Geske

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  1. Στο site της ταινίας (Μάρω ευχαριστώ!!) η γερμανική έκδοση έχει μια σελίδα παραπάνω από την ελληνική, και μάλιστα εκείνη που λέει μεταξύ άλλων: DVD Die DVD mit dem Film und mit ausfuehrlichem Bonusmaterial, u.a. einem Beitrag von ueber die Vorfuehrung des Films in Distomo am 9. Juni 2007, wird in der Schweiz Mitte November im Handel erscheinen, mit Untertiteln in deutsch, franzoesisch, englisch und griechisch. Die DVD wird z.B. via www.artfilm.ch zu bestellen sein. Δηλαδή: Το dvd με την ταινία και πολύ bonus υλικό (π.χ. τον Werner van Gent για την προβολή της ταινίας στο Δίστομο την 9 Ιουνίου 2007) θα κυκλοφορεί στην Ελβετία στα μέση Νοέμβρη με υπότιτλους στα γερμανικά, γαλλικά, αγγλικά και ελληνικά. Παραγγελιές από www.artfilm.ch. Η ίδια σελίδα δίνει τις ημερομηνίες κυκλοφορίας της ταινίας στις διάφορες χώρες, αλλά δεν λέει κάτι για κυκλοφορία του dvd στην Ελλάδα. Πάντως φαντάζομαι ότι θα είναι δυνατόν να το παραγγείλετε στο www.arthouse και από Ελλάδα (και αν όχι, εν ανάγκη έχουμε συγγενείς στην Ελβετία...). υ.γ. Από το http://www.artfilm.ch/liedfuerargyris.php? μαθαίνουμε ότι το dvd θα κοστίζει 36.00 CHF / 22.35 EUR.
  2. Δημητσανα, 16.08.2003 - Συναυλία για τον Μίκη Θεοδωράκη στους τόπους της εξορίας του. Πριν αρχίζει να τραγουδήσει, ο Νταλάρας λέει: Γυρίζοντας μέσα σ' αυτό το αμφιθέατρο, φορτωμένα απ' την αγάπη σας, απ' την ζεστασιά της καρδιάς σας, και ίσως απ' την γνώση όλα αυτά τα χρόνια που έχουν περάσει, αυτά τα τραγούδια εκδικούνται, όχι τον χώρο απέναντι, όχι το τοπίο ούτε τους ανθρώπους, εκδικούνται το φάντασμα το φάντασμα εκείνης της εποχής... [...] Εμείς... είμαστε λογικοί ενώ οι ποιητές είναι «παράλογοι» αν θέλετε. Και μεσ' το χειμώνα τους και μεσ' την αθέλιτη μοναξιά τους καταφέρουν το βαρύ χειμώνα να το κάνουν άνοιξη με τα τραγούδια τους. Να 'σαι καλά Μίκη!
  3. Τι ωραίο να έχεις τέτοιες φίλες όταν το κοντινό περίπτερο είναι περίπου 3000 χμ μακρυά ... Ελίνα κι Αγνή, ευχαριστώ ΠΑΡΑ πολύ!
  4. απέδιξεις σωστός !
  5. Στον δίσκο με την Metropole Orchestra το 1995, την "Όμορφη πόλη" την είπε μόνος του. Δεν ήταν ντουέτο... Ναι αλλά έχει την Metropole από πίσω που μ' ενοχλεί σχεδόν όσο τον Φραγκούλη (και δεν είναι λίγο). Sorry αν είμαι λίγο δύσκολη ...
  6. Χρόνια τώρα κάθε φορά που ακούω «Το μερτικό» μου σφίγγει την καρδιά η λαχτάρα να το ακούω από τον Νταλάρα. Και ονειρέυομαι να μας πει την «Όμορφη πόλη» μόνος του, όχι ντουέτο. Και να γραφτεί και να το ξανακούσω δέκα χιλιάδες φορες.
  7. In the record ' Τ' αηδόνια της Ανατολής' there are only four songs sung by Dalaras, but since the others are by Chronis Aidonidis, buy it anyway. These songs are among the more difficult bits of translating I've done here, and I'd never have managed without Nikolas. Lyrics are as in the CD, not as in the site. update translation 17.11.2007 ΚΥΡ ΚΩΣΤΑΚΗ ΕΛΑ ΚΟΝΤΑ_._._._.||_._._._.COME OVER HERE, MISTER KOSTAKI, SIR! Μουσική: Παραδοσιακό_._._._.||_._._._.Music: traditional Στίχοι: Παραδοσιακό_._._._.||_._._._.Lyrics: traditional Εμένα μου το είπανε _._._._.||_._._._.They said it, they told me - κυρ Κωστάκη έλα κοντά -_._._._.||_._._._.- come over here, mister Kostaki, sir! - ανθρώποι μερακλήδες _._._._.||_._._._.the meraklides* did: τα μελιτζανιά να μην τα βάλεις πια_._._._.||_._._._.don't wear purple* any more! Πως την καλύτερη ζωή _._._._.||_._._._.that the best life - κυρ Κωστάκη έλα κοντά -_._._._.||_._._._.- come over here, mister Kostaki, sir! - την κάνουν οι μπεκρήδες _._._._.||_._._._.it's the bekrides* who get it! πάπια, χήνα μου να 'χεις το κρίμα μου._._._._.||_._._._.My duckling, my little goose, share my sin Έναν καιρό ήμουν άγγελος _._._._.||_._._._.Once upon a time I was an angel - κυρ Κωστάκη έλα κοντά -_._._._.||_._._._.- come over here, mister Kostaki, sir! - τώρα αγγελίζουν άλλοι _._._._.||_._._._.now others are being angelic δεν ξαναπερνώ από τούτο το στενό_._._._.||_._._._.I will not pass that strait again. Στη βρύση που 'πινα νερό _._._._.||_._._._.At the fountain where I used to drink water - κυρ Κωστάκη έλα κοντά -_._._._.||_._._._.- come over here, mister Kostaki, sir! - τώρα το πίνουν άλλοι _._._._.||_._._._.now, others are drinking that έλα ταίρι μου και πιάσ' το χέρι μου_._._._.||_._._._.come, my little mate, come and grab my hand * meraklides: people with "meraki", that is high spirits, zest for life - also that which makes people do a thing well and carefully for the love of what they do, not because they get paid. * Purple: like black, purple is a mourning colour. * bekrides: happy drinkers (English lacks a non-negative term for a person who has a good time getting drunk). Συρτοχασάπικο. Πολίτικος σκοπός της διασκέδασης που έφεραν μαζή τους Κωνσταντινουπολίτες πρόσφυγες των άρχων του αιώνα. Syrtochasapiko. A "politicó" (=from Polis, Constantinople) tune from the legacy that the refugees from Constantinople brought with them in the beginning of the 20th century. * Ήχος πλάγιος του δευτέρου = Second plagal mode
  8. All translations in this topic updated today.
  9. update complete at http://www.dalaras.com/forum/index.php?s=4...st=0#entry26334
  10. Notes: 1. the lyrics sound more "explicit" in English than in Greek, mostly because in Greek the verbs that mean "to raise the temperature of" do not have the sexual connotation of "heat up" and even "warm up". 2. the not-very-elegant repetitions of, for example, "in your arms", are not a product of translation, they are in the original - it's not great poetry, it's a funny song. 3. the diminutives are always tricky. "Kouklitsa" is just affectionate. "Kosmakis" usually means "the ordinary humble people" - that is, the "target public" of rembetico songs. Consider that in 1945, when the song was first released, they are very poor indeed, and really do not have either warm coats or fuel.
  11. Some of the idioms translate more easily into Dutch, and since IloJem is a compatriot... Ήρθε ο χειμώνας_._._.||._._._De winter is er Μουσική: Πάνος Τούντας_._._.||._._._Music: Panagiotis Tountas Στίχοι: Κώστας Κοφινιώτης_._._.||._._._Lyrics: Kostas Kofiniotis Ήρθε ο χειμώνας κι ο κοσμάκης τα 'χει χάσει_._._.||._._._De winter is er en het is de mensen in de bol geslagen και παλτουδιά καινούργια τρέχει ν' αγοράσει_._._.||._._._ze rennen rond om nieuwe jasjes aan te schaffen μα το δικό μου κι αν επάλιωσε παλτό_._._.||._._._Maar ook al is mijn eigen jas stokoud φράγκο δε δίνω κι ούτε νοιάζομαι γι' αυτό_._._.||._._._ik geef er geen rooie duit om en het kan me niet schelen Κι αν ο καθένας τουρτουρίζει από το κρύο_._._.||._._._En als iedereen zit te rillen van de kou θα την περνώ στην αγκαλιά σου μεγαλείο_._._.||._._._zal ik me groots vermaken in jouw armen κι όταν το τζάκι μένει σπίτι μας σβηστό_._._.||._._._En als de haard bij ons thuis uit blijft θα με θερμαίνει το φιλί σου το ζεστό_._._.||._._._zal jouw warme kus mij opwarmen Κι αν δεν ανάβουμε κουκλίτσα μου μαγκάλι_._._.||._._._En popje van me al steken we geen stoofje aan θα 'μαι ζεστός μες στη δική σου την αγκάλη_._._.||._._._ik heb het warm in jouw armen το πιο θερμό καλοριφέρ ειν' τα φιλιά_._._.||._._._De warmste kachel zijn de kussen σαν θα κοιμόμαστε κουκλίτσα μου αγκαλιά_._._.||._._._als wij in elkaars armen slapen mijn popje. Κι έτσι δε θα 'χουμε ανάγκη από φώτα_._._.||._._._En zo hebben we geen vuurtjes nodig θα την περνάμε μια χαρά ζωή και κότα_._._.||._._._we vermaken ons heerlijk, de koning te rijk, και θα κοιμόμαστε κι οι δυο απ' τις εννιά_._._.||._._._En we gaan allebei om negen uur naar bed να μη μας πιάνει ξεροβόρι ή παγωνιά_._._.||._._._en laten ons niet pakken door de ijzige wind en de vorst.
  12. Ήρθε ο χειμώνας_._._.||._._._Winter has come Μουσική: Πάνος Τούντας_._._.||._._._Music: Panagiotis Tountas Στίχοι: Κώστας Κοφινιώτης_._._.||._._._Lyrics: Kostas Kofiniotis Ήρθε ο χειμώνας κι ο κοσμάκης τα 'χει χάσει_._._.||._._._Winter has come and the poor people have lost their wits και παλτουδιά καινούργια τρέχει ν' αγοράσει_._._.||._._._and are running to buy themselves new coats μα το δικό μου κι αν επάλιωσε παλτό_._._.||._._._But though my own coat has grown old φράγκο δε δίνω κι ούτε νοιάζομαι γι' αυτό_._._.||._._._I won't give a penny nor do I care about it Κι αν ο καθένας τουρτουρίζει από το κρύο_._._.||._._._And while everyone is shivering with cold θα την περνώ στην αγκαλιά σου μεγαλείο_._._.||._._._I'll be having a great time in your arms κι όταν το τζάκι μένει σπίτι μας σβηστό_._._.||._._._And while the hearth remains unlit in our home θα με θερμαίνει το φιλί σου το ζεστό_._._.||._._._your warm kiss will warm me up. Κι αν δεν ανάβουμε κουκλίτσα μου μαγκάλι_._._.||._._._And though we light no brazier my darling doll θα 'μαι ζεστός μες στη δική σου την αγκάλη_._._.||._._._I'll be warm in your embrace το πιο θερμό καλοριφέρ ειν' τα φιλιά_._._.||._._._Kisses are best radiator σαν θα κοιμόμαστε κουκλίτσα μου αγκαλιά_._._.||._._._as we'll sleep in each others arms my darling doll _._._.||._._._ Κι έτσι δε θα 'χουμε ανάγκη από φώτα_._._.||._._._And so we'll have no need of fires θα την περνάμε μια χαρά ζωή και κότα_._._.||._._._we'll have a good time and live like kings και θα κοιμόμαστε κι οι δυο απ' τις εννιά_._._.||._._._And we'll both go to bed at nine always να μη μας πιάνει ξεροβόρι ή παγωνιά_._._.||._._._and let no icy winds nor frost catch us.
  13. English translations and background information on "Kyr Kostaki" and the rest of the record "Ta aidonia tis Anatonlis" here: http://www.dalaras.com/forum/index.php?act...24b453b681d1ce9 This reminds me I ought to update those translations - it's one of Dalaras' best records after all.
  14. Το άκουσα στο Μελωδία... ξέρετε τι μου θυμίζει; Μεσαίωνα. Κατάντια μεσαιωνική. Να παίρνουν πέτρες και κολόνες από τους ναούς και τα παλάτια της αρχαιότητας, για χτίσουν σπιτάκια κι εκκλησούλες. Ακούς αρκετά τέτοια αυτές τις μέρες. Κυκλοφορεί π.χ. ένα που εκμεταλλεύεται το "let the sun shine". Sampling κια κλέψιμο. «Κατανολοτικά και δεν με αφορούν.» Δεν λέω ότι δεν μπορούν να υπάρχουν καλά παραδείγματα και σ' αυτό το είδος, κλπ κλπ κλπ, αλλά εν το μεταξύ, ατενίζω την αναγέννηση...
  15. Translation (with a very few notes, marqued [..........-g]: Giorgos Dalaras 40 years «Kalamaria... If all of Greece were like that, we wouldn't need to fear anything» Interview by Thanasis Gioglou [from the September 2007 issue of «Politis K», a monthly magazine published for the people of Kalamaria (the south-eastern part of Thessaloniki, a distinct and very distinctive municipality) - g]. «Good evening Kalamaria... good evening Thessaloniki... I thank you very much for this wonderfully moving sight you are presenting us with... You know why I am here tonight? Because I love your city, I love your neighborhood, and above all, I love you, I love you as my very own people... And in these times, when everything is upside down, one feels the need to be with one's own people... There, that's why I am here tonight...» It was on a Wednesday night, on the 21st of August 1991, when these words were uttered by Giorgos Dalaras, shortly before the beginning of his magical concert in the stadium of [the local soccer club - g] Apollonas Kalamaria... He is one of us, and he is a living myth of Greek music: Giorgos Dalaras returns to Kalamaria, sixteen years after and by way of the pages of «Politis K», to talk to us about his new songs, his plans for the future, and the past, present and future of Greek song... Q.: A song in 1967: "And then a day shall dawn when the Earth will sing out..." A song in 2007: "On our ships we changed many banners" Forty years after your first song, which the junta's censor "cut" because of its subversive lyrics, you let loose [your latest record] «Me to ena podi s'astra» ("With one foot among the stars): a new, contemporary laiko record What's in it exactly? Giorgos Dalaras: Our aim, when we were recording these songs, was to find good compositions even from people who do not belong to what we commonly call "high quality song". I myself saw in these people as pure-blood popular musicians, laiko musicians, whose songs lacked good lyrics, well-thought out words. This strongly excited my interest and I made an attempt to realize their potential as composers. Their compositions, then, coupled with good lyrics, led to this result, letting their talent shine. And then again, I was attracted by this coming together of young composers making their first contribution with such giants among the writers of song lyrics as Lefteris Papadopoulos, Manos Eleftheriou and Lina Nikolakopoulou, as well as with younger writers such as Giorgos Pavrianos and Nikos Moraitis, and generally all those who wrote these songs like short screenplays from everyday life, on themes that concern all of us. They are love songs, social songs, they express our isolation in life, our feelings, and I hope they will give pleasure to many people and be generally loved. As for me, I feel good about this particular record. I made it with dedication and enthusiasm. Q.: «This here is not Saloniki, this here is not Kalamaria...» is a line from a song you were singing in 1983, lyrics by Lefteris Chapsiadis and music by Christos Nikolopoulos, a song about leaving the place where one belongs, whether inside ourselves or in the outside world, that doesn't make all that much difference. Greece, if nothing else, is a country which has had the experience of the refugee and the emigrant "lashed into her skin". Last October, the United Nations High Commissioner for Refugees offered you the title of Goodwill Ambassador, honouring all you have done in this domain. You share this title, at the moment, with only 7 people in all the world. What are your impressions from your first journeys as UNHCR Goodwill Ambassador to Liberia and Sierra Leone? Is a corresponding response and help forthcoming from the Greek government? Giorgos Dalaras: The journey to Liberia and Sierra Leone was revealing for myself as well [the Greek word for "revealing" means "apocalyptic" as well - g]. My feelings went through several different phases. At first, I was disgusted, feeling that we are unable to offer anything at all, and then came hope and the certainty that for those people, even the smallest thing one does for them counts. Whatever we do for them is an expression of our duty as human beings, because it is they, today, who are the heroes of the political clashes. But there is a lot still to be done, both by the state and by the citizens. From the citizens information is wanted, generosity, volunteering, and from the state better conditions of detention, reliable legislation on migrants and refugees both, correction of the bureaucracy in asylum matters, and a higher, even if only slightly higher, proportion of recognition of the refugee status. Q.: You have toured, over the years, almost all over the world. You have more than a few friends abroad, and I don't mean the emigrated Greeks and their kin, but foreign-born people, who, under the influence of your songs and your voice, have learned or tried to learn the Greek language and take an interest in Greece and its culture. Some of these have in fact managed to translate a large part of your repertoire. What does this mean to you, and what would you have to say to these people? Giorgos Dalaras: They mean a great deal to me. You know, getting older, I grow more mature, I change. I am singing more for my musicians, for my friends - and among these I count these people you refer to. I do mostly what I enjoy, I avoid conventional shows. You know this, if anyone does, that I've had to make only very few concessions. I count myself lucky in that respect. I truly find it very moving when, on tour in Europe, especially during the last one, we have this much larger number of non-Greeks in the audience, and a very good response to our music in the foreign press. You've felt it yourself, I believe, what an honour it is to have foreigners learn our language from our songs, or when foreign bands play rembetico. Q.: You recently released a collection of songs by the unforgettable Manos Loizos, almost all you recorded during your career. That collection contains 3 previously unreleased recordings, two of them settings by Manos of poems by Nazim Hikmet translated by Giannis Ritsos, dating back to the mid seventies. At the press conference where the record was presented, you revealed that you discovered those songs in the bottom of a box while doing work on your house, and if fact you said there was one other song there which was not included in the collection, though if you'll allow me to say so, I think it should have been. Is there any more where that came from? Is it in your intentions to give us some more such unreleased forgotten diamonds? Giorgos Dalaras: That you should remember that story about the box, how sweet! That box, you know, it's both a literal and a metaphorical one. The literal box is all those unreleased recordings I've got sitting in my studio, and the other, the metaphorical box, is the one I keep inside me, in my soul and in my mind, productions I've got ready and would like to give to the public some time. So first: yes. I do intend to release some songs, and since you're asking, I'd have to say they are from three sources. Some of them, the most important, are songs I have chosen and which I endorse absolutely, songs I have already recorded but which have been left behind because some other piece of work had to be done all of a sudden. The other category are songs, some of them worthwhile and some not, that were left out of records that are in circulation. As you know, when I go into the recording studio, I don't follow the rules of today's industry, recording twelve songs and send it to the shops. I always went for what I liked to do, I'd record 20-22 songs and one the release we'd put 12 or 14. So, all these are in existence as well. There is a third category, which are the live recordings. I've got almost all of them, and some of those may be worth a release. In fact, now that you've made me think about it, there is a fourth category, which are the tv recordings, because from the beginning I had this particularity, or if you like this deviance, that I can't do playback. So all my tv appearances, the raw material, is on multiple track tape. Well, all in good time, and I assure you that all the material that is truly worthwhile will be released. Q.: You have, at different times, announced in the Press the release of an album that you are preparing with songs by Mikis Theodorakis, one with Dimotica, one with Goran Bregovic. What is the reason that these records are still not in circulation? Is it in your immediate plans to realize them? Are the record companies still interested in such work, or are they dragging their feet? Giorgos Dalaras: You know perfectly well that I'm not interested in the record companies' interests. These records will certainly be released. The record with Goran, to lyrics by Lina [Nikolakopoulou], if all goes well, is the next we'll release. The production of Mikis' songs is going quite well, but it has been shelved for a while because of other releases of Mikis' work, both by me and by other artists. It is a truly interesting re-visiting of Mikis' songs, we are working on it with Giannis Spathas. As for the dimotica, well, they are definitely coming sometime, and I hope it won't be too long. But, since I consider this as the work of a lifetime and not as a commercial project, I'm in no hurry to see it in the shops. I have to tell you, however, that of course the recording of those songs has started a good while ago. Q.: In all your 40 years in record-making, you've released only 8 songs with your music, which, if you'll permit me to say so, are exceptionally good. We've heard another 5 or 6, mostly as the opening song of some of your concerts, or on tv. In a recent radio interview, you admitted you've written many more. Some of them, in fact, are settings of lyrics by "our heart's president", as you so aptly name Lefteris Papadopoulos. Quite a few of your colleagues, some of them from your own generation, like Charoula [Alexiou], [Giannis] Parios, [Dimitra] Galani, have given examples of their own compositions, some of them highly successful. Aren't you thinking of recording some of your own compositions? Giorgos Dalaras: Listen, it's common knowledge. All musicians write songs, and laiko musicians most of all. I'm no different from the rest. And you very properly cite my colleagues who have written very beautiful songs. As for me, to be quite honest, I don't really know why I have never released songs of my own. Sometimes I say I don't get round to it, sometimes that I need to be made to sit down to write, sometimes that I can't find lyrics. The essence is, as you've noted, that I only sit down and write a song when I am made to. It might be that the truth, in the end, is that I've been spoilt rotten. It is my opinion, and it fits the facts, that the songs that I have sung, the songs that have been written, are much better than my own compositions. Well, and so I keep putting it off. Some of those things I dream up, I don't say, they're not bad as songs go. Still, music as such won't lose much if they are never released. We'll see. Q.: 2 concerts dedicated to refugees at the MMA, contributions to 4 of the evenings in honour of great lyrics writers organised by ERA radio and the Ianos bookshops, 1 concert with the Romiosyni at the MMA, a tour all over Europe, 3 concerts in honour of Lefteris Papadopoulos (2 in Thessaloniki and 1 at the Vraxon theatre), 4 concerts in honour of Manos Loizos in Cyprus, 2 concerts at the Irodeio entirely dedicated to songs about drugs, 1 concert with your own songs in Patra, 2 concerts in Israel a few days from now, in October the huge concert in memory of Manos Loizos at the OAKA stadium, and in February next year the hommage to Rembetiko at the MMA... this is a list, not even a one, of what you've been doing live in the past year or two, and the agenda for the immediate future. And all those concerts are totally different in character and repertoire. What does it mean to you to do such widely different things, how to you manage to be ready in time every time - and what else have you in store for us? Giorgos Dalaras: Well look, do you think I'm some kind of normal person? Or maybe a professional? You, who follow the concerts faithfully, you can answer that. Is a person doing their job, working, when they take a whole month to do a single concert, and one month later they're doing something else? But you see, for me, that's music, that's art, that's what keeps me from being bored. I can do it because I love it so much. I'm not aiming to produce hits, with concerts like these. That's how simple it is. As for the immediate future, I don't have anything in mind beyond what you just mentioned, but that doesn't mean I won't take it into my head tomorrow to do something or other, and then do it, however difficult. Q.: We've had the good luck, in this country, to sing, all of us, together with the very great singers. From the 20's and 30's with Stratos Pagioumtzis, Antonis Dalgas, Vangelis Sofroniou and Stellakis Perpiniadis, to the 50's and 60's with Kazantzidis, Bithikotsis, Ninou and Bellou, Gavalas, Dionisiou, Angelopoulos, Giota Lydia, Poly Panoy, Kaiti Grey, Viky Moscholiou and many other, we come down to your own generation, with you and Aleksiou, Galani, Parios, Mitsias, Protopsalti... Inevitably, and I hope it happens as late as possible, you will say goodbye... Do you see any singers in the younger generation who have the potential to go carry on? And, now that we've lost Kougioumtzis, Loizos and Kaldaras, and Moutsis, Ksarxakos and Markopoulos have de facto left laiko song, are there any composers "carry over the graft" to the new-grown singers? Giorgos Dalaras: You touch my heart, knowing so much [Journalists often ask him this kind of question, but always leave it to him to do the historic review of Greek singing -g]. When I see young people who have such deep knowledge of the laiko song, I feel that 'nothing is lost or wasted' [his words, "tipota den paei xameno", are the title of a much-loved Manos Loizos song - g]. Though everything seems to point the other way, though laiko song is in fact at war both with itself and with the record industry, I do not believe it will be lost. To begin with, those you refer to are in fact writing. Moutsis is, and Ksarchakos too, Markopoulos, and of course Spanos, and speaking of laiko, Nikolopoulos. There need to be people asking for them though, wanting them. We, I mean the musicians and singers, we must ask for their songs. Then, on the other hand, you see those giants among the writers of lyrics, Lefteris Papadopoulos, Manos Eleftheriou, and the bond they still have with the young people? And of course there are Lina Nikolakopoulou, Tripolitis, Gonis, Andrikakis, Katsoulis, Alkaios, Moraitis, Lina Dimopoulou, Katsoulis, Pavrianos... dozens of writers who know how to use words. And there do exist composers and songwriters. Some are near my age, though they came to the fore a bit later, like Charis&Panos, Lavrentis [Maxairitsas], Tasos Grous, Tsaknis, and after that there come Malamas, Peridis, Thanasis Papakonstantinou, Alkinoos Ioannidis, Pliatsikas, Thalassinos, and then even younger ones, almost children, our children if you like, like Nikolas Koumpios who is highly talented. And there are composers, some that we have learned to call "from the other side", like Kyriakos Papadopoulos who, give good lyrics, are able to write very good songs. And do you know what the secret is? That the "golden mean" and the "other side" are all together in the genre songs, while we all function each by ourselves. There was a time when we did have that luxury. Now, in my judgement, things are getting tough and good singing needs tightening, reconnecting, especially among the younger ones. As for the singers, of course we do have good singers. We do have Basis, Makedonas, Chatzigiannis too, who in his kind of song is very good. There is Giota Nenga, who is a very good singer. We have the two Melina's - Kana and Aslanidou - and of course Tsaligopoulou, but also much younger people than these, who have been at work for many years. And there are all the people I forget, who really have very good voices. What's needed is getting together, getting tuned - and good songs. Q.: What is your relationship with technology? And with the Internet? Do you use that at all to get information? Giorgos Dalaras: With technology in general I have a very good relationship. As you know, I make much use of it in my work. With the Internet, I keep my distance, and do you know why? It's one of those things that really get to me, and I keep away from it as much as I can, because if I can into that, added to everything else, I won't have time left to sleep. But I have good friends who lend me their lights. When the workload eases, I'll get into that and I'm sure I'll enjoy it. Q.: To finish, I would like you to say a few words to the people of Kalamaria, a town where you have hundreds of friends and admirers... a town founded by refugees, which in the course of time evolved into a contemporary model for many other towns in our country... Giorgos Dalaras: A, Kalamaria! A town where they still keep their shutters open, to quote my dear Kougioumtzis [tn: reference to Kougioumtzis book of partly autobiographical short stories "Open windows with the shutters closed"]. The people are open-hearted, democratic, proud and generous, an unbreakable social network, hard-working - extremely human. If all of Greece were like that, we wouldn't need to fear anything. That's what was our undoing, you know: shutting our windows to our neighbours and shutting ourselves up in our arrogance. Mr. Dalaras, I thank you very much. Giorgos Dalaras spoke to «Politis K» and Thanasis Gioglou in July 2007. Sources: Personal archives of Thanasis Gioglou, www. dalaras. Com, Universal music. The poster of the Kalamaria concert illustrating the article is from the personal archive of Maria Konstantinidou.
  16. For those who don't know greek and are spoiling for reading matter in this highly greekified place: Alona (aaz) has managed to get a written interview from Dalaras for her radio show & our forum. She let me have the fun of translating it, so: http://www.dalaras.com/forum/index.php?s=2...=16&t=3880&st=0 I also finished translating the long interview of Dalaras by Thanasis: http://www.dalaras.com/forum/index.php?s=2...=20entry76331
  17. μου το δίνουν για μετάφραση και μετά αυτοί ευχαριστούν εμένα??:blink: !! Πέρα από τα ωραία δισκογραφικά νέα, μου έμεινε η ατάκα το κρατάω αυτό, το κρατάω! "είναι για κατανάλωση και δεν με αφορούν"! Για όλα τα άχρηστα που γεμίζουν τα μαγαζιά, για όλες τις υποσχέσεις των πολιτικών που οι ίδιοι τις πιστεύουν λιγότερα απ' όλους, για τα χαζοτράγουδα με ημερομηνία λήξης........ αυτό θα λέω: «είναι για κατανάλωση και δεν με αφορούν». Το άλλο που ήθελα να σημειώσω είναι ότι το παραπάνω γραπτό του Νταλάρα μεταφράζεται (από μένα τουλάχιστον) περίπου 5 φορές πιο γρήγορα από μια προφορική συνέντευξη όπως αυτή στο Θανάση (ναι, μέτρησα ). Οι φράσεις του είναι πολύ μακρύτερες όταν μιλάει, χρησιμοποιεί περισσότερες ιδιωματικές ή/και ποιητικές εκφράσεις, και γενικά ευρύτερο λεξιλόγιο. Μου φαίνεται, απ' όσα έχω δει, ότι γράφει κοντολογίς και αποτελεσματικά, ενώ μιλάει με πάθος και ποίηση. Όταν μιλάει, ακούς πώς αστράφτει η σκέψη του, ενώ ο λόγος είναι πεζός...
  18. Tasos had occasion to interview the composer of that amazing song, «Anatoli»: Michalis Terzis. The published interview could not include all the composer said, and among the bits left out was the story of how they recorded «Anatoli»: When Dalaras heard this song cycle, finished, at his home, he was very much moved. He had lived through some things. I remember the rehearsal, and the exhausting patience that Giorgos had, every last thing about the songs had to be perfectly balanced. "Anatoli" was the first song that Dalaras sang in the studio. He walks in, listens to the orchestra once or twice, and... holes it in one, perfection! We look at each other, me and Akos Daskalopoulos and Giorgos Makrakis: perfect! Dalaras however disagreed. "I'll do it again", he says. He sings it once more, twice more, that song went flying! But he, he just went on! I say to him: "Giorgos, we got it, we got it 100%!". His response: "Something's missing", and then he explains: "When you sang it the first time, back home, that word "lipitera", you did it on one single breath!". That's what he was out for, that's the kind of detail he was minded! That is Dalaras for you! Afterwards he played that "dialogue" with his laouto, and it was dawn before we were done, worn out but happy...» (I'm owing a lot of other translations, I know - not forgetting, just a bit short of time)
  19. ΘΑΛΑΣΣΟΓΡΑΦΙΕΣ Με το προχώρα του Μάτσα φτάσαμε στο στούντιο Thalassografies - views of the sea «With Matsas' "get a move on", we got into the studio» Α' ΘΑΛΑΣΣΟΓΡΑΦΙΕΣ Thalassografies Μουσική: Μάνος Λοΐζος Στίχοι:Λευτέρης Παπαδόπουλος Ερμηνεία:Γιάννης Καλατζής, Γιώργος Νταλάρας, Γιάννης Πάριος, Μαρίζα Κωχ, Μάνος Λοΐζος. Music: Manos Loizos Lyrics: Lefteris Papadopoulos Singers: Giannis Kalatzis, Giorgos Dalaras, Giannis Parios, Mariza Koch, Manos Loizos ΜΙΝΟS 1970 Ο Μάνος Λοΐζος ήταν έξοχος συνθέτης. Μελωδικός, γλυκός, τρυφερός - αυτά που ξέρουμε. Ήταν όμως - αντίθετα από μένα, που σκιζόμουνα στη δουλειά - και ολίγον... τεμπέλης! Manos Loizos was an excellent composer. Melodious, sweet, tender - those things we know. Meanwhile though, he was - in contrast to me, who was killing myself working - also utterly... lazy! Για να γράψει ένα τραγούδι, μου έβγαζε την πίστη. Το πήγαινε από 'δω, το έφερνε από 'κει, του βρώμαγε, του μύριζε, το έπαιζε στη γυναίκα του και στους φίλους του, το δοκίμαζε στο στούντιο, το άλλαζε, το διόρθωνε κ.ο.κ. Το τι τράβηξα για το «Αχ, χελιδόνι μου»,τον «Λιόντα»,το « Μη με ρωτάς» και άλλα δεν λέγεται... When he had to write a song, he'd make me lose my religion. He'd take it over here, he'd bring it over there, he'd sniff around it and smell it, he'd play it to his wife and to his friends, he'd try it out in the studio, he's change it, correct it and so on. What I went through with "Ach, chelidoni mou", "O liontas", "Mi me rotas" and other songs: it can't described. Το 1968, που κυκλοφόρησε ο «Σταθμός», ο Μάνος είχε ετοιμάσει ελάχιστα τραγούδια. Με τις φωνές και τους καβγάδες, όμως, και το «σπρώξε» και «προχώρα» του Μάτσα, καταφέραμε να φτάσουμε στο στούντιο, χρησιμοποιώντας για βοήθεια και μερικά ορχηστικά... In 1968, when he released "O Stathmos", Manos had only a very few songs ready. With some shouting and some rows, though, and the "push" and the "get a move on" from Matsas [T.N. the boss of the record company], we did manage to get into the studio, using some orchestral pieces to help out. Το 1969, είχαμε μαζέψει, από δουλειές στον κινηματογράφο, κυρίως, διάφορα τραγούδια και αποφασίσαμε να κάνουμε μια συναυλία στο σινέ Αλόμα, του Χολαργού. In 1969, we had gathered different songs, mostly from work for motion pictures, and we decided to do a concert at the cine Aloma, in Cholargos. Αυτή τη συναυλία δεν ξέρω πως, την παρακολούθησε και ο μακαρίτης, πολύ καλός ηθοποιός, Ανδρέας Φιλιππίδης. Ο οποίος είχε ενθουσιασθεί με ένα τραγούδι, που έλεγε: Εκείνος που μας χάθηκε / θ' ανθίσει μες στο χώμα / θα βγει την άλλη άνοιξη / μ' ένα φιλί στο στόμα / θα βγει την άλλη άνοιξη / το άλλο καλοκαίρι / με πράσινο πουκάμισο / κι ένα κλαρί στο χέρι... This concert, I don't know how, was attended by the late, very good actor, Andreas Filippidis. He was very enthusiastic about one song which said "The one who was lost to us / will flower in the soil / he will come next spring / with a kiss on his lips / he will come next spring / next summer / with a green shirt / and a green twig in his hand... Εκείνο τον καιρό, ο συγγραφέας Αλκής Παπάς- πρώτος και μοναδικός σύζυγος της Ειρήνης Παπά - είχε γράψει ένα θεατρικό έργο με τίτλο «Γη... SOS». At that time, the author Alkis Papas - first and unique husband of Eirini Papa - had written a theatre play with the title «Gi... SOS» ["Earth... SOS"]. Το έργο - μουσικό - θα ανέβαινε στο θέατρο «Μίνωα» της οδού Πατησίων, από τον Μαρκομιχελάκη (θεατρώνης). Ο τελευταίος είχε προσλάβει στον θίασο τον Φιλιππίδη, τον Αλέκο Αλεξανδράκη, τη Μάρθα Καραγιάννη, την Ιλια Λιβυκού, τη Λίντα Αλμα κα. Και ποιόν θα φωνάξουμε για τη μουσική ; ρώτησε ο Μαρκομιχελάκης. «Τον Μάνο Λοΐζο» είπε ο Φιλιππίδης. This play - a play with music - was to be staged at the "Minoas" theatre in Patision street, by Markomichelakis (who ran the theatre). The latter had managed to get, for the theatre, Filippidis, Alekos Aleksandrakis, Martha Karagianni, Ilia Livikou, Linda Alma, and others. "And who are we going to ask for the music?" asked Markomichelakis. "Manos Loizos", said Filippidis. ’κουσα μερικά τραγούδια του σε μια συναυλία και τρελάθηκα ! Ένα δε κομμάτι, το Εκείνος που χάθηκε, μου πήρε την ψυχή.... "I heard some of his songs in a concert, and they drove me mad! There is one song, called "Ekeinos pou chathike", which took my soul... Έτσι με τον Μάνο, πήραμε τη δουλειά. Βάλαμε αμέσως κάτω τα τραγούδια της συναυλίας, ζητήσαμε να 'ρθουν στον θίασο και η Αλέκα Μαβίλη με τον Μιχάλη Βιολάρη, για τραγουδιστές και προχωρήσαμε. And that's how, with Manos, we got the job. We put down at once the songs from the concert, we asked that Aleka Mavili and Michalis Violaris come to join the theatre, as singers, and we got going. Και με αυτό το υλικό, φτιάξαμε τον δίσκο «Θαλασσογραφίες» στον οποίο - τι πλάκα! - δεν χρησιμοποιήσαμε το «Εκείνος που μας χάθηκε», γιατί εγώ το 'βρισκα μακάβριο - όπως και είναι... και δεν το ήθελα, απ' ουδενί λόγω, πλάι στον Καφενέ, στον Σεβάχ, στο Μήνυμα, στη Γοργόνα, στο Νανούρισμα και στ' άλλα τραγούδια του έργου! Να σημειώσω τέλος, ότι αυτό το κομμάτι, που αγάπησε ο Φιλιππίδης, δεν το βάλαμε ποτέ με τον Μάνο σε δίσκο... And with that material, we made the record "Thalassografies", on which - what a joke! - we did not use that "Ekeinos pou chathike", because I found it macabre - it really is... and I didn't want it, not for any reason, next to the "Kafene", to "Sevach", to "To minima", to "I Gorgona", to the "Nanourisma", and the other songs of the record! Let me note, finally, that this piece, which Filippidis loved, Manos and I never put it on any record... Τα τραγούδια ερμήνευσαν οι Γιάννης Καλατζής, Γιώργος Νταλάρας, Γιάννης Πάριος, Μαρίζα Κώχ, το εξώφυλλο το φιλοτέχνησε η Αργυρώ Καρύμπακα- Νεγρεπόντη και τη φωτογραφία, στο οπισθόφυλλο την τράβηξε ο ζωγράφος Βακιρτζής, στο Κερατσίνι, ένα πρωινό, που ο Νταλάρας παραλίγο να παίξει ξύλο, μπροστά στην πύλη του Ανδριανού, με ένα μόρτη, που πήγε να μας τρακάρει... The songs were interpreted by Giannis Kalatzis, Giorgos Dalaras, Giannis Parios, Mariza Koch, the record sleeve was designed by Argiro Karimpaka-Negreponti, and the photo, in the inlay, was taken by the painter Vakirtzis, in Keratsini, one morning, when Dalaras narrowly escaped coming to blows, at the gate of Adrianou, with a character who was about to run into us... Του Λευτέρη Παπαδόπουλου By Lefteris Papadopoulos Πηγή: 100 Δίσκοι και η ιστορία τους από τον Μελωδία 99,2 /Ειδική έκδοση - Καθημερινή Source: 100 records and their history, from Melodia 99.2 / Private edition - Kathimerini
  20. «Αύγουστος»; «Δεν κλαίω γι' αυτά που μου 'χεις πάρει»; η «Ρωμιοσύνη»;;; δεν ξέρω...