiadis describes the people that rebetika songs express:

Quote :
"The rebetiko song is the vehicle for certain types of people to express themselves and have a good time: Daides [he who is ready to make trouble and who is ready to fight] koutsavakides, [a tough guy- a mangas with negative connotations] mourmourides [he who does not make trouble and who is low-key] θνπξκπέηεεο [people who gather together to hang out] manges [tough-guys with great self- respect and dignity and who abide strict social codes], mortes [the wise-guy mangas], rebetes, rembeli [wanderers], alanides, [bums with both an affectionate and derogatory connotation], all those people who liked to have a good time and express themselves through rebetika songs, which spoke of their loves, their bravery, their ethics, their thoughts, their troubles, their joys, their dreams, their hopes" (Georgiadis 1999, 64).

Georgiadis writes the following about the life of rebetiko musician Giannis Papaioannou: ―

Quote :
"Giannis Papaioannou also lived a rebetiko life, staying up all night and celebrating, which drove him to poverty, but he made a comeback again since people ran to hear him and of course, to pay" (Georgiadis 1999, 65).

And in his article ―"Orpheus in the Underworld, Myth in and About Rebetiko" Gauntlett describes the rebetis as a man who lives the aforementioned rebetiko life and has the rebetiko soul. As such, the characterization maintains spiritual undertones as well:

Quote :
"A rebetis is someone who to some degree is somewhat irregular who cannot be forced to conform. The term rebetis is the opposite of the at-home person, of the responsible and rule-abiding leader of a family. The exact place of the rebetis on the spectrum between complete irregularity on the one hand and conformism on the other can vary considerably, but it could surely be said that there is a connection of the marginalized or the dissolute in the small and large annoyances in life (especially of the involvement with the opposite sex and with the law) and in the joys of substances (especially hashish)." (Gauntlett 2001, 62)

The rebetis is often characterized as a wanderer, as someone is usually alone and who is troubled.

Vassiliou uses the term rebetis simply to describe the rebetiko musician. His use of the term lauds the rebetis character and he often belittles his own self with relation to the rebetis:

Quote :
"Look, there is much talk about the rebetis. Some say he was a wanderer, someone who lives outside of the rules of society. Someone who is not worried about societal norms about marriage, family and so on. In other words, he whom I would have liked to have been. Others define the rebetis incorrectly with a negative connotation of a bum. And still others say that the rebetis is the musician that plays rebetika. That plays and lives rebetika. It is not enough just to play...

How should I explain this to you. In rebetika, most songs that are dedicated to the troubles of simple people, to worries, to the joys of love, to the pains of being in a foreign land, of death, of jail, of sickness and so on. The rebetis experiences love with much passion. Since by nature he is sensitive and emotional. In all of his songs he is descriptive and most of all a poet. He uses lyrics that are rich in imagination. And his different imageries and metaphors are so successful that the best poets would envy him...

When, therefore these lyrics are set to music with specific instruments and specific rhythms with the bouzouki melodically bringing to life those lyrics, complaint becomes a cry of protest. Love becomes a hymn. Being in a foreign land becomes torture. Death becomes pain. Injustice becomes revenge. And so on. No one has managed to write with such vividness all that the greater part of our people has been through. It is the nature of the rebetis, in great disappointment to find himself and to pay attention to everything. Everything that for him is contemporary and alive." (Vassiliou 2008)

Scholars and musicians generally agree that the rebetis is a complex character: On the one hand, he is tough and even aggressive. He speaks slang and sometimes sports weapons. On the other hand, he is vulnerable to the basic trials of life such as deceit by women. The ever-popular song ―O Prezakias [―The Junkie] by Anestis Delias, illustrates the toughness and the vulnerability of the rebetis. Regardless of the accuracy of the story behind the song, it illustrates the complex understanding of the rebetis character. Delias was a member of the infamous Piraeus Quartet.

In this song, he describes the negative effects of drug use that lead him to a disastrous end. Many say the song was prophetic and reflected Delias‘s life. So the story goes: a woman with whom he had fallen in love gave him cocaine while he was asleep and thus he became an addict.

Quote :
"From the time that I started to smoke
The world has turned its back on me,
I don‘t know what to do.
Wherever I stand and wherever I find myself people bother me
And my soul does not hold coke to call me.
From the moment I started smoking, I also went on the needle
And my body started to slowly melt.
Nothing has remained for me to do in this world
For coke has led me to die in the streets."

As stated by Pavlos Vassiliou: ―

Quote :
"Rebetika is for a specific type of person. It is for the person who has gone through a lot in life, and who feels deeply. One cannot appreciate rebetika if one has not suffered" (Vassiliou 2007). And in his program notes for a 1967 rebetika concert organized by the Dimos Peiraios, Petropoulos wrote, ―"rebetika songs are songs of the heart. And only he who fills them with pure feeling feels them and enjoys them. Because the heart is measured by other hearts‖ (Petropoulos 1967, 1). He continued on to state that rebetika songs are songs of wounded souls, of the simple people, of the poor, of the sensitive, and those experiencing unrequited love" (Petropoulos 1967, 2).

In a 1947 article to the left-wing newspaper Rizospastis, musicologist Fivos Anoyianakis suggested that rebetika was a type of Greek popular song and that it should be characterized as such—For rebetika was the spontaneous expression of the urban masses. He compared it to demotic (folk) song that arose in a different environment and social milieu:

Quote :
"Battle, nature, mountain, the wild and the festival. Different [circumstances] altogether gave birth to contemporary popular, urban song. These were the circumstances of life in the urban centers. Song topics included love and passion, miseries of life, many times feelings of exile, a coquettish mood or humor. And tragedy masked in irony, lyricism combined with oral banality—these themes were realized in wonderful melodic shapes." (Anoyianakis 1947 as quoted by Holst 1977)

According to Anoyianakis, rebetika are a natural continuation of Greek folksong and of Byzantine chant as true expressions of the Greek people. Other scholars echoed his characterization of the genre as popular song, citing its ability to speak directly to the soul of the people, its associations with the urban folk and its connections to Byzantine music.

Journalist Pangalis stated that by definition, rebetika could not be characterized as popular song:

Quote :
"Laiko song is tied to the history of the place, the societal conditions of its time. With musical forms filled with health, longevity and beauty, it expresses the belief and the optimism in life... Contrary to our popular song, rebetiko is far from societal conflict, from the light of life, in the dark of the underworld, with tones that are full of pessimism and tiredness, with cheap music, vulgarity, it sings the morals, and the customs of a non-existent world that brings us back in time of the koutsavakidon [tough guys that make trouble] and of Bairaktaris." (Pangalis 1953 in Vlisidis 2006, 182)

In a recent article, Holst-Warhaft summarizes why so many Greeks took issue with the characterization of rebetika as popular song:

Quote :
"Despite the fact that it was, in many ways, a home-grown hybrid, rebetiko was not associated with the ideal topos of nationalism, i.e. with the Greek countryside (especially the mainland areas first liberated from the Turks).

The regional folk music of Greece, much of which was itself of hybrid origin, was generally defined by association with a particular landscape. The deracinated, urban rebetika, with their foreign derived slang, their shady milieu and anti-authoritarian lyrics were a thorn in the side of nationalists, but for the same reason they were attractive to modernist writers and intellectuals who opposed narrow nationalism, and to working class urban Greeks, many of whom were sympathetic to the Greek Communist Party‘s campaign for a more equal distribution of resources." (Holst- Warhaft 2001, 2)

A certain blurring of folk and popular song genres did exist as a fundamental characteristic of numerous rebetiko songs. This was partly due to the fact that rebetika composers used the music and lyrics from folk songs as a basis for many rebetiko songs. For example, the Smyrnian Panayiotis Tountas used the melody from the folksong ―H Amersouda [Amersouda] to make five songs in Smyrna style rebetika. Similar overlaps occur in rebetika songs lyrics. In his book O Akritas Pou Egine Rebetis (The Acritic Who Became a Rebetis), Georgiadis traces the development of a song that existed in Greece as an Acritic ballad and that changed form throughout the twentieth century until it was adapted as a rebetiko song. In addition, rebetika songs or pre-rebetika existed in Greece since the mid-19th century. As such, they were recorded in various native and foreign folk song anthologies including the well-known collection by Bourgault-Ducoudray (1876).

While Pavlos Vassiliou agrees that folk song and rebetika do share some musical characteristics including musical modes and roots in Byzantine ornamentation styles, he emphasizes the circumstantial and musical distinctions between them.

Quote :
"Firstly, folk instruments are very different from those that musicians used and still use when playing rebetika. Demotic songs feature basic instruments that produce a strong and harsh sound because they belong to and are played in open spaces and for a broad public. They are used mainly in social events such as festivals for saints, church festivals and so on. For example, the gaida, the lute, the pipiza [blown high-pitched flute], the klarino, the zournas [wind instrument similar to the bagpipe] and the daires [large defi] have a protagonistic role. In contrast, the bouzouki, the baglamas, the violin, the guitar, the kanun are the instruments that have primary role in rebetiko. These belong to small spaces and are for a limited number of listeners. Today and over the years, many novices have tried to compare the two or to discover shared characteristics between the two. But demotic song is based on different situations that the Greek people went through over time, from before their liberation until today. Rebetiko is a song of the cities. It is lonely and proud. At times it sings complaint and pain, and at other times bravery. It has absolutely no connection to mass entertainment, wild entertainment and dance." (Vassiliou 2007)

To Vassiliou, demotic song and rebetika are clearly differentiated by circumstance, instrumentation and performance/musical style. However, he does agree that one could classify rebetika as ―folk song of the cities (Vassiliou 2008) since it was a spontaneous expression of the Greek urban folk and thus a ―true expres​sion(Vassiliou 2008) of the Greek people.

Quote :
"The German Occupation with two words is the heart of Popular Song." -Vassilis Tsitsanis

In his 1964 essay on the zeїbekiko dance, Tachtsis offers an explanation for the emerging interest in the changing rebetiko song. He proposes that the suffering of all social classes during the German Occupation leveled class differences to some extent and people from various economic sectors of society experienced similar difficulties:

Quote :
"There were no more hungry and satisfied, there were no masters and slaves, everyone was a slave, everyone was hungry, all felt the need to bewail their fate...All the houses suddenly became hashish dens, not literally of course, but in character. Everywhere the spirit of lawlessness prevailed, of constant fear, misery and death." (Tachtsis as quoted by Holst 1977, 202-211)

In the following passage, Nearchos Georgiadis describes the changes in the sound and function of rebetika. He writes that during the period of the German dictatorship, three main types of rebetiko song, what he simply calls popular song, took separate paths:

Quote :
"The Asia Minor style with central figure Panagiotis Tountas, was chased after by the dictatorship, and was lost in the darkness of the Occupation. The mangiko- rebetiko [tough-rebetiko] style, with leader Markos Vamvakaris, was pushed aside and lost its protagonistic role. In this gap that was created by the forced extinguishing of the two previous styles, there emerged a new style with European elements, such as harmonies, two voices and so on, with central figure Vassilis Tsitsanis from Trikala." (Georgiadis as quoted by Alexatos 2006, 46)

Alexatos states that at this point the elafro tragoudi [light song] truly became worthy of its name as ―

Quote :
"the poor popular masses had to listen to waltzes and tangos with which the middle classes entertained themselves." (Alexatos 2006, 52)


Tachtsis described the situation in similar terms:

Quote :
"It was not rare to see German cars with megaphones, that went around centers and popular neighborhoods, and they woke up the people with the inimitable ―In the Morning You Wake Me Up With Kisses… which in actuality was a wakeup from the kiss of death, a noise that aimed to cover the explosions of weapon-fire at the shooting gallery in Kaisariani and the cries of the Greek who was dying from hunger... For the first time therefore, those songs truly lived up to their reputation as light songs. They were no longer light only as compositions, but light to the point to which they no longer had even the minutest relationship with reality, if they ever had any to begin with, and to the extent that they snubbed reality and consciously wrote about it in a fake way. No dictatorship tango ever sang about the pain, the hunger, the dictatorship. They all continued to speak of love and flowers and moons." (Tachtsis as quoted by Alexatos 2006, 52)

With Epitaphios, Theodorakis worked to clear rebetika and the bouzouki of prejudice:

Quote :
"Because who can truly assert that the rebetiko song, born long ago in the tekedes brings in its blood the hashish in such a way that if one listens to it and sings it one will become an ―"opium addict"... If we believe in this unlikely chemical capacity of music, we are underestimating the ethical resistance of our people to a dangerous depth." (Theodorakis as quoted by Bithikotsis 2002, 54-55)

Quote :
"No longer Orientals, but not yet Europeans. Neither do we pursue the fulfillment of the imagined Great Idea nor do we follow the trend of contemporary progress." -Phillip Carabott, 1995

Quote :
"Greece freed itself from the Ottomans only to become slaves of Europe. We are no freer now than we were during the Ottoman Empire. It is no coincidence that the Greeks cried ̳Bring back the Turks!‘ during the fight for independence. But you won‘t find that in any school history textbook." -Pavlos Vassiliou, 2008

Quote :
"Four things will destroy the world—syphilis, alcohol, malarial fever and life in the big cities." -Nikos Kazantzakis

Quote :
"The past is Greece‘s frontier." -Patricia Storace, 1997

Quote :
"As pertains to my magazi, I do not give the music easily. Rebetika is not like that. It is not a song for entertainment. It is preeminently of people who are sad, of people for whom something is torturing them. Rebetiko is a song of comfort. It is not a song of crazy entertainment. It is not. Or it shouldn‘t be. No rebetika song is to have a crazy good time. It is for measured enjoyment, very measured- Low key. And what‘s more, it‘s a type of song that what it wants from people is to sit, to listen, to experience, to let loose their problem... to heal their worries. There is no connection between the customers of this magazi with those of other magazia. That is what I believe." (Vassiliou, 2007)

Playing in the correct musical style is crucial for another fundamental aspect of rebetika performance:

Quote :
"it is needed for the achievement of kefi, the good spirits and desire to play. Knowledgeable and respectful patrons help one achieve kefi as well. If a musician is not in the mood to play or is not playing well he might say, ―"I don‘t have kefi" or ―"They ruined my kefi". (Vassiliou)
 

Quote :
"The rebetika style is not something that can be obtained from one day to the next. It has to do with your life, your way of life, it has to do with what you believe, how you perceive this specific masterpiece that is called rebetiko, how much it speaks inside of you, and from there on, having that as a base, at some point your style becomes landed property. It becomes yours. This of course you cannot build in one day or in one week or in one month, neither in five months, neither in ten months. It is acquired. All those bouzouki players you hear who are really fantastic, let‘s say Nikos or Tapsakis, they have been playing bouzouki since they were little. They know the style so well because they have heard it and played it all their lives." (Vassiliou, 2007)

Quote :
"Someone came up to me one time and said ̳Where did you see a shore in Paraguay?‘ He was referring to some prewar song in which I refer to the fine shore in Paraguay. And they told me that in Paraguay there are no shores. And so what? When I traveled there in my imagination, I saw a beautiful shore. And immediately I made it into a song...If I don‘t have [the artist‘s right] to create a shore in Paraguay, then I should cease existing." (Tsitsanis 1982, 35)

Vassiliou characterizes Sotiria Bellou (1921- 1997) as the epitome of rebetika singing for her great vocal abilities but also for her personal connection to the songs:

Quote :
"Bellou couldn't sing without feeling what she was singing. Without crying what she was singing. She sang about certain topics that spoke to her. Poverty, society, mothers et cetera. Even though she didn't write a lot of the songs she sang, people knew what songs to write for her, they knew what topics would speak to her. She did not sing the songs, she ―"cried them". She felt what she was singing. She did not sing happy songs... She had a nice family, especially for the times, she had a proper family... Then later she left, and never went back... She lived a life that was harder than what a man could live. At age sixteen she threw vitriol in her husband‘s face and left." (Vassiliou)

Quote :
"The Greek Communist Party did not accept rebetika. The songs talk about death, drugs, tsamboukades [acts showing ones toughness], about the decadence of human nature. And the rebetes left their lives in the hands of fate. They did not have their rights as workers organized in their minds. They did not have the antagonism in them that a communist needs to have about how to get those rights that he deserves. And some rebetiko songs speak about a way of life that is foreign to Communism. Wine. Hashish. Drugs. Jails. Exiles. Illegal stuff. That is why the party did not accept it. They never accepted that part of people…

Look, art, according to Communism, must serve the needs of the people, or of politics, or of a specific class. For example, Beethoven did not serve the needs of the people. He wrote his music for a class of people that was very far from the working class. So: whatever art from poetry to anything, communism believes it has to be stratified. It has to be placed analogously. A poet like Kavvadias or Cavafy cannot write poems that are meant for a certain class and be considered the poet of the aristocracy. We can‘t say that the songs of Markos are fit for the Greek aristocracy. They are socially and politically totally foreign to them.

But at some point, the party got over this. Not that they accept rebetika songs that have as their main subject drugs. But they got over their prejudice against rebetika because this was the art that a portion of the poor people was producing. Whether they wanted it or not, they were proletariat workers. And KKE is believed to be the party that expresses the popular class, the proletariat, the poor, the workers. You can‘t decide to throw out a portion of the proletariat because it plays rebetika. Rebetika became an art form that one could not doubt whether one believed in capitalism, communism or socialism. And its rejection of rebetika was also due to the specific people who were leading the party. It may have been as much an ideological issue as merely a matter of personal taste." (Vassiliou)
[Yona Stamatis, Rebetiko Nation]





_________________


"ἐδιζησάμην ἐμεωυτόν." [Heraclitus]

"All that exists is just and unjust and equally justified in both." [Aeschylus, Prometheus]

"The history of everyday is constituted by our habits. ... How have you lived today?" [N.]

*Become clean, my friends.*


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PostSubject: Re: Greek Poems Tue Feb 23, 2016 10:59 am


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"ἐδιζησάμην ἐμεωυτόν." [Heraclitus]

"All that exists is just and unjust and equally justified in both." [Aeschylus, Prometheus]

"The history of everyday is constituted by our habits. ... How have you lived today?" [N.]

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PostSubject: Re: Greek Poems Tue Feb 23, 2016 11:03 am


_________________


"ἐδιζησάμην ἐμεωυτόν." [Heraclitus]

"All that exists is just and unjust and equally justified in both." [Aeschylus, Prometheus]

"The history of everyday is constituted by our habits. ... How have you lived today?" [N.]

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PostSubject: Re: Greek Poems Tue Feb 23, 2016 11:06 am


Quote :
From the time that I started to smoke
The world has turned its back on me,
I don‘t know what to do.
Wherever I stand and wherever I find myself people bother me
And my soul does not hold coke to call me.
From the moment I started smoking, I also went on the needle
And my body started to slowly melt.
Nothing has remained for me to do in this world
For coke has led me to die in the streets.


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γνῶθι σεαυτόν
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PostSubject: Re: Greek Poems Mon May 23, 2016 4:55 am

Quote :
"Love me in order to stand here, in a corner
to look at each other like its new years eve
hold me tight because you took many things from me
maybe because i said yes to these

if only my heart was a lucky rose
to give it to you as it melts from love
on the carpet and the pillows as you tell me to forget
even if fear makes a hole in the water

to walk hand by hand till morning comes
railways must know something, it can't be
years are passing by fast and come back again with memories
names are small, but in there, there are too much

Love me with all my mistakes one by one
at cinema, hold my body tight and tenderly
world is not ideal, we lent it just for the journey
in order, singular can make dreams

talk to me, evening night and morning
suddenly, like an electric black out
and till light comes again, the most hidden speech
will watch us, as we open a door to life.

Love me myself, i was searching for you, everywhere
and while guilt and my resistance were having a date
from my expensives to my cheaps, and from my nest to nowhere
we met each other in the middle of the time

Love me in order to stand here, in a corner
to look at each other like its new years eve
talk to me silently in the ear, because they hear you that night,
some old dreams of mine, that were hidden for years."


_________________


"ἐδιζησάμην ἐμεωυτόν." [Heraclitus]

"All that exists is just and unjust and equally justified in both." [Aeschylus, Prometheus]

"The history of everyday is constituted by our habits. ... How have you lived today?" [N.]

*Become clean, my friends.*
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PostSubject: Re: Greek Poems Fri Jun 03, 2016 11:37 am



Under the Burned-out Streetlight / Under the Extinguished Lamp
Mitsakis

"Under, the blown-out lamplight
There sleeps a young man
With no money in his pocket
What dream could he be having?

A stranger wherever he goes
At whatever door he knocks
He doesn‘t even have a mother to go to
At least to wash his clothes.

For a house he has the blown-out lamplight

And for a lamp, for a lamp he has the moon

And you passersby, passersby that go by

His rest, his rest,

Be sure not to disrupt it.


Quote :
"When the sun and moon are extinguished,
The self is its own light…" [Upanishad]

_________________


"ἐδιζησάμην ἐμεωυτόν." [Heraclitus]

"All that exists is just and unjust and equally justified in both." [Aeschylus, Prometheus]

"The history of everyday is constituted by our habits. ... How have you lived today?" [N.]

*Become clean, my friends.*
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PostSubject: Re: Greek Poems Tue Jun 21, 2016 3:03 pm




Quote :
"In the same old places we will meet again
Our arms around each others shoulders
remembering Old songs ,
names looks and streets

Eyes don’t change their color
those you remember and I remember
Nothing is lost yet
As long as we live and suffer.

Eyes don’t change their color
Only the way we see

And if our friends have changed a bit
We in our turn have changed as well
We lost touch one night in Paggrati (region in Athens)
But we see each other in our dreams"


_________________


"ἐδιζησάμην ἐμεωυτόν." [Heraclitus]

"All that exists is just and unjust and equally justified in both." [Aeschylus, Prometheus]

"The history of everyday is constituted by our habits. ... How have you lived today?" [N.]

*Become clean, my friends.*
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PostSubject: Re: Greek Poems Mon Jan 30, 2017 11:54 am


_________________


"ἐδιζησάμην ἐμεωυτόν." [Heraclitus]

"All that exists is just and unjust and equally justified in both." [Aeschylus, Prometheus]

"The history of everyday is constituted by our habits. ... How have you lived today?" [N.]

*Become clean, my friends.*
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PostSubject: Re: Greek Poems Tue May 09, 2017 6:19 pm

I liked the singing and the tune...


Quote :
"I do not want to think the same anymore
For all lies to be ashes and waste
I want open windows to blow me up
Let my mind be empty
It was time to go

I do not want you to talk to me about what you've been through
The world has not lost its glass if it cracks
I want you to come and find me sit down to say it
How we feel weird
How we live so indifferently

I do not want you to be bitter
On Sundays in the evenings
Without this darkness
Years are left empty

I want you to be saved to stop crying
Be forgotten on the way who you were and how you look
So I will love you a lot and see you a little
A woman is distant
I loved before I left

I do not want you to be bitter
On Sundays in the evenings
Without this darkness
Years are left empty"



_________________


"ἐδιζησάμην ἐμεωυτόν." [Heraclitus]

"All that exists is just and unjust and equally justified in both." [Aeschylus, Prometheus]

"The history of everyday is constituted by our habits. ... How have you lived today?" [N.]

*Become clean, my friends.*
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