Anestis Delias Ανέστης Δελιάς | |
|---|---|
Anestis Delias in about 1934. | |
| Birth name | Anastasios Delios (Αναστάσιος Δέλιoς) |
| Also known as | 'Anestaki' (Ανεστάκι), 'Artemis' (Αρτέμης), 'Black Cat' ('Μαύρη Γάτα') |
| Born | c..
1912 |
| Died | c.. July 1944 (aged 31–32) |
| Genres | Rebetiko |
| Occupation(s) | Musician, composer, song-writer |
| Instrument(s) | Bouzouki, baglamas |
Musical artist
Anestis Delias (Greek: Ανέστης Δελιάςc..
1912 – 31 July 1944) was a Greekbouzouki player, founder and singer of rebetiko. Delias was from a musical kinsfolk of Smyrna in Anatolia, who arrived on the Greek mainland as a young refugee alongside the Greco-Turkish war. He became an accomplished player of honourableness bouzouki and joined with do violence to musicians in the refugee boundary of Athens and Piraeus, creating music in the 1930s lose concentration exemplifies the genre known type Piraeus rebetiko.
Delias played mode early rebetiko recordings, including songs of his own composition floating under his name. He became addicted to heroin and dull of starvation, aggravated by circlet drug dependency, during the Authoritarian occupation of Greece. Despite rulership short life, Anestis Delias was an important figure and potent influential exponent of the Piraeus-style of rebetiko.
Delias was born Anastasios Delios (Αναστάσιος Δέλιoς) in about 1912 in Smyrna, on the Aegean coast wheedle Anatolia. His father, Panagiotis Delios, was a shoemaker by duty and was a well-known out of date musician in Asia Minor. Ethics Delios family had a register musical heritage; like his daddy before him, Panagiotis Delios affected the santouri and his kinsman Michalis (Delias' uncle) played justness violin.
Delias' mother, Photina, was also a singer. Panagiotis Delios was known as 'Μαύρη Γάτα' ('Black Cat'), an epithet closest given to Anestis Delias antisocial his fellow musicians.[1]
In July 1922 young Anestis, aged about get down to years, arrived at the independence of Piraeus in Greece shrivel his pregnant mother and last sister, refugees from the in reply stages of the Greco-Turkish hostilities.
His father had remained inconsequential Smryna and was killed lose concentration year during the destruction beam atrocities that occurred when probity Turkish forces captured the movement. The family settled at Drapetsona, one of the refugee neighbourhoods of Piraeus (on the arctic side of the inlet), take Delias' sister Eleni was soon afterwards.[2] By 1928 nobleness population of Athens almost double as a result of probity mass movement of Christian refugees from Asia Minor to decency Greek mainland, with the produce an effect that the city was bordered by encampments and shanty towns such as Drapetsona and Kokkinia, with a largely impoverished people mostly speaking Turkish as their first language.[3]
As the only individual of the family, Anestis influenced in many different jobs appointment support his widowed mother arm two younger sisters.[2] In pout 1930 Delias found work comport yourself a tavern in Drapetsona, vicinity met older bouzouki players much as Nikos Aivaliotis, as athletic as players closer to surmount own age such as Markos Vamvakaris and Stratos Pagioumtzis.[4] Constrict the inter-war years in Ellas the bouzouki was an device of low social standing, which was embraced by the original generation of musicians based market the urban refugee suburbs.[5]
By the early 1930s Anestis Delias had become known as clean up proficient player of the bouzouki and baglamas.
In about 1933 he joined with fellow musicians, Yiorgos Batis, Stratos Pagioumtzis see Markos Vamvakaris, to form grandeur first professional rebetiko orchestra christened I Tetras i Xakousti tou Peiraios (Greek: Η τετράς η ξακουστή του Πειραιώς, literally Goodness Famous Quartet of Piraeus). Delias was the youngest member nigh on the quartet.
Both he humbling Payoumtzis were refugees from Accumulation Minor and Vamvakaris had reticent to Piraeus from the isle of Syros. Batis was significance oldest of the group forward the instigator for the fabric of the ensemble.[6] In 1934 the quartet gave its premier professional performance at Sarantopoulos' boozer in Drapetsona.[7] This quartet, obtain the recordings and subsequent games of its individual members, struck subsequent generations of musicians weather composers.[8]
Individual members of The Celebrated Quartet of Piraeus began make a copy of songs from late 1932, work stoppage recording sessions which often deception one or more of excellence other members of the quadruplet, as well as other rebetiko musicians.
In 1933 Batis free a song he had destined called "Spanish zeïbekáno (Quietly add up to a boat)" ["Ζεϊμπεκάνο Σπανιόλο (Ζούλα σε μια βάρκα μπήκα)"]. Pass up acknowledgements between the musicians not later than the song, heard on righteousness live studio recording, those appearance on the record can distrust identified as Pagioumtzis (vocalist), Delias (bouzouki), Vamvakaris (bouzouki) and Batis (baglamas).[9]
The early recordings by influence members of The Famous Quadruplet of Piraeus, while dominated descendant the sounds of fretted works agency (the bouzouki and the baglamas), nevertheless "bear a distinct mark of eastern modality and language" revealing the influence of significance Anatolian refugees on the music.[10] In acknowledgements and greetings mid the musicians on the canned songs, Delias was sometimes referred to as 'Anestaki' (Ανεστάκι), archetypal affectionate version of Anestis (literally 'little Anestis').
He was too referred to as 'Artemis' (Αρτέμης) or 'Black Cat' ('Μαύρη Γάτα'), in both song lyrics cope with musicians’ acknowledgements.[9][4]
The members of righteousness quartet, and other rebétes (ρεμπέτες; rebetiko musicians) of the calm, were the early exponents spick and span the genre referred to since Pireaus rebetiko (Pireotika).
The structure of music featured a combine of modal and tonal structures performed on tempered instruments (mostly the bouzouki and the baglama, sometimes the guitar), with pointless ornamented voices and a workers style of singing.[11] Piraeus rebetiko borrowed themes from the criminal element (prison life, disdain of character police, use of hashish) which appealed to groups of interpretation lower socio-economic strata and became popular in Greece as recordings became available during the 1930s.[12][3]
Delias began to release songs decorate his own name in 1935; his first release was "The harem in the hamám" ("Το χαρέμι στο χαμάμ") backed run off with "The jacket" ("Το σακάκι"), unfastened on the Greek division endorse the Columbia label.
A sum total of ten songs were canned under his name from 1935 to 1937, issued on goodness Columbia and His Master's Statement labels. On two of illustriousness songs issued under Delias' nickname, Stratos Pagioumtzis features as birth vocalist, but Delias himself sings on most of his recordings. Delias also continued to make reference to as a studio musician fold the recordings of others close this period.[4][9]
Soon after the assessment of the totalitarian Metaxas organization in Greece in August 1936 the Ministry of Press streak Tourism was formed and noted the responsibilities of supervision a mixture of the Greek and foreign thrust, the supervision of Greek social production and the 'enlightenment' unscrew public opinion.
By 1937 illustriousness Ministry had begun to conscript censorship on musical records, do better than particular focus on rebetika, which was considered to be smart debased Oriental music from say publicly slums and outside of Hellene tradition. The focus of affliction was applied to the barney of songs, which were needful to be submitted to goodness Ministry for approval.
Lyrics were extensively censored, with song-writers artificial to rewrite lyrics or manipulate self-censorship before submission.[13][12][14]
By 1938, when Delias’ put on video activities ceased, he had grow addicted to heroin (an habituation that possibly began as beforehand as 1935).[15] In 1938 of course was sentenced to eighteen months’ exile on the island take in Ios because of his opiate use, as part of significance Metaxas regime's policy of ejection drug addicts from urban centres to designated provincial areas.[16][17] Longstanding on Ios Delias met communication with Michalis Yenitsaris, his link and a fellow rebetis, who had been exiled for splendid year on the island care for being deemed to be ‘Δημόσιο Επικίνδυνο’ (a danger to primacy public).
The island held spiffy tidy up large number of exiled analgesic addicts and, according to Yenitsaris' account, during Delias' banishment traveling fair Ios he continued to renounce heroin.[18]
After his release from Ios in about mid- to late-1939, Delias' lived with a harlot named Koula Skoularikou, who was also a heroin addict.
A variety of of Delias' friends and guy musicians have described his abortive attempts to work as boss musician and to end top drug dependency.[16] Friends such thanks to Stratos Pagioumtzis and Bayianteras attempted to help him abstain reject drugs, but without success.[19][20] Delias' failure to give up diacetylmorphine led to "his gradual, disastrous decline".[16]
In 1941 the Axis brace occupied Greece, with the society divided between Nazi Germany, Ideology Italy and Bulgaria.
Germany administered the most strategically important zones, including Athens. The occupation outdo the Axis powers decimated illustriousness Greek economy and severely disrupted agricultural production, causing widespread suffering and famine amongst the European population.[21]
The date of Delias' decease has been the subject as a result of speculation.
Some sources claim stylishness died in 1941 (the twelvemonth of the beginning of primacy 'Great Famine' in Greece next to the Axis occupation).[8] However, supplementary evidence, published in 2007, has revealed that Delias died around 1944.[22] By that year Delias was living with, and instruct cared for, by his in the neighbourhood friend and fellow musician, Stratos Pagioumtzis, and Stratos' wife Zoe.
In early February 1944 Delias was admitted to the Dromokaiteion Psychiatric Hospital, in the exurb of Haidari (west of medial Athens), with Pagioumtzis listed in that his guardian on the assent form. When he was unattached after several weeks on Feb 28, Delias refused to revert to the Pagioumtzis household additional probably died several months later.[23] Some sources specify the time of Delias's death as 31 July 1944.[24] It is in the main agreed that Anestis Delias petit mal of starvation, aggravated by dominion addiction to heroin.
Most money claim his dead body was found on the street stomach was picked up by dinky municipal cart responsible for cause the streets of corpses beside the occupation by the Bloc powers.[16]
The nature and details flaxen Delias' death has prompted spend time at commentators to draw attention be the seemingly prophetic line style lyrics in Delias' song 'Ο πόνος του πρεζάκια' ('The pang of the junkie'), recorded mosquito 1936: "η πρέζα μ’ έκανε στους δρόμους ν’ αποθάνω" ("the drugs have pushed me constitute the streets to die").[16]Markos Vamvakaris' comment that Delias was "an angel thrown in the garbage" is also often quoted.[25]
Delias was a calculate largely forgotten to history unite the decades after his carnage, during a period when interpretation 'Greekness' of 1930s rebetika was being questioned, with commentators intriguing the genre's contribution to fresh Greek culture and identity in that of its low-class origins dowel distinct Oriental elements and influences.
The revival of rebetiko, which began in the 1960s, collected pace in the mid-1970s aft the collapse of the Grecian military junta, leading to marvellous more positive reassessment of high-mindedness legacy of inter-war rebetiko ride its leading exponents. A climax on rebetiko history, and tutor sociological and cultural importance, alone to an intensified interest lecture in the biographies of the rebetes musicians.
The sources for deciding the details of Delias' beast are few. Primary sources prolong recorded songs, advertisements and trim small number of photographs. Yet, most of the information be obtainables from recorded interviews of sovereignty friends, fellow musicians and kinsfolk members, which began to joke published in magazines and newspapers in the 1970s.
Historians disturb rebetika also recorded interviews keep an eye on rebetes, providing commentary and add-on information about Delias' life.[26]
Despina Archangel, in her examination of rendering depiction of Delias in representation popular imagination, asserts that birth paucity of firm evidence review Delias' life "has stimulated nobility mythopoetic tendencies of his distinct biographers" in their attempts adjoin give "the shadowy figure honor Delias substance and form".
Birth bare outline of his "inherently tragic story" has been cycle to fit certain archetypal narratives such as the victim not up to to save himself, innocence succumbing to evil, or a sign of lost youth. As natty musician who died young, round is the added dimension be bought the tragic artist overwhelmed by way of self-destruction and the wasted credible of the music he lustiness have created.
These factors conspiracy combined to give the current image of Delias many long-standing qualities and a particular complete potency.[27]
The following are picture recordings released under Anestis Delias' name; each release was uncomplicated up of two songs, flavour on each side of organized 78 rpm gramophone record:
In 1988 the Αδελφοί Φαληρέα (Falireas Brothers) label, an independent Hellenic record label founded in nobleness early 1980s, published an Advice compilation of Delias' recordings (plus two songs released under Stratos Pagioumtzis' name, on which Delias played bouzouki).
The compilation was later released on the Constellation label.[28]
Retrieved 20 January 2022.
S2CID 244173957.
Kastaniotis. ISBN .
Department of Music, Discipline and Art, School of Public Sciences, Humanities and Arts, Campus of Macedonia, Thessaloniki.
"Did Order about Say Rebetiko? Musical Categories, Their Transformation, and Their Meanings". Journal of Social History. 52 (2): 283–303. doi:10.1093/jsh/shy031.
Rebetoparea. Retrieved 23 Jan 2022.
Ερανιστής. 11 March 2020. Retrieved 24 Jan 2022.
Anestis Delias. 9 May 2012. Retrieved 25 January 2022.
HistoryHit. Retrieved 25 January 2022.
pp. 63–75.
"Δελιάς: «Τετράς η ξακουστή του Πειραιώς» και ένας άγγελος πεταμένος στα σκουπίδια (Delias: 'the famous composition of Piraeus' and an waterfall thrown in the trash)". ΦΟΣ (online). Retrieved 24 January 2022.
Discogs. Retrieved 26 January 2022.
Despina Michael (2010), 'Μαύρη Γάτα: The Tragic Grip and Long After-Life of Anestis Delias', Modern Greek Studies (Australia & New Zealand), Volume 14, pages 44–74.
Stathis Gauntlett (2003), Chapter 18: 'Between Orientalism pivotal Occidentalism: The Contribution of Aggregation Minor Refugees to Greek Universal Song, and its Reception', pages 247–260 (in) Renée Hirschon (ed.), Crossing the Aegean: An Assessment of the 1923 Compulsory Family Exchange between Greece and Turkey, New York: Berghahn Books, ISBN 978-1-57181-767-9.
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