Ρεμπέτικα

[ciao]

Από το τελευταίο τεύχος του National Geographic
http://worldmusic.nationalgeographic.co ... betika_776

Rembetika Overview:

Rembetika is Greece's urban music par excellence. At its core the music of poor refugees and criminals, it has often been likened to Mississippi Delta blues for its soulful chronicling of personal and social problems. With lyrics that reflect death, drug addictions, and being hassled by the police (not to mention the timeless issue of scorned love), it has also been rather fancifully compared to American gangsta rap in recent years as well.

The roots of rembetika come from Asia Minor cities like Smyrna (Izmir) and Constantinople (Istanbul) at the beginning of the 20th century. There, small groups of musicians from Greek, Jewish, Armenian, and Roma (Gypsy) backgrounds would sing and play improvised music, often using the phrase "aman, aman" in the middle of phrases or between couplets; the word aman in Turkish means something like "alas" or "mercy!" The style became known as Café Aman and the songs as amanedhes. (The origins of the word rembetika itself is still unclear, though the most commonly accepted theory is that it is related to the Turkish word harabat, whose name in Ottoman-era Turkish encompasses "ruin," "shantytown," and "tavern," while harabati means a drunkard or a bohemian.)

The Greco-Turkish war of 1919-1922, the burning of Smyrna in 1922, and the resulting population exchange in 1923 (ethnic Turks from Greece to Turkey, and ethnic Greeks from Turkey to Greece) meant that a huge influx of refugees from Asia Minor landed in shanty towns around Athens and the nearby port of Piraeus, as well as in the northern city of Thessaloniki (Salonica). Many of these émigrés were at the very fringes of society, without any assets or income, and not accepted as "real" Greeks; many arrived speaking mostly Turkish. Soon, a refugee underclass existed. While many of the musicians were highly educated and cosmopolitan, their audiences were far less so, and many refugees took what comfort they could in tekes or tekedhes: hashish dens. In the 1930s' tekes, important rembetika musicians emerged; soon, major rembetika stars like the female singers Rosa Eskenazi and Rita Abatzi as well as bouzouki player Markos Vamvakaris were in high demand as recording artists.

This golden age of rembetika was not long-lived; when the Metaxas regime came to power in 1936, rembetes whose lifestyles mirrored their lyrics were blackballed by the recording labels, and tekes were faced with continual police monitoring as anti-hashish measures were put into place. In Athens, even possession of rembetika-associated instruments like the bouzouki and the smaller baglamas became illegal. With Greece's ensuing political troubles, including the Nazi occupation and extermination of the country's Jews during World War II, and the civil war that engulfed the nation in the late 1940s, the issue of rembetika was put on the back burner.

There was a revival of interest in rembetika in the 1950s, led by composer and bouzouki virtuoso Vassilis Tsitsanis, then again, rembetika was banned during the military junta of 1967-1974. Since the fall of the junta, the music has enjoyed a small revival in terms of live performance, and in recent years labels both in Greece and abroad have produced some wonderful reissues of early and mid-century rembetika by its most renowned practitioners. Anastasia Tsioulcas

[StormRider]

Mπράβο Anastasia...

...εσείς οι πλούσιοι επιχειρηματίες και αμερόληπτοι δημοσιογράφοι, με το... βάθος των εμπειριών σκλαβικής πτωχικής και άδικης ζωής ("βεβαίως,βεβαίως") που κατέχετε να μην μπαινετε στον κόπο να ξεχωρίσετε το American gangsta rap από τα λαϊκά και τα ρεμπέτικα...

...Ακούσατε κύριοι Βαμβακάρη,Τσιτσάνη,Αγγελόπουλε και λοιποι αθάνατοι...?

Θράσος ? Παραπληροφόριση ? Αστείο ?

Διαλέγετε και παίρνετε!!

[The Punisher]

American gangsta rap

όχι και gansgta rap τα Mississippi Blues ...

μάλλον δεν ξέρεις περί τίνος πρόκειται ... αυτόείναι δείγμα Mississippi blues

[Zifnab]

μάλλον δεν ξέρεις περί τίνος πρόκειται

μάλλον δεν ξέρει το National Geographic περί τίνος πρόκειται

είναι δείγμα Mississippi blues

Ξέρεις, στο άρθρο λέει ότι είναι του τύπου Mississippi blues λόγω των στίχων.
(With lyrics that reflect death, drug addictions, and being hassled by the police) Επίσης τα Missippi blues παραλληλίζονται/συγκρίνονται με το American gangsta rap ( been rather fancifully compared to American gangsta rap in recent years as well) δίοτι δημιουργήθηκαν σε παρόμοιες κοινωνικές καταστάσεις και προβλήματα. Όλες αυτές οι συγκρίσεις δεν έχουν να κάνουν με το είδος της μουσικής σε καμία περίπτωση

[StormRider]

American gangsta rap

όχι και gansgta rap τα Mississippi Blues ...

Δεν θα έβαζα ποτέ στην ίδια μοίρα τα Mississippi Blues με το gansgta rap... αλλά δεν μπορεί ποτέ να μου βάλει στην ίδια κατηγορία -έστω- τα lyrics της λαϊκής/ρεμπέτικης μουσικής, επίσης των Mississippi Blues με το gansgta rap...

Γιατί ΟΣΟ και να μοίαζουν οι εποχές που εκδηλώθηκαν είναι διαφορετικές...

μάλλον δεν ξέρει το National Geographic περί τίνος πρόκειται

Όσο για το άρθρο του και για το ύφος του στη συγκεκριμένη περίπτωση το βρίσκω φτωχό!!! Δεν πιστεύω οτι δίνει την παραμικρή ιδέα στον αναγνώστη της κοινωνικής κατάστασης της εποχής που έγραφε ο Βαμβακάρης,ο Τσιτσάνης κ οι λοιποί εκφράζοντας έναν λαό ως

poor refugees and criminals

(γιατί δεν άκουγαν μόνο οι ρεμπετόμαγκες λαϊκά)... Τους εγκληματίες(του κόσμου) τη συγκεκριμένη χρονική περίοδο να τους αναζητήσει αλλού...