The music group of “Parapetamenoi” “Neglected ones”
The musical magic course of “Parapetamenoi” (neglected ones) has been working on preserving and spreading the rebetiko song since its founding in 1999. Light house and common place for our effort was the love for the rebetiko and folk song, as well. Observing, as far as possible, modern music streams we believe that the language of music is unified and free from obstacles and artificial barriers, so that it can be produced consistently and morally. Our choice to play rebetika and folk songs until 1955 is based on our decision to have fun and enjoy ourselves first, because we feel more intimate and friendly with the origins of this urban music genre.
Rebetiko has a major impact on the history of Greek song, being the connecting link of Greek folk music of the 19th and 20th centuries. Rebetiko was not born suddenly from nothing. Its creation and evolution have been influenced by a number of social factors. It is an integral part of our national music influenced by the orthodox Ecclesiastical music, the Eastern scales (maqam), the western music, as it used to be played in the major urban centers of Greece, with a particular emphasis on Constantinople and Izmir and of course by the Greek music tradition. A race where each player added his own style to the field.
Its dissemination was done by the listeners (from mouth to ear), but also by discography later. The first recordings were made in Izmir and Constantinople in the late 19th century and America in the early 20th century.
All these years we have been striving, with our means and with our love for this musical idiom, to reproduce the original performances of his creators, without imitation and exaggeration, using our expressive means in the simplest possible way. To study the socio-political conditions that fueled its development but most importantly to preserve and transmit to the youngest, as far as possible, the morality and style of the young people of that time who gave us this musical wealth.
Our permanent collaboration with the great musician and teacher Spyros Goumas has further strengthened us and today altogether we are developing new actions to better and more directly capture the history of rebetiko song, such as:
We have the privilege of playing our music when we want, where we want, to whomever we want. At a time when “experts” are creating miserable patterns of fun, “Parapetamenoi” (neglected ones) are trying first and foremost to entertain themselves and their friends by playing, singing and trying to persuade others to take their own hands their fun. We believe that we can all participate by having the main
Spiros Goumas: Music editing, bouzouki, song
George Makris: manager, guitar, song
Photini Karababa: baglamas
Sophia Kontaratou: song, percussion
Dimitris Goumas: guitar, song
Katerina-Mirto Fatourou: accordion
Kostas Trifonopoulos: guitar, song, IT support
Giorgos Charatsis: bouzouki, song
Chrisanthi Chronidou: song
Spiros Georgiadis: uti, bouzouki
Daniel Koglin: nei
Giannis Koutsavlis (Giuvan): bouzouki, guitar
Katerina Maniou: song
Kostas Papadakis: tzoura
Isidoros Pateros: guitar, song
Kosmas Pavlidis: bouzouki, baglama
Kostas Spirou: guitar, tzoura
Rena Strouliou: song
Politimi Toli: song
Kresnik Toska: accordion
Kostas Trifonopoulos: guitar, bass, bouzouki, song
Giorgos Tselepis: bouzouki
Multicultural Center “dieleusis”
Skyros Municipality SNE and PEAP of Skyros Municipality
Music bar “Makari”
“Underflow record store and art gallery”
Greek music Center “Foivos Anogianakis”
Radio Station “105.5 in Red”
Piraeus “Channel One” 90.4
ERT Public Television 1 and radiotelevision
“Efimerida syntakton” Editors’ Journal
Proceedings of the rebetiko seminar-meetings in Skyros are posted on the website of the seminar. Among others you can find a historical and sociological approach of the development of rebetiko song, the names of the musical scales (dromoi) in rebetika, historical references to the life and work of great composers, singers and skilled players of rebetiko (Thanasis Manetas, Costas Bezos (A. Kostis), Marika Papagika, Panagiotis Tountas, George Mitsakis, Giannis Papaioannou, Costas Kaplanis), even for not famous but not less important musicians of the interwar period (Kostas Faltaits, Grigoris Asikis, Dimitris Atraidis, Giakoumis Montanaris, Costas Tzovenos, Stavros Pantelidis) but also personal information for the not famous Urban musicians.
Historical data for Mortes, Koutsavakia and Magkes. You can also find Fado and rebetiko social relationships, an interesting approach titled “women in rebetiko” by the rebetiko researcher Gail Holst-Warhaft, an approach to the dances of 9, information about the flowering of rebetiko in Piraeus, the imprints of rebetiko in the neighborhoods of Piraeus, the growth of rebetiko in Thessaloniki and of course the rebetiko in Finland as well as personal revelations how the rebetiko touches our soul.