Ο Γ.Νταλάρας στον Μελωδία

[Geske 37]

Πάμε για το φινάλε - τελευταίο ημίωρο.

Ευχαριστώ τον ’γγελο για τις διορτώσεις.

Αν θέλει κανεις την ηχογραφηση, είτε σε mp3 με mail, είτε σ' ένα δισκάκι... πείτε το!!!

Πέμπτη 8 Δεκεμβρίου 2005

Ο Γιώργος Νταλάρας δίνει συνέντευξη στους ακροατές του Ράδιο Μελωδία, στην ώρα του Οδυσσέα Ιωάννου.

Ο >> Οδυσσέας Ιωάννου

Α >> ακροατές (ή ακροατής ή ακροατήρια)

Γ >> Γιώργος Νταλάρας

Προσπάθησα να τα φράψω ακριβώς έτσι όπως τα είπαν, λέξη-λέξη. Οι [ σημειώσεις ] είναι δικά μου, για τον τρόπο με τον οποίο μιλάνε, για πότε γελάνε, κλπ.

[... ... ...] σημαίνει μια λέξη που δεν ακούγεται ή που δεν κατάλαβα στην ηχογράφησή μου και δεν μπορούσα να την καταλάβω να την γράψω. Τα [?] σημαίνουν λέξεις για τις οποίες έχω, ας πούμε, αμφιβολίες. Όσοι μπορείτε να βοηθείτε μ' αυτά τα σημεία, παρακαλώ, κάντε το!!!

Οι #αριθμοί είναι τα track που τα έκοψα για να μην μπερδεύομαι μέσα στο πάρα πολύ μεγάλο mp3 (2 ώρες...), έβαλα και τίτλους έτσι για να διαβάζεται πιο ευχάριστα, αλλά στην πραγματικότητα οι μοναδικές διακοπές είναι τα 3 διαλείμματα για διαφημιστικά + τραγούδι στης 6:30, 7 και 7:30.

#36. Διαφημιστικό διάλειμμα

#37. Ερώτηση: «Θέλω να δω τον Νταλάρα σε μικρό χώρο... να τραγουδήσει ό,τι θέλει...» και «Θέλω από τον Γιώργο Νταλάρα [...] να μου κάνει μια πρόβλεψη, γιατί οι σοφοί προβλέπουνε...»

Ο. Λοιπόν, έχουμε μπροστά μας άλλα 20 λεπτά, όσοι περιμένανε ν' ακούσουνε τραγούδια χάσανε, γιατί είναι πάρα πολλά παιδιά που δεν έχουνε κάνει ακόμα ερώτηση... Εκεί, τι έχουμε;

Α. Καλησπέρα...

Γ. Καλησπέρα!

Α. Ονομάζομαι Κωνσταντίνος Παπακυριακόπουλος, είμαι 28 ετών... Θέλω να ευχαριστήσω το Μελωδία που έφτιαξε αυτό το σκηνικό σήμερα. Δεν ξέρω αν έχει ξαναγίνει κάτι ανάλογο. Νιώθω τυχερός που είμαι εδώ, και είναι μεγάλη μου τιμή.

Δυο ερωτήσεις.

Γ. Χμ;

Α. Θέλω να δω τον κύριο Γιώργο Νταλάρα σ' ένα μικρό χώρο - χωρίς τραπέζια - με προσιτό εισιτήριο... να τραγουδάει ό,τι θέλει αυτός. Ό,τι θέλει αυτός! Κι ας μην έχει καλούς ήχους, δεν πειράζει. Η ποιότητα δεν είναι ο ήχος. Η ποιότητα είναι το συναίσθημα. Και η αλήθεια.

Και πέρα από τις εταιρίες κι όλα αυτά, θέλω να πάω αλλού την κουβέντα. Γιατί... εντάξει. Δεν είμαι _τόσο_ με τα τραγούδια και τις εταιρίες.

Θέλω από τον Γιώργο Νταλάρα, έναν κοσμογυρισμένο άνθρωπο, ο οποίος ξεκίνησε από το μηδέν, έχει κάνει πολλά ταξίδια, είναι ευτυχισμένος, γιατί η ευτυχία είναι ολοκλήρωση και δημιουργία, έχει πιάσει το... τους ρυθμούς της εποχής - όχι τους ρυθμούς που ανταποκρίνονται...

Θέλω να μου κάνει μια πρόβλεψη, γιατί οι σοφοί προβλέπουνε. Οι σοφοί προβλέπουνε. Όχι παγκόσμια πολιτική σκηνή! Εδώ στην Αθήνα, που ζούμε. Ο καθένας ζει σε μια πόλη, στην γειτονιά. Για την ανθρωπιά, για την επικοινωνία, για την κοινωνία... πάει να πει κοινωνός πολιτισμού, πέρα από τραγούδι και εταιρίες και...

Μια μικρή τοποθέτηση θέλω, δεν θέλω...

#38. «Πώς όμως να το κάνω αυτό; Σοφός δεν αισθάνθηκα ποτέ ότι είμαι...»

Γ. [Σιγανά, με απορία και λίγη αμηχανία:] Πώς όμως να το κάνω αυτό; Σοφός... δεν αισθάνθηκα ποτέ ότι είμαι. Είμαι απ' τους ανθρώπους που ξέρουν τα λιγότερα πράγματα απ' όλους σας. Εγώ μόνο τις εμπειρίες μου μπορώ να σας εκφράσω, και μάλιστα μ' έναν τρόπο ο οποίος δεν είναι αποδοτικός, όπως βλέπετε. Έτσι; Και μάλλον μπορεί να στεναχωρεί συνεργάτες, φίλους... Έτσι είναι, εγώ είμαι ένας... ένας ανήσυχος χαρακτήρας, και... μμ... κυρίως... πρώτα-πρώτα για τον ίδιο μου τον εαυτό. Ανατρέπω τον ίδιο μου τον εαυτό. Έτσι έμαθα, έτσι έζησα. [Πιο σίγουρα:] Δεν μπορώ να σας προβλέψω τι θα γίνει αύριο. Τι θα ήθελα: ναι. Μπορώ να σας πω. Αλλά να προβλέψω τι θα γίνει αύριο δεν μπορώ.

Α. [Πολύ σοβαρά κι ευγενικά, και συγκινημένος:] Επειδή οι ήχοι κυβερνούν τον κόσμο - από τον στρατό, από την δουλειά... Δηλαδή... Δεν βλέπουμε το φως του περιπολικού για να κάνουμε πέρα να περάσει... ή το φως του ασθενοφόρου... ακούμε την σειρήνα. Και οι ήχοι διαμορφώνουνε συνειδήσεις. Και είστε ένας φάρος τελευταίος στην σημερινή... στην σημερινή χρονολογία που ζούμε. Ε...

Γ. Ε... [Αμήχανα] Μου είναι πολύ δύσκολο να νιώθω ότι με ξεχωρίζετε και με τοποθετείτε. Πρέπει να σας πω ότι δεν αισθάνομαι καθόλου ξεχωριστός. _Δεν_ είμαι όσο ταπεινός νομίζετε, με την δουλειά μου ξέρω πολύ καλά τις ιδιότητές μου, και την όποια αξία μου. Αλλά _δεν_ θέλω να πιστεύετε ότι είμαι ξεχωριστός. Γι' αυτό και πολλές φορές, όταν έρχεστε, καμιά φορά μου ζητάτε φωτογραφίες κι εγώ λέω «παιδιά μην το κάνετε αυτό το πράγμα!», αισθάνομαι άσχημα για σας τους ίδιους. Αυτό είναι κόντρα στην όποια επωνυμία θα μπορούσα ν' αποκτήσω. Δεν μπορώ... αισθάνομαι άσχημα. [Χαμηλόφωνα αλλά με μεγάλη ένταση:] Ντρέπομαι γι' αυτή την διαδικασία. Δεν αισθάνομαι ξεχωριστός. Το μόνο πράγμα που θέλω είναι: να μπορώ να βρίσκω καλά τραγούδια, να τ' ακούτε και να διασκεδάζετε. Γιατί νομίζω ότι είσαστε σαν κι εμένα όταν ήμουνα παιδί, που η μουσική για μένα έλεγε πολλά πράγματα. Και κάποιοι από σας, νομίζω ότι... σε κάποιους από σας συμβαίνει. _Αν_ λοιπόν έχετε αυτή την... την... την αγάπη και την ανησυχία για το τραγούδι, μόνο αυτό μπορώ να σας περιγράψω. Μην με ρωτάτε για τα άλλα, είναι πολύ δύσκολα και για μένα. Εγώ βασανίζομαι πιο πολύ από σας να βρω αιτίες, να βρω λύσεις. Το μόνο πράγμα που μπορώ να κάνω είναι: [λίγο πιο άνετα:] αφού η εποχή έχει αυτή την μετριότητα και θέλει να σε ρουφήξει, προσπάθησε όσο μπορείς να αντιστέκεσαι σ' αυτήν την τάση. Πιάσου από κάπου. Δεν ξέρω - πιάσου απ' το διάβασμα, πιάσου απ' το τραγούδι, πιάσου από έναν φίλο... Αρνήσου να μπεις μεσ' την σούπα. Θέλουν όλα αυτά να τα κάνουν μια σούπα. Να μπούμε όλοι μέσα να κάνουμε το ίδιο πράγμα. Επειδή είπε προηγουμένως - και είπε πολύ σωστά - ο Οδυσσέας: όλο λέμε, λέει, για τους άλλους. Νομίζω - είναι μια ανάγκη στην συζήτηση - να θέλεις να δείξεις ότι διαφοροποιείσαι. Δεν είναι καλό στοιχείο αυτό, είναι μάλλον επιβαρυντικό αυτού που μιλάει. Θα έπρεπε να λέω «είμαστε», «κάνουμε». [Στον Οδυσσέα:] Έχεις δίκιο. [Συνεχίζει:] Όμως αυτό δείχνει ότι η πρόθεσή μου δεν είναι να προβάλλω και να προωθήσω τον εαυτό μου. Είναι να προβάλλω και να προωθήσω το πρόβλημα. Αυτή είναι η μόνη δικαιολογία που μπορώ να δώσω. Στην ουσία δεν θέλω το άλλο. Δεν το κάνω από εγωισμό. Αν και εγώ δεν μπορώ... δεν διαφεύγω κι από τις αδυναμίες αυτές τις ανθρώπινες.

Έχω κι εγώ πολλές αδυναμίες ανθρώπινες.

#39. Ερώτηση για τα μαγαζιά τώρα στην Πειραιώς και τότε στην Πλάκα

Α. ... Νίκος, 22. Ήθελα να ρωτήσω, με κίνδυνο να επαναληφθώ, απλά για να υπάρξει μια δέσμευση και on air, και για ν' ακούσουνε και περισσότεροι... Εγώ μένω πάνω στην Πειραιώς. Μένω σ' ένα... πάνω σ' ένα δρόμο πού έχουν αρχίσει να φυτρώνουνε τα μαγαζιά του ενός, του άλλου, αυτά τα ξενυχτάδικα, που δεν τα τιμώ κιόλας με την παρουσία μου. Ακούω για τις boites, και ακούω απ' τον πατέρα μου, που είναι στην ίδια ηλικία με σας, που τις έζησε, που τις χάρηκε γενικότερα κι όπως πολύς κόσμος. Να ελπίζουμε σε κάτι τέτοιο στο μέλλον; Να ελπίζουμε σε μια συνεργασία όπως του 1991 με τον Βασίλη τον Παπακωνσταντίνου... κάτι τέτοιο; Θα δώσει πολύ βοήθεια, και είμαι πρόθυμος να μετακομίσω κι απ' την Πειραιώς και να πάω κι εγώ προς την Πλάκα αν γίνει κάτι τέτοιο, δεν έχω δηλαδή...

[Α. γελάνε]

Γ. [Ακούγεται το χαμόγελό του:] Γεια σου ρε Νίκο, γεια σου ρε Νίκο. Ωραία.

Νομίζω ότι οι κύκλοι γίνονται, κι αυτά θα επαναληφθούν. Καμιά φορά... [στεναγμός] χρειάζεται λίγος χρόνος. Η ζωή μας είναι... μια δεκαετία. Σε άλλους είναι... μια εικοσαετία. Εκεί νομίζουμε ότι είμαστε το κέντρο της γης, ότι ό,τι συμβαίνει γύρω μας είναι όλος ο κόσμος. Δεν είναι... Ιστορικά, είναι τίποτα αυτά, είναι σκιούλες. Νομίζω ότι αυτό που περνάμε τώρα είναι η καρπαζιά που έπεσε από την τηλεόραση. Ο ελληνικός λαός έφαγε μια τρομερή φάπα, με όλο αυτό το δήθεν ελεύθερο της τηλεόρασης. Χαρήκαμε όλοι με την ελεύθερη ραδιοφωνία, με την ελεύθερη τηλεόραση - ξεχνάμε ότι αυτή η ελευθερία, έτσι όπως είναι, αγγίζει τα όρια της παρανομίας. Ξέρετε γιατί; Πρώτα απ' όλα, οι περισσότεροι απ' τους σταθμούς που εκπέμπουν είναι παράνομοι, όπως ξέρετε, είναι μόνο με προφορικές άδειες. Κοιτάξτε τι γίνεται στο πολιτικό χώρο, και τι πράγματα έχουν προκύψει μέσα στην Ελληνική κοινωνία, τι μίση, τι κακοήθειες. Πώς λοιπόν ο κόσμος να είναι ήρεμος μέσα σ' αυτή την διαδικασία; Υπάρχουν, λοιπόν, κύκλοι, μην ανησυχείς, θα ξαναγυρίσει ο κόσμος σ' αυτό, πού θα νιώσει την ανάγκη, ότι δεν πάει άλλο, θέλει να ζήσει κάτι διαφορετικό.

Boites υπάρχουν. Υπάρχουν μικροί μουσικοί χώροι. Υπάρχουν νέα συγκροτήματα. Δεν ξέρω πόσο καλά ή πόσο κακά είναι - υπάρχουνε. Και σ' αυτό... σ' αυτή την... σ' αυτή την ιστορία, πολλά μπορούμε να πούμε. Υπάρχουν μερικοί καλλιτέχνες που πιστεύουν ότι είναι γίγαντες. Δεν είναι. Πιστεύουν ότι είναι αδικημένοι. Δεν είναι. Απλώς δεν είναι καλή η δουλειά τους. Υπάρχουν όμως κι άλλοι που προσπαθούνε.

Πάντα θα υπάρχουν χώροι πού θα μπορείτε να εκτονωθείτε, να βρείτε μέσα συμμάχους, να βρείτε επικοινωνία... μην ανησυχείς γι' αυτό, Νίκο. Σίγουρα υπάρχουν.

Τώρα όσον αφορά εμένα - αν μπορώ να το κάνω ή όχι. Εγώ, το μεγάλο μέρος της ζωής μου, το πέρασα έτσι. Κάποια στιγμή, η έπαρση της εφηβείας μου, ή, αργότερα, της αρχής της ωριμότητάς μου, μου έκανε να νιώθω ότι τα τραγούδια που έχω επιλέξει να λέω αξίζουν μια καλύτερη τύχη. Δεν είχα φανταστεί, δεν ήξερα τι θα γίνει. Γι' αυτό και όταν έγιναν τα Ολυμπιακά στάδια άκουσα με το τσουβάλι κριτικές. «Τι γίνεται», «πού πάμε», «καινούργιες περιοχές», «και τι είναι αυτές οι αρένες», και... κι εγώ λέω: «ρε 'σύ... εγώ τα κάνω όλα αυτά;» Γιατί εγώ... εμένα, το στοιχείο... η πρόθεσή μου δεν ήταν αυτή. Ήτανε, το τραγούδι μας, αντί να παίζεται εκεί με τη... με τα... με το ουίσκι και μέσα στην κάπνα και μέσα σε... να παίζεται κάπου αλλού.

#40. «ο ήχος του ουτιού, της κιθάρας... μ' αυτά φτιάχνομαι εγώ» - «σαν τον Οβελίξ που έπεσε μέσα από μικρός!»

Γ. [Χωρίς περηφάνια, σχεδόν σαν να ζητούσε συγγνώμη:] Γιατί τυχαίνει να είμαι και ιδιόρρυθμος άνθρωπος. Δεν πίνω, δεν καπνίζω... Ξέρω εγώ, είμαι και λίγο παράταιρος με την εποχή μου. Ενδεχομένως. Δεν χρειάστηκα ποτέ να με φορτώσει τίποτα, ούτε ουσίες ούτε... Ζω έτσι. Με φορτώνει πολύ ο ήχος του ουτιού, της κιθάρας, ο ήχος της ορχήστρας... Αυτά! Μ' αυτά ζω. Μ' αυτά φτιάχνομαι εγώ. Σαν τον Οβελίξ που έπεσε μέσα από μικρός, αυτό κάνω.

[Χαμηλόφωνά, πολύ σκεπτόμενος:] Μπορεί να έπαιξα κι εγώ ρόλο κακό. Και ξέρετε τι έχω ανακαλύψει; Πάρα πολλοί καλλιτέχνες σύγχρονοι, νέοι, λένε ότι «πρότυπό μου ήτανε ο Νταλάρας». Το 'χω ακούσει από πολλούς. Τι ψεύτες που είναι! [Ένα μικρό γέλιο από την ακρόαση]. Πολύ ψεύτες είναι... διότι κάνουνε, λέει, «κάνουμε τα ίδια που έκανε ο Νταλάρας». Ντροπή - δεν είναι τα ίδια, παιδία. [Γρήγορα:] Δεν είναι καθόλου τα ίδια! [Πάλι σκεπτόμενος:] Δεν είναι καθόλου τα ίδια...

Εμένα, ξέρετε τι με σώνει; Μπορεί να μην είμαι καλά επικοινωνιακός, μπορεί, μπορεί, οτιδήποτε - οι ημερομηνίες και οι εκδόσεις, πάρτε τις. Και θέλω να σας θυμίσω κάτι που το λέω - το λέω και το ξαναλέω... (δεν υπάρχει πιο βαρετός τύπος από μένα στις συνεντεύξεις, απ' το 1968 λέω τα ίδια πράγματα! τίποτα δεν άλλαξε. Είμαι πια κοτζάμ μαντράχαλος... και λέω ακριβώς το ίδιο πρόβλημα που είχα και τότε. Πώς είναι δυνατόν, ένα παιδί που μόλις απολύεται απ' το στρατό, να πηγαίνει και να κάνει «λαλαλαλα», 4-5 τραγούδια, και να παίρνει το μισθό ενός [χτυπά το τραπέζι] καθηγητή; Έλα δε... Τι να κάνω εγώ; Έτσι... )

Ξέρετε γιατί; Γιατί με βοήθησε και η κατεύθυνση που μου 'δωσε η κυρά Τάνια η μάνα μου, η οποία μου είπε «αφού κάνεις αυτό που αγαπάς... Δεν έκανες αυτό που ήθελα εγώ, να σπουδάσεις και να κάνεις κάτι σπουδαίο, μπήκες μέσ' στην μουσική, δεν θα μπορούσες να γλιτώσεις, αφού ο Λουκάς σε παρέσυρε μαζί του... Κάν' το». Με βοήθησε να μην γίνω άπληστος.

#41. «Ό,τι χρειάστηκα το είχα επί δέκα... χρόνος μόνο μου λείπει...»

Γ. Γι' αυτό νιώθω, ακόμα και σήμερα, ότι ό,τι απέκτησα είναι πολύ περισσότερο από αυτό που είχα σκεφτεί ότι θα μπορούσα ν' αποκτήσω. Οπότε δεν ένιωσα ανασφάλεια ποτέ! Σε κανένα επίπεδο. Ό,τι ήθελα, ό,τι χρειάστηκα, το είχα επί δέκα! Γιατί λοιπόν, πού να πάω, πού ν' απλώσω τα χέρια μου - να πάω πού;

Δεν μου χρειάστηκε τίποτα.

[Με πάθος:] _Χρόνος_ μόνο μου λείπει. Χρόνος! Το πιο ακριβό, το πιο πολύτιμο πράγμα είναι ο χρόνος πια. (Και σε λίγο, δυστυχώς, όπως είναι τα πράγματα, θα γίνει και το νερό. Δηλαδή τα πιο φτηνά πράγματα, που ήταν τίποτα κάποτε, τώρα πια θα μας λείπουνε.) Ο χρόνος μου λείπει. Ήθελα να μάθω - πόσα όργανα; Σκαλίζω 3, 4, 5; Ήθελα να μάθω 667 να ξέρω - όργανα - να παίζω. Ήθελα να ξέρω όλη την ποίηση απ' έξω. Όλη, όλη να την έχω στο στόμα μου. Ζηλεύω αυτούς. Έχω την... Η αδερφή της ’ννας, η Πέπη, είναι φοβερή! Η Πέπη Ραγκούση. Ξέρει όλο τον Καββαδία απέξω. Και την παίρνω τηλέφωνο και της λέω «πες μου το τάδε ποίημα». Αυτό [χτύπα το τραπέζι] το ζηλεύω!

[Πιο χαμηλά πάλι:] Ήθελα λοιπόν να 'χω χρόνο να κάτσω ν' αποστηθίσω όλο τον Καββαδία απέξω, όλο τον Αναγνωστάκη απέξω, και όλους τους καινούργιους ποιητές, που είναι καταπληκτικοί και ακόμα δεν έχουνε... δεν έχουνε βρει τον δρόμο τους. Αυτό μ' ενδιαφέρει.

Και γιατί...; Γιατί ασχολούμενος μ' αυτά... [πάρα πολύ σοβαρά:] κλείνεις... κάνεις πέρα την μετριότητα. Την κάνεις πέρα.

Δεν μπορείς, Νίκο, να διαβάζεις τον Αναγνωστάκη και μετά να πηγαίνεις στο πρωινάδικο, στο βαρελάδικο, στο ...ολάδικο. Δεν γίνεται. Σε φωνάζει το μεγάλο. Το μεγάλο είναι πιο καλό απ' το μικρό. Σε φωνάζει, σε καλεί.

[Πιο άνετα:] Νομίζω ότι θα ξαναγυρίσει, μην ανησυχείς. Εγώ, έχω υπ' όψιν μου πράγματα.

Δεν ξέρω αν σας άρεσε στο Ζυγό;

[Οι ακροατές απαντάνε - μάλλον θετικά - αλλά δεν ακούμε τι λένε.]

Γ. Ή στην Ιερά Οδό; Είδατε πώς εξελίχτηκε η Ιερά Οδός;!

#42. «’λλα τρία χρόνια; τι άλλο να κάνω;»

Γ. ...να ξαναπάω, να ξαναβάλω πάλι την πλάτη; τρία χρόνια; Για να γίνει το μαγαζί όπως...; Τι να σας πω; Κι εγώ αρχίζω πια και... Με συγχωρείτε για την φράση: κωλώνω λιγάκι. Βάζω την πλάτη μου, τρέχω, αήντε και «ο Νταλάρας - θύμα... τρελός με την δουλειά... να τον πάμε κι αυτό...». Τρία χρόνια - τι άλλο να κάνω; Ήξερα εγώ, ότι η Ιερά Οδός θα γίνει το... το... το χάνι της Γραβιάς; Πού να το ξέρω;

Προσπάθησα. Συγκροτήματα βγήκανε εκεί... Οι... εεε... ήτανε οι Πυχ Λαξ, την δεύτερη χρονιά ήτανε τα παιδιά τα... Υπόγεια Ρεύματα...

Ο. Συνήθεις Ύποπτοι...

Γ. ... ήταν ο Φάμελος... Ό,τι μπόρεσα έκανα.

Ο. Ο Θηβαίος...

Γ. Ε; Εκείνη την στιγμή, δεν έκανα μια προσπάθεια κοντά σ' αυτό που θέλετε; Το έκανα... Μετά όμως να σας πω ότι... για κάτσε ρε παιδί μου... για κάτσε... Έτσι θα ζήσουμε; Ανοίγοντας συνεχώς μέτωπα με τους πάντες; Κάποια στιγμή, κουράζεσαι.

#43. «το τέλος... αδιευκρίνιστο και χωρίς την άδειά μας... Αφήστε με να φύγω...»

Α. Καλησπέρα... Με λένε Κατερίνα... Έχω γεννηθεί το 1969 - όλη μου η ζωή είναι με δικά σας ακούσματα, ελπίζω να τα περάσω και στα δυο μου παιδιά. Θα ήθελα να μου πείτε πού οφείλεται η διαχρονικότητά σας, και, επειδή πλησιάζει και το τέλος της εκπομπής, χωρίς να θέλω να σας μελαγχολήσω, αν έχετε σκεφτεί το τέλος το δικό σας στην μουσική.

Γ. Το τέλος... Το τέλος είναι όπως η αρχή. Αδιευκρίνιστο και χωρίς την άδειά μας. Έρχεται χωρίς να μας ρωτάει. Εγώ δεν ρώτησα πότε θα γεννηθώ, και δεν ρωτάω πότε θα πεθάνω.

Το αν θα φύγω ή όχι απ' την δουλειά... Νομίζω, πρέπει να με βοηθήσετε, να μην πάθω καμιά πλάκα. Συγνώμη που μιλάω έτσι. Καλύτερα να μιλάμε... Εγώ πρέπει να φύγω απ' την δουλειά με το κεφάλι ψηλά.

Α. Ναι, αυτό όμως...

Γ. Καταλαβαίνετε; Είναι δύσκολο, πολύ. Είναι πολύ δύσκολο.

Α. Πολύ δύσκολο, ναι...

Γ. Να με βοηθήσετε, μην μου ζητάτε να κάνω συνέχεια πράγματα. Αφήστε με να φύγω. Είναι μεγάλος ο κύκλος. Έκανα πάρα πολλά πράγματα. Πραγματικά πολλά. Νομίζω ότι είμαι απ' τους τραγουδιστές που κάνανε 3-4 καριέρες σε μία. Τραγούδησα σαν 3-4 τραγουδιστές. Τραγούδησα απίστευτα πράγματα. Τραγούδησα τραγούδια που μου δεν ταιριάζανε, ενδεχομένως, και όμως μπήκα μέσ' σ' αυτά και κάποια στιγμή, και οι κριτικοί - αυτοί που τους κάνουν κριτική - τα αποδέχθηκαν. Τι άλλο να κάνω άλλο;;;

Νομίζω ότι έκανα πιο πολλά πράγματα απ' όσα θ' άντεχα να κάνω. Δεν ξέρω τι μπορώ να κάνω.

Α. Υπάρχουν και άτομα που [... ... ...].

[Εδώ μπαίνουν δυο άλλες ακροάτριες, τα περισσότερα που λένε δεν ακούγεται στον αέρα, αλλά μπορεί να μιλάνε για τους νεότερους που δεν είχαν την τύχη να ζήσουν της εποχή της Πλάκας ή και του Ολυμπιακού Σταδίου και θέλουν να τον ακούνε τώρα...]

Γ. Βοηθήστε με να...

Α. ... [... ... ...] δεν τους λυπάστε;

Α. ... δεν τους λυπάστε καθόλου;

Γ. Όχι... Να μην... Να μην... Με συγχωρείτε, εγώ νομίζω ότι μιλάμε σοβαρά τώρα, [χαμογελώντας] αφήστε το, μιλάμε σοβαρά. Νομίζω ότι είναι πολύ σοβαρό αυτό που είπε η κυρία. Έτσι;

Ο. Μάλλον θα είναι η τελευταία ερώτηση αυτή.

Γ. Τι άλλο μου... με ρωτήσατε κάτι άλλο στην αρχή;

#44. «Η διαχρονικότητα οφείλεται σ' εσάς και στα τραγούδια...» - «Τα στοιχεία του χαρακτήρα μου είναι χάλια...»

Γ. Η διαχρονικότητα; Οφείλεται σ' εσάς. Σ' εσάς και στα τραγούδια.

Α. ...σε στοιχεία του χαρακτήρα σας; ε...

Γ. Τα στοιχεία του χαρακτήρα μου είναι χάλια. Είμαι επίμονος, είμαι κουραστικός...

Α. [Γελάει]... δεν το είδαμε εδώ!

Α. [’λλα που δεν ακούγονται στον αέρα]

Γ. Ναι... όχι, καθόλου! Δεν είδατε; Είδατε πολύ καλά... Να είστε ειλικρινής! Ένας άνθρωπος επίμονος, αψύς - βεβαίως χωρίς κακία και μοχθηρία μέσα του, αυτό το καταλαβαίνετε, δεν μπορεί να μην το καταλαβαίνετε... Λοιπόν, επίμονος για τα πράγματα, με πίστη - κι αφελής! Διότι όλα αυτά τον βλάπτουνε, κι εκείνος συνεχίζει! Αυτό ακριβώς είμαι. Και αυτό θα είμαι. Σας το ξαναλέω γιατί το έκανα παραστατικά... δεν πα' να χτυπιούνται κάτω... Εγώ αυτό είμαι, σ' όποιον αρέσω. Αυτό κάνω.

Ο. Πάμε για την τελευταία ερώτηση παιδιά...

Α. Καλησπέρα...

#45. «Δεν υπάρχει άνθρωπος να πετάει όπως πετάω εγώ, όταν τραγουδάτε» - «Έτσι και ξανατραγουδήσω και δεν τραγουδήστε, είναι και η τελευταία φορά»

Α. ...λέγομαι Τάσος, και είμαι 22. Αναφορικά μ' αυτό που είπατε με τις καριέρες, έχετε κάνει πάνω από 100 καριέρες σε μισή[?] καριέρα, είναι αναγνωρισμένο. Θα ήθελα να σας ρωτήσω το εξής: απ' ότι κατάλαβα, επιλέγετε το κοινό σας;

[Μια έκπληκτη σιωπή, και μετά:]

Γ. Δεν μπορώ να το επιλέξω το κοινό. Δεν μπορώ.

Α. Δεν επιλέγεται;

Γ. Όχι, δεν μπορώ να το επιλέξω. Είναι πολύ δύσκολο αυτό που λέτε, πώς το φανταστήκατε;

Α. Γιατί είπατε πριν ότι... «πηγαίνω στην Πλάκα...» «Πήγα στην Πλάκα, πήγα στο Ζυγό, πήγα στην Ιερά Οδό, πήγα στην Αμερική, στην Αυστραλία... επέλεξα το συγκεκριμένο κοινό της Πλάκας, ή ενός μαγαζιού που είχε 7 χιλιάδες άτομα όπως ήταν η Αρένα...» Και ήθελα να ρωτήσω... εάν επιλέγετε το κοινό, στην περίπτωση αυτή, ποιο κοινό επιλέγετε; Του «Συγνώμη για την άμυνα» ή του «Μη μιλάς μη γελάς κινδυνεύει η Ελλάς;»

Γ. Ε, εσείς τι λέτε;;;

Σαφώς το άλλο κοινό επιλέγω _αν_ μπορούσα το επιλέξω. Αλλά, πρέπει όμως να διορθώσω, το ότι δεν επιλέγεις το κοινό, επιλέγεις την διαδικασία. Το κοινό - έρχεται. Αλίμονο, πώς θα μπορούσα να επιλέξω το κοινό;;; Τι να πω, δηλαδή, «να 'ρθει ο Νίκος επειδή τα μαλλιά του μου θυμίζουν τον εαυτό μου που είχα μακριά μαλλιά και τον ζηλεύω σχεδόν τώρα, γιατί σε λίγο δεν θα υπάρχει τίποτα;» Λοιπόν. Αυτό; Ή, να ζηλέψω και... να πω στη Κατερίνα, που την λέω Κατερίνα τόση ώρα... Λοιπόν, δεν μπορώ να επιλέξω το κοινό.

Δεν μπορώ να επιλέξω το κοινό. Επιλέγω την διαδικασία, και το κοινό - έρχεται. _Αν_ μπορώ εγώ, μέσα απ' αυτή την επικοινωνία, να πω «μπράβο ρε παιδιά, που με καταλαβαίνετε!» το κάνω. Λέγοντας το τραγούδι «Στους εθνικούς σου δρόμους» (ή ξέρω εγώ ποιο), βλέπω πώς αντιδράει ο κόσμος. Ή όταν τραγουδάω το [τραγουδάει:] «Στο 'πα και στο ξαναλέω...» αυτό - με αυτό τον τρόπο - κι απαντάτε - ιιιιιιιιι.... τρελαίνομαι, παιδιά! Βγάζω φτερά! Όχι ένα ζευγάρι... τριάντα! [Με πάθος] Δεν υπάρχει άνθρωπος να πετάει όπως πετάω εγώ, όταν τραγουδάτε. Τελείωσε - δεν μ' ενδιαφέρει πώς, τι ακούω, και λοιπά, είναι άλλο πράγμα αυτό, η προσωπική σχέση. Όπως τραγουδάτε εσείς - εγώ δεν έχω ξανακούσει. Και χωρίς αυτό, δεν ξανατραγουδάω. Έτσι και ξανατραγουδήσω και δεν τραγουδήσετε, είναι και η τελευταία φορά.

#46. Αποχαιρετισμός του Οδυσσέα

Ο. Λοιπόν, πάμε για το φινάλε, παιδιά. Ευχαριστώ πάρα πολύ, κυρίως εσάς, που ήρθατε, μέχρι εδώ στο Φάληρο, για να κάνετε την εκπομπή αυτή. Βοηθήσατε πάρα πολύ. Ε, δεν ακούσαμε τα τραγούδια... Τα τραγούδια - έτσι κι αλλιώς υπάρχει ο δίσκος - θα έχουνε ζωή μπροστά...

#47. «Μα δεν θέλω να χαλαρώσω!»

Ο. ...Εγώ να ευχηθώ, παρόλο που έχω ενδοιασμούς... και επίτρεψέ μου ένα πολύ αυθαίρετο συμπέρασμα, λόγο της χρόνιας γνωριμίας μας, ότι δεν είσαι ευτυχισμένος - ενώ θα 'πρεπε να 'σαι ευτυχισμένος, μ' αυτά που σου 'χει δώσει η ζωή...

Γ. Εντελώς [... ... ...]

Ο. ...να χαλαρώσεις και να γίνεις ευτυχισμένος.

Γ. [Αναστατωμένος:] Μα δεν θέλω να χαλαρώσω!

Ο. [Αυστηρός:] Να γίνεις ευτυχισμένος, γιατί σου έχει δώσει πάρα πολλά η ζωή...

Γ. [Διαμαρτύρεται:] Είμαι ευτυχισμένος! Το δήλωσα. Εσύ γιατί δεν είσαι ευτυχισμένος;

Ο. Εγώ είναι δικό μου... Είναι πολλά πράγματα. Δεν μπορώ να τα κουβεντιάσω τώρα, θα φάμε άλλες δυο ώρες.

Γ. Να σου πω... Η αγωνία είναι καλό πράγμα.

Ο. Ναι...

Γ. ’σε με να την έχουμε ο καθένας με τον τρόπο του. Πρέπει όμως... Θέλω να με κοιτάξεις στα μάτια...

Ο. Ναι.

Γ. Είμαι πολύ ευτυχισμένος.

Ο. Είσαι ευτυχισμένος;

Γ. Ναι, ρε Οδυσσέα!

Ο. Χμ.

Γ. Είμαι ευτυχισμένος. Έχω τα όργανά μου. Αυτές τις μέρες ηχογραφούμε για την Εστουδιαντίνα τα καινούργια τους τραγούδια. Τι μου λες τώρα; Πετάω! Ξέρεις τι μου λείπει; Λίγος χρόνος... για να κάνω κανένα ταξίδι ακόμα στην Ιταλία, να ξαναγυρίσω στην Σικελία, το 'χα κάνει το '72 και θέλω να το ξανακάνω τώρα - που δεν έχω χρόνο πια, άσε που με πονάει η μέση μου...

[Ακούγονται λίγα γέλια]

Γ. Και θέλω επίσης... χρόνο, ήθελα το καλοκαίρι - αυτό θέλω. Αν θέλεις να μου πεις ότι είμαι δυστυχισμένος, δεν είμαι. Το καλοκαίρι, μπορείς να μου πεις γιατί είναι μόνο τρεις μήνες; Αυτό, άμα μου πεις, καθάρισα! Εγώ θα ήθελα το καλοκαίρι να είναι οχτώ μήνες, και ο χειμώνας να 'ναι τρεις!

Ο. Φύγε δυο χρόνια λοιπόν. Φύγε δυο χρόνια, ποιος σε κρατάει; Το έχεις ξαναπεί, δεν το 'κανες ποτέ.

Γ. Δεν μου φτάνει...

Ο. Να δεις τον εαυτό σου απέξω.

Γ. Δεν μου φτάνει...

Ο. Δυο χρόνια, να δεις τον εαυτό σου απέξω.

Γ. Δεν μου φτάνει.

Ο. Δεν σου φτάνουν τα δυο χρόνια... [Βλέπει το ρολόι και κόβεται] ΟΚ.

Γ. Είμαι κακομαθημένος...

Ο. Καλοτάξιδος ο δίσκος...

Γ. Ευχαριστώ.

Ο. ...να πάνε όλα καλά, να 'στε καλά, ευχαριστούμε κι όσους μας ακούσατε εδώ στον Μελωδία. Η Κυριακή Αιλιανού ακολουθεί για την επόμενη ωρίτσα, εμείς τα λέμε πάλι αύριο στις 6. Να 'στε καλά, καλό βράδυ.

#48. Αλλά πριν κλείνεται το μικρόφωνο του Νταλάρα ακούμε ακόμα...

Γ. Να που νόμισα πως θα κάνουμε διαφήμιση στον δίσκο...

#49. Τραγούδι «O Mare e Tu»

#50. Σήμα του Μελωδία

[Geske 37]

Ξανανέβασα το τρίτο ημίωρο με τις διόρθωσεις της Δώρας

[Geske 37]

Και το τελευταίο τώρα με διορθώσεις.

[Geske 37]

Here is, at long last, the first part of the translation. I'm sorry I made you wait for it so long.

I feel the need to emphasize, as I did with the previous radio interview, that you REALLY, REALLY ought to be LISTENING to this while you read. Even if you don't understand a word of Greek. The sound of the voice, and the intonation, change everything. Ask me for the recording if you haven't got it yet, it's cut into short tracks (1-4 minutes) so you will always know which bit you are reading/hearing.

Thursday, 8 December 2005

Giorgos Dalaras gives an interview to the listeners of radio Melodia, in Odysseas' Ioannou's hour.

O >> Odysseas Ioannou

A. >> audience (any or all of them)

G. >> Giorgos Dalaras

The Greek transcript contains everything that was said, word by word.

The translation is as faithful as I could make it, but mind, I've translated the meaning of sentences, not individual words.

The [ ] are remarks by me about the way in which things are said, when people laugh, etc. In a few cases they are words that were implicit in the Greek, which I've added explicitly in the translation.

In the Greek version, [... ... ...] and [?] mark words that can't be heard clearly on the recording. I haven't marked all of them in the translation.

The #numbers are the tracks I cut to avoid getting lost in a 2-hours mp3 recording. I put in titles, too, to make nicer reading, but in reality the only breaks are the 3 commercial + song breaks at 18:30, 19:00 and 19:30.

T.N. is a "translator's note".

#1. Song: "Mesogeios"

#2. Odysseas Ioannou's greeting

O. Good evening from radio Melodia on 99.2 FM. It's Thursday, the eighth of December, Dimitris Evangelinos is taking care of the sound, Odysseas Ioannou is at the microphone. With us tonight, as we have been announcing for some days now, is Giorgos Dalaras, for us to present, together, his new CD, recorded live at the Irodeio: «Mesogeios, triakostos-tetrakostos parallilos» ["Mesogeios, 30th-40th parallel"]. With us, too, are forty listeners, the ones who got drawn from the hundreds who offered their collaboration to be here today in our company. Good evening first to them...

A. Good evening!

O. Be well all of you, thank you for coming. And welcome...

[T.N.: "and welcome..." is in the singular in Greek, so it's clear he's addressing Dalaras.]

#3. Giorgos Dalaras' greeting - «I am well, though a little ill at ease»

O. ... one more time on Melodia. All is well?

G. I am well. Though a little... well... you know, ill at ease. Because all these new systems of... well... promotion... of songs, and all that... I don't know them, I'm seeing them for the first time, like you and I'm... getting into the process.

O. Isn't it a good thing? Isn't it more as it should be, for us to have some company?

G. It's good, yes, it's all right. Very nice. And it gives us, also, the ability to get in closer touch with those we think of as "our audience" or who... the ones we communicate with, anyway, one way or the other, often without clearly seeing who they are.

It's one thing to be on a stage 4 m high above the ground, and the public 50-60 m away, and it's another thing to see them here. You can touch them, you can talk to them, it may also be that... they will say "no" to you... it may be that you will... criticize them for their taste, their choices, it may be that they will do it the other way round. I think that's a good thing.

Of course, it's a little more original than I would...

O. Than you like to endure?

G. It's not a matter of enduring... I can take it, in fact, I am one of those people who get used to things and adapt easily. What I don't adapt to, is situations that go beyond certain limits, and since our times are weird times, with much going on, on the run, there are lots of things happening around us while our experience... our experience does not extend to "intending" anything, we don't know why we do what we do. We are being taken in tow, the circumstance are towing us. Somewhere. Probably... it was a good idea, this idea. It's yours. You are someone I trust, I know you. And the faces I see around here are healthy ones. But it might... I might have turned out rather differently. We might not realize what's happening here and be forced to go along with... with a publicity approach, advertising our new product, we who have need of this publicity, because without it, we can't make our work known. We are no longer living in the 70's, when there were 4-5 young singers and 10 established ones. A song would come out, we had two radio stations, all of Greece would be listening and celebrating. Nowadays, to get songs like that across, if it were not for Melodia or an ERT radio station, these songs would in fact be excluded from the official... from the officially recognized song-making and the whole way of life around it, on television and among the people who produce music.

This material is, in fact, strange.

O. You mean this record of yours?

G. Certainly.

O. Well, if some outsider were listening to you now, someone who does not know who you are, a foreigner, a tourist, if someone like that were among us, he'd think that we are talking about an artist who has a problem with the media, that the media refuse to play him. That he is isn't the good boy, the darling of the media. He'd think you are someone whom the media are hunting down.

G. I didn't say... Nobody... First of all, nobody's on the run, and behind me there isn't someone [... ... ...]. It seems, though, that what you say is actually happening. And I'd like it to be you who explains it, not I.

I mean, here, in front of us, there is a photographer. He is - obviously - the media. One young lady here is a journalist. A little while ago, there was a person with a camera coming up behind me and looking to find something, wanting me to answer something, because some one, some time, said some thing...

From your point of view, what is happening in Greece today? Are the media functioning the way they should?

O. Not in the least.

G. OK. But you think it's a natural thing to gather together sixty people...

O. But...

G. Half a moment, let me...

O. But, are you feeling wronged?

G. No, not at all. I'm saying that I like [what we are doing here] and that I want - I want to see it through. To you, what does it look like? Does it seem like a good idea?

O. Very much so.

G. Good. From that point of view...

O. It's just that you seem... you are so defensive right from the start...

G. No, no...

O. ... as if you were afraid...

G. Sorry, I...

O. ... of what the people here might ask.

G. I'm attacking, not defending myself!

O. To me it looks defensive...

G. Hey, no, no...

O. Well, it looks like it. When you say «opposite us», when you say «forty healthy faces». I should hope they're all well! You don't know what they may be going to ask you...

G. That doesn't matter! Whatever they ask me, here I am. By coming here I accepted that.

O. But you started out defending yourself!

G. Don't hurry!

O. Weren't you trying to forestall some question maybe, the wrong question...

G. Don't be in such a hurry Odysseas!

O. Well, we'll see! Here we are, we've got two hours in front of us...

G. Don't be in such a hurry!

O. Not in the least.

G. What seems strange to me, and I'd like you to explain... What was is that made you want, with the help of the record company that is releasing this record, and bravo to them for daring to put out such material... Have you heard what kind of stuff is passing for "laiko song" nowadays?

You do, since your radio station is promoting this material. Are you satisfied with this? Are you satisfied with the stuff that song-making in general is producing in Greece? Television, radio, journalism...

O. You mean the mainstream stuff? No way.

G. You don't like it.

O. I don't.

G. So, what kind of questions are you asking me, as if I were representing that stuff that you don't like? I am more likely to stand for that which you do like, since you've invited me.

O. No, what I said was something else. I meant you act like you are angry with the media...

G. And with good reason! Haven't I got a right?

O. ... like you released a CD that will be played only on Melodia and the Deftero [radio channel of the ERT].

G. I've got a right to be... to express what I feel. Don't you speak your mind? Is anyone forcing you to...

O. But we're talking about things here, objectively, not about feelings.

G. Objectively, then... I want you to tell me: what did you have in mind? "Let's get some people together to...» do what?

O. Out of love for the radio.

G. Now that's a thing I like to hear!

O. It's a thing that has to do with love. It's a love thing, it's got to do with my love for radio as such.

G. Why didn't you say so in the first place!

O. Well, that's what it is.

G. That's it then. Therefore... now, don't be defensive!

[laughs from the audience]

G. Don't be defensive! Therefore, you were doing something you consider necessary. So that we may sell a larger number of good records, if we think this one is good. And on the radio, Melodia, for ten years and more now, either with Odysseas directing, or someone else, or also in their magazine, they are trying and fighting... they are fighting! Fighters, that's what they are! Doing... Dragging the heaviest oar! Trying to present to the world - you'd think that would more natural, for people to listen to songs that have some kind of sense - they have to try and convince them to come closer to listen, to use every trick... to bring their acquaintance...

I don't know... To me, it all seems a bit weird...

[T.N. about radio Melodia: the station celebrated its 14th birthday last autumn. Odysseas Ioannou is not only an inimitable presenter and a helluva good journalist, he's also the station's founder, and its boss. In another life, he's also a poet.]

#4. O.I. «What we are doing, do you like it or not?»

G. ... what we are doing here. What all of you are doing...

O. All this time, I haven't managed to understand, from all you've been saying...

G. .... it's impossible that...

O. ...for 5 minutes now, I haven't understood your position! What we are doing, do you like it or not?

G. I do like it!

O. I don't get it. You seem ill at ease, as if something might be going to happen, something that would not be good... I don't get it.

G. Let it be, if it's going to happen, that's the future... for the moment - it's not happening...

O. Exactly!

G. Don't you...

O. Not in the least. It's you who seem to be afraid it might happen... I haven't managed to understand your position! Are you really feeling OK to be here, or not?

G. I'm feeling perfectly well!

O. Good, then that's that.

G. It's just that I want to know the reason why.

O. Our love for the radio, that the reason why.

G. Right.

O. And for music. Of course.

G. Be careful though... I'm not collaborating. [somewhat upset:] It was not my idea to get people together, to make something happen. In the same way as I don't like the ideas of people who get up to present a record and close off the streets [stopping the traffic]. You, [here], you do that kind of thing more... in a better way. Your idea is more... I accept it.

But imagine someone who thinks differently, who has, shall we say, your own position, but who is with another channel, I don't know, with the television... and he wants to have a blow up, to have someone position some artist in the centre of the stage.

O. To kick up some dust. The way they usually do, yes.

G. That's what I mean... That's why I said "I'm seeing healthy people". Do you know, all of you, what kind of times we are living in? And what kind of singing we've got around us? And how other people, who do their work in the right way, still are being forced to take part in that kind of thing? Do you realise?

Have you thought if Kazantzidis or Bithikotsis, in 1960, had any need of publicity stunts to advertise a record?

O. It did need to get played on the radio, like all records, always. They needed an audience in the place where they were singing.

G. Do you remember in 1970 - 1975 and a little later, when I said "Please, please, don't play my songs on the radio"?

"Because I don't want even the one who's announcing the songs - and the titles - to say "the prince of the night""? Do you remember that? Do you know how many years have passed since then? 25 or 30... I had hopes that this world would progress in a different way.

Here we are today, and look at the dire need we are in, both you and I! I do think it's a bit weird. I might be - it didn't turn out that way, in fact I don't know how it is going to turn out - it might even be mean, to round up people in that way to publicize your work. Why? Why did we come to this, Odysseas?

[T.N.: "Do you remember" is in the singular the first time, addressing Ioannou (who is a bit young to remember 1970-'75 consciously) and the second time in the plural, addressing the whole audience. Then "do you know how many years" and "both you and I" are in the singular again, addressing Ioannou.]

O. You're asking me?

G. Why?

O. Well, I have told you my reason for doing it. But you, why are you doing it? Why did you accept and come?

G. I accepted, because, first of all, I knew to which radio station I was going, I wouldn't have gone to any other. You saw how I took on the person from the other channel, the scandal-monger.

O. Yea.

G. That's why. But it's a good thing for us to talk to the people who have come here, who took the trouble and honoured us [by coming], we should tell them that those things they talk about with their friends, it would be good to also talk about them publicly. Write a letter, some time, to a newspaper. [Very gravely:] State your opinions, the things you deplore every day. Say aloud that you, you are not a part, not a cog on the wheel working in a direction which you have not chosen. Because many years have passed, and I hear fewer and fewer such voices. And you may well say to me "who are you to talk?", a great many people tell me that, [very fast:] and lately even more, many more, they tell me from inside, they keep telling me... "Who do you think you are? Just because you brought out a record, you want to preach us a sermon as well, on how we ought to behave?" I believe all of us preach. You [plural - addressing the audience] preach to your children, I preach in my way, he [meaning Ioannou] preaches to his listeners... the good channel - like, I don't know, the ERT - preaches to the people which... to the people is aims at reaching, cutting out certain commercials, believing that it must do its work differently... Everything, everyone, we're responsible together. That's the essential point. And as for me, I don't want to leave things as they are. This step, for me, is [knock on the table] important. The possibility of saying this, even if it spoils the broadcast, and eats up half an hour...

O. It doesn't spoil anything, not at all, but...

#5. About the collaboration with Remos

[T.N. For those who don't know: from Christmas 2004 to April 1st 2005, Dalaras appeared at the "Arena", Athens biggest and poshest "night stage" (= place where people go to get drunk as much as to listen to the music). The place was so new the paint literally wasn't dry on opening nigh. This was a joint venture with Antonis Remos, a singer with a good strong voice, nice brown eyes and engaging manners, but also a slightly "easy" repertoire, and something of a party animal. It all led to a good deal of controversy, about which you can read quite a lot in this forum - ask me where if you can't find it. From the Arena there are also reports and a magnificent slide show by Anna.]

O. ... but all these things you're saying, shouldn't I see them as self-criticism for that collaboration with Remos?

G. No.

O. No?

G. No. Of course not. That would be the easy solution. I don't believe that's what you want.

O. Because... Well, you yourself are taking me in that direction.

G. It doesn't matter...

O. «Have you heard» you're telling me «what kind of Greek songs are being released, and what's going on in the clubs?»

G. But aren't you glad I'm doing that? What would you want? Would you like...

O. Say it...

G. Now you wait a minute... you eee...

O. Odysseas.

G. Now you wait a minute, Odysseas, do you really want me to come here and just do... just advertise the record? Is that what you want from me? How many years have you known me?

O. Exactly twenty.

G. And what you see now, does it alter the sauce for you, does it spoil it? Don't you know that this is the way I am?

O. Yes... - but that doesn't mean you can't admit some mistakes. Or that you can wipe out something that happened only just last year...

G. But who said I don't admit mistakes... who ever said that?

O. Recently, in very many interviews...

G. Yes...

O. ...I'm seeing that - almost before a question has been asked - sometimes before any question is asked at all - you are pleading to defend last year's collaboration with Remos.

G. You are making a mistake. To begin with we're going to write off the word "plead"! The need I feel to...

O. eee... a... to explain.

G. Exactly! So, I... I like to give explanations. And I don't give an explanation because someone is demanding that I explain myself. If someone comes demanding I explain myself [almost angrily:] I might even just send him packing. I don't want people coming demanding explanations. On the other hand if I myself feel the need to clarify something, because I feel someone has not understood something, I will explain, and that's not "pleading"! Therefore, that's the end of the word "plead"! Feels like I'm having to say it every day. For years now. "But don't you plead to defend yourself because we know who you are..."- I am not pleading. People ought to understand it... to end it! That kind of clever talk...

O. Let's change the word.

G. ... the clever talk of... - not yours, personally! You, now, you made yourself clear... - but lots of people say it. [Extremely fast:] That "Dalaras is pleading to defend himself because something is up". Nothing's up! All of you who believed I would go back to singing in nycherina kentra [the stages of the (in)famous Greek singing&drinking nightlife], you've made a mistake. Because that's not what my goal was! Do remember that I've left the nycherina kentra 23 years ago! Don't forget it! And the younger ones, if you don't know it and love my kind of songs, you'd better learn also how I got to be where I am!

I'm saying you [singular] now, but we've got people here. If the conversation where face to face and we were alone, it would be different. This is a chance which I intend to exploit, I won't let it pass. Because it's the first time I'm doing a thing like this. I don't know if I'll have to do it again.

But we do have do get up from our chairs a little. We've been overdoing it! Overdoing it!

For me, the cycle is ending. How many years am I likely to be singing still? I've been singing since I was 16. Since I first climbed a stage, 40 years have passed. I have got no kind problem with that, I've come full circle or nearly so. I will do nothing now but what gives me pleasure, and I don't want any random smartasses to come making trouble - making trouble even for the songs, which are innocent and not to blame.

[More quietly:] Remos is not to blame. Remos - who, anyway, is a good singer - is not of my making. Remos was made by you [plural - meaning the general public, not the present audience in particular]. It's from you that I learned him. I heard a good song by Vardis, a really nice song, for a laiko, for its kind: "Etsi ksafnika", and I say "that guy can sing!". I heard another 2-3 songs. Possibly, I might have some doubts about the kind of songs he sings. But why should have any about Remos himself? There are much better singers than Remos singing much worse songs than Remos'! [Emphatically:] I don't get it!

To be able criticise, you need to have some material. I am criticizing, to this day, the popular concerts organized in summer by the municipalities. Concerts - they are called concerts - that are... only in the worst skyladika will you see such shows! Why should you have to see that in some stadium somewhere? Stamped as culture and financed by the municipality?

O. Excuse me, but I think no one but you could ever criticize _us_ for your collaboration with Remos.

G. No, I can not...

O. I mean, you turn things upside down.

G. I can do no such thing.

O. But you are saying that it's us that made Remos, and you who followed. You blamed us for your joint venture with Remos.

G. Forgive me... when I use "you" [plural]...

O. Yes?

G. I don't mean...

O. ... people in general, I got that...

G. I mean people in general...

O. ... you don't mean me, obviously.

G. ...and all of you who are supporting him - and very rightly so - Remos is not a bad singer... What gets at me is [the general public] "you" who are saying some of those thing that are being said, it's not you [Odysseas] personally.

O. Hm mm!

G. You yourself are on the other side. You know. You understand.

O. Don't let's talk about me. Let's get going!

G. You are seeing what's happening. But you can see what others in the same kind of position are doing, or your colleagues, or people who work in this field.

O. Yes...

G. It's not about Remos! I won't be judged by [what happened with] Remos! What I wanted was to see why people go and spend their nights that way. Who...

O. Couldn't you have gone as a customer?

G. ...who are these people who stay up till six in the morning. [The next sentence is punctuated by his fist rhythmically hitting the table:] Who are these girls who go, half-naked and drunk, to dance on the tables on one of our night-life stages. Who rub themselves up against the singers. I wanted to _see_. I'm not telling them not to have, not to hold on to the erotic element they have. The erotic element is important in people's lives.

But why does it have to be such a... such a cheap sell-out...!!!

Mind, what you are hearing now, you have been hearing it since 1969. You're not hearing these things just now.

O. That's why I'm impressed. You know perfectly well what is going on. Did you really have to go there to see???

G. Of course!! I did have to go!! To go and see WHAT exactly is going on!!

[Again in a low voice:] And I did see. Do you know, Odysseas - and I'm saying this to you so that others who ought to hear it can hear it too - do you know how many years, from '73 until now? A great many. Do you know how much money I lost - if my goal had been to make money... - from the nychterina kentra I didn't go to all those 35 years? Do you know, have you realized? Have you realized how many concerts I've done, what those concerts have led to, where they've led me, but also... and what the gain has been? So... is _that_ what I'll be judged by?

That is why it seems strange to me that people who write, people who ought to know better, judge on the moment, they don't balance the scale, they judge by what happened in the last half hour. But...

#6. "taking the risk of being judged, even wrongly... a mistake is not a crime"

G. ...don't I have a right to lead my life my own way - taking the risk of being judged - even wrongly... and when my time comes, I'll be here.

O. ... or rightly, for you own mistakes. You won't necessarily be always judged wrongly. You can be judged rightly, for your own mistakes. People could have a negative judgement, I mean, because of your own mistakes, which you did, in fact, make.

G. Of course.

O. It's a probability that counts, isn't it?

G. Of course. A mistake... is... to begin with, it's not a crime.

O. Naturally not.

G. All right. We're not talking about breaking the law.

O. No. A mistake is one thing, a crime is another.

G. All right. So. What I will tell you, then, is that, if you don't like this choice I made, it means... e... you will turn aside, you will feel bad, and you will feel protective of me. I've seen it happen. Lots of people were worried about me. And I to have worried about people, many people, for years and years... What am I to say to them? "Aren't you ashamed of opening 12, 20, 30, 122 television channels, which don't even have a license? When your grandfathers back then were going out in the streets, digging up the pavement and overthrowing governments?" And I'm ashamed!

O. Anyway, we ought to listen to a song, too, at some point. I just want to repeat it, to my ears it sounds like a very re-hashed argument [when you say] «I teamed up with Remos to see what goes on in that kind of night-life». It can't stand, as an argument.

G. I don't know... you'll have to think again.

O. «I went to see what's going on»? From inside? «To see from inside what goes on»?

G. Yes.

O. All right.

G. Think again. Because it's not the first time I do a thing like that. I left the night-life in 1973 and went to Plaka to see what the people were singing who did not come to the nychterina kentra. Plus some other reasons which I had, personal reasons. And that's how I started to sing rembetika, and political songs. That's what I went there for, and I stayed there. In that nyxterino kentro with Remos, or whoever, I didn't stay. I went for two and a half months, three, whatever it the duration was. It was exhausting, because it is not my kind of work, and I went away. And I said it out loud! That yes, I did have a good time, but exhausting! Staying up all night is not my kind of thing! I never did it, in all my life!

What was I doing there? Good question.

But, when you take a professional engagement, you stick to it. So, I took a decision, I said, I'll take that risk, I'll put my hand onto the hotplate of the cooker. It does burn, but I'll leave it there. And I did leave it. I couldn't say "excuse me..."

O. Yes, but you also supported the venture with the appropriate record, a whole strategy.

G. I did support it, yes, I did want to do it right.

O. A, bravo. So you made the appropriate record. Which might, that record might, stand next to Remos' songs.

G. When we first met, what was the first thing I said to you?

[O. thinks for a moment...]

O. Twenty years ago?

G. No...

O. Before the record.

G. ... record.

O. About the record...

G. At the record company, that day.

O. That «I decided to drink the wine by myself»? What? I don't remember...

G. Och, I didn't say it that way...

O. I don't remember...

G. But, how can you not remember... everyone had their recorders...

O. E, I don't remember.

G. You say "he starts off by himself"... Well, of course I start off by myself. Like now, what am I doing? You shouldn't be surprised.

O. Remind me...

G. I came and sat down with you, here. What have I been doing? Aren't I broadcasting on the air the advertising for the record? Aren't I doing that for you now? What could that be hiding? Ribbons? What I am doing now, playing games? With you I just might be playing games, OK, you are clever, you would understand.

But could I be playing with [this audience of] 40 people?

#7. «I don't like the landscape, what it has become»

G. Am I playing games?

I do not like - you hear me - this landscape, what it has become. The one you [plural] made, that we made - we too are responsible! So, I am saying: we have made this place bad - who's responsible? [rap on the table].

Starting! I believe that, from the moment that Kaldaras, that Kougioumtzis, that Loizos started to demand their shares, started to feel the record companies where exploiting them, started make a nuisance of themselves in order to... get their share of the cake of the record companies, and they had to make room for them... I'm saying that, today...

G. Giorgos! You are not outside that landscape! That messed-up landscape you describe... you are part of it.

G. I'm part of it, sure. Have it!

O. Yes. That was the second time you said "you" [plural] made.

G. Here, take my share!

O. You are right inside that lanscape!

G. Together!

O. You are part of it!

G. We are shaping it together! Here's my part! [He probably holding up the record he's brought] Show me yours...

O. Very well.

G. You are showing your part, it's your radio station.

O. Yes, very good.

G. Let the public show me theirs, too.

O. Last year, at this time of year, what would you have shown me? Which record would you have shown me?

G. I would have given you...

O. Your previous record [T.N. "Sta tragoudia pou sou grafo"].

G. ... about 120 records.

O. Yes.

G. What is it you want?

O. You would have handed me your previous record.

G. Excuse me! How old are you?

O. 38.

G. And how many broadcasts have you made?

O. Thousands.

[T.N. Odysseas Ioannou has actually been doing a daily radio broadcast , 6-8, for the past 17 years. He says he didn't set out to do it on purpose.]

G. You made one among them that wasn't good, and I'm to judge you from that? So what?

#8. O.I. «Say it, that it's not good!»

G. Because, haven't I sung a song or two of which either the lyrics or the music...

O. E, why don't you say it, all this time, that it's not good!

[A second's silence]

G. No-no-no-no!

O. Why don't say it, all this time?

G. But I can't say it's not good! Let me tell you why.

O. I don't mean my broadcast, I mean your record.

G. I have made 120 records. Or thereabouts. [T.N. That's counting all the records of other people to which he contributed.]

Some have 16 songs, 18, some only 3, or 1. Wherever you look, whenever, you won't find anyone, in this line of work, with such a history, who has sung so few bad songs. Am I lying to you?

O. I agree completely. But that is what you've been judged by, your songs.

G. Three or four times...

O. But that is what you've been judged by, your songs.

G. Three or four times... Sorry for...

O. Yes, yes...

G. Anyway, three or four times... I simply had to, for friends I really love, good musicians, good composers... who, I don't know for what reason, among their beautiful songs, had one song that was a little below standard. And I did sing it, to please them.

Generally speaking, though, the songs were good. Apart from the very first ones, the hardship I had to go through until Matsas understood that I was not some easy little kid, just beginning to work, and who, since he was nice and cute, let's just make him sing any old thing. I made him... I caught him with my hand - here.

I said to him: "Nooooo. I am going to do what I want. That song is mine. I'll take it where I want, not where you want." And he understood! Because at the time, he took the money as well. Big money. Do you know what I was getting? The first ten years? Nickels. 150 drachmas for a song. Or 300, for a double record. No more. All the rest was going into their pockets. And everyone was doing it that way! Later, once I had found my legs: "No, now I am going to do what I think is right." It's the same thing Kazantzidis did in '60. For which they gave him hell the rest of his life. That the way it is! How you chose to live, it's unimportant! You can stand up to everyone! At some point, the need to stand up even to the public can make itself felt! It's a good thing. The public is not a poor helpless creature. Of course, I shall never support that which those weird tv bosses say, who maintain that "that is what the public wants, that is what they give them". No sir! That is not what the public wants! Ask them, one by one. You'll see what it is they want to listen to...

O. It's a long story, this, and a big... well, it's a long dribble.

G. Therefore... when you have someone - wait - someone like me...

O. E, I'm waiting to air the commercial break too at some point. Without a single question, we got through half an hour... Think [what would have happened] if I'd asked! [He's laughing and so is the audience.] Anyway, we are going to listen to the commercial and...

#9. Commercial break

#10. Tune of Melodia

#11. Song "Is oria mu"

[Geske 37]

Here is, at long last (again), the second half-hour of the translation. I'm sorry I made you wait for it so long.

Let me repeat that you REALLY, REALLY ought to be LISTENING to this while you read. Even if you don't understand a word of Greek. The sound of the voice, and the intonation, change everything.

Thursday, 8 December 2005

Giorgos Dalaras gives an interview to the listeners of radio Melodia, in Odysseas' Ioannou's hour.

O >> Odysseas Ioannou

A. >> audience (any or all of them)

G. >> Giorgos Dalaras

The Greek transcript contains everything that was said, word by word.

The translation is as faithful as I could make it, but mind, I've translated the meaning of sentences, not individual words.

The [ ] are remarks by me about the way in which things are said, when people laugh, etc. In a few cases they are words that were implicit in the Greek, which I've added explicitly in the translation.

In the Greek version, [... ... ...] and [?] mark words that can't be heard clearly on the recording. I haven't marked all of them in the translation.

The #numbers are the tracks I cut to avoid getting lost in a 2-hours mp3 recording. I put in titles, too, to make nicer reading, but in reality the only breaks are the 3 commercial + song breaks at 18:30, 19:00 and 19:30.

T.N. is a "translator's note".

[T.N. In transcribing, and again in translating, there is a double loss of the fine detail of more-or-less formal Greek politeness. I would like to try and fill in some of it at this point.

Odysseas Ioannou and Dalaras use "esy", the singular, familiar form of address, to each other. They've known each other 20 years and have always been "sparring", which explains why in the first part of the interview, Dalaras expresses himself with a "bite", answering Odysseas' poker-faced provocations.

When Dalaras addresses the audience, he always says 'eseis', you-plural, either because he's addressing all of them or because he's using the polite address to the person who asked the question.

They, in turn, all address him in the plural. Vivi introduces herself by her first name, adding her last name as an afterthought, but most of the others say the family name first, then their own first name, which is the most formal way of introducing oneself.

All of the audience speak to Dalaras with extreme and formal respect; this has nothing at all to do with any automatism of "behaving properly", still less with hypocrisy; it is the expression of the respect they feel, and more than that, at least for some, it helps them cope with a sense of awe (listen to the tremble in the voices and put yourself in their place). To their gentleness Dalaras responds in kind - witness his anxious question to Vivi: "Do you agree?" or the "Did I answer you?" to the woman who asks about "Omorfi poli". If you pay attention, you will easily see/hear the difference between "Dalaras addressing public opinion" and "Dalaras talking to an actual person".

Again, it's well worth your trouble to ask me for the recording (if you still don't have it) and listen to it as you read, since the tone of the voices is half the meaning in some passages.]

#12. Vivi's question: "Were you not wanting to transmit "Kapou nychtonei" to a younger public?"

G. Because Odysseas is specially fond of me...

O. We're on the air now. Anything you say can be used against you!

G. ...I didn't hear you, as he was nearer to me. Would you repeat the question?

O. A, the microphone, that would be good...

[some talking in the studio that can't be heard clearly on the air...]

O. ... that's fine...

[...until Vivi - our Vivian! - reaches the microphone:]

A. ...No, it's a question which I hadn't thought of...

O. Would you say your name and how old you are? Because there are also those who can only hear us?

A. Yes, of course. Vivi is what I'm called, Kanelakopoulou, I'm 33. It's a question which I hadn't thought of [in advance], it occurred to me when you were talking earlier and referring to the collaboration with Remos. You told us your position and all that. The desire to pass on your songs - and not "Sta tragoudia pou sou grafo", the record, [but] the older songs, the songs... the songs by Giorgos Dalaras which we, [our generation], have come to love... To transmit these to a younger audience, to kids who would come there to listen to Antonis Remos, but who would then also hear "Kapou nyxtonei" and say "Listen to that, here's a song which we would never go and listen to by ourselves, but now that we do hear it, it does have something to say to us!"... I mean, there is a chance that these songs may touch the younger public too. Wasn't there something of the kind in your mind for this collaboration?

G. Not only it was there, it was an important element. And it's what happened. In earlier interviews - lots of people have asked "why are you doing this?" or "we've heard this or that, it seems very strange to us..."... Definitely, the idea was there - I have said, in fact, that "why should _our_ songs be excluded, [why should they] never be heard in the places that are "in", as they say nowadays, as they call those places?" [He uses the English word "in"].

But let me tell you something.

"Kapou nyxtonei", to which you refer (an exceptional song!), has a lot of things to say to me, and, I think, to lots of people. It has been saying them for many years. 5, 10, 20, 30, 40 years... how many years does a song last? Some say 300 years, or 200. Or 150.

Maybe [it does last that long]. There is another opinion, which states that those songs which deserve it, and should be heard, shall be heard.

I don't know [which of the two opinions is true], I can't tell you, and anyway I shouldn't, because I am in the middle of this business, I am burning with it, and most probably I would either get it wrong or express myself wrong. But I will describe both the points of view to you. Your view [= that great songs last many generations] is correct, I have answered. I'm trying to play the devil's advocate and tell you the other viewpoint as well. So, in that context, I may say - and we can all quiet down a bit - that... the songs that deserve being heard - shall be heard. If, today, we have the singers, lyrics writers, composers we _deserve_... may they serve us well. If we want the singers, lyrics writers, composers that we _need_... then we have to go looking for them. We get what we deserve, not what we are in need of.

For that, you have to go searching inside yourselves. You all have to, and so do we.

[something is said in the audience, which can't be heard on the air]

O. E... with the microphone, since we can hear but they don't...

G. [still to Vivi] Do you agree with what I just said? I don't know...

#13. A question about the search for new artists

A. First, let me say good evening... My name is Charatsaris Christos and I am 38 years old. I would like to say the following, referring to something you spoke of previously: the aesthetic values which we want to uphold are not those... those which they want to make us adopt. And that is a fact. However, it's also a fact that something is worrying me. Often... Yes, very often, even such a radio station as Melodia, (which is a very good station generally - as such - I've been listening to it for years) and other stations too, which have a... which maintain a certain quality policy, still very often they play songs which belong to what is supposed to be the high-quality side of things, but which are, alas, far below the expected standard. And this, in my opinion, has to do with the following: someone, it could be a singer, a singer-songwriter, whoever, makes a record, produces one good song, two good songs, and from that point onwards, doesn't bother with the rest of the material. Why? Because he has to do it all by himself. Or with the few known artists. Nobody is head-hunting new artists! There is wall. It's a fact! There's this cake, which you don't want to... - I don't mean you personally, OK? - I mean the whole system... it doesn't want to include new people. That, for me, is intolerable in itself, and it is causing the decline of Greek singing. To my mind, that's what's responsible! There is a big question of responsibility on this point!

G. That is a huge subject you're opening here. If we start with questions like that, we'll want at least 4-5 days' broadcast, Odysseas... In any case, what you say is right...

O. There is a part that concerns me as well, one way or the other... I don't mind answering - but since the subject is...

G. Shall I answer? Considering you are here all the time...

O. Yes, it's [only] one part which definitely concerns Melodia. So.

G. I agree with you. I agree, and I am going to tell you why. It is not possible that _all_ the songs be good, and it is not possible that everyone likes them. Meanwhile, inside me, I would like to believe that art is not a subjective matter... Now pay attention, listen closely to what I'm saying.

I _would like_ to believe that it is not an subjective matter, that is to say, that it has its [objective] value as art in the same way as - I might say - in the same way as mathematics, which is an exaggerated thing to say, but I'm saying it in order to define some limits. When someone is singing, when someone is playing the piano, when someone is playing the violin, some things are fixed. You can not say... You know, the violin is playing a quarter tone too low and a trained ear hears that... and I can not say "I like the off-key violin because the violinist is nicer". We get into trouble, there, with subjectivity. So, I would like art to be stricter.

And yet, I can not oppose subjectivity! What am I to do? Each person likes... You like this, someone else likes... e... Bithikotsis or Kazantzidis? When we were kids that's what we fought over. So.

Not all songs are good. Not all of them. Why is it the fashion to have 1-2 songs, and the rest "filler" [litt.: "bones"] as they say... as our country calls it, filling the record? It's the lesson of the record companies. While in the time of Tsitsanis and Vamvakaris, 1 or 2 songs, if they were good, they were good - and if they were not good, they were not released. Nowadays, then, we have... songs by the sackfull. That's one part of it, the practical part.

The other part is more serious, it's what you refer to, and that's what I'll stay with.

This radio station, the ERT, the public, whoever.... stations, in any case, that have a... that take care! They will, from the newly-made songs, present the most advanced.

#14. "How young?"

G. So we get to hear Orfeas Peridis, who had a hit, we get to hear Malamas, who had a hit, and Kana, and other young people who... but how young are they, by now? Some of those I've named are almost my age, [a difference of ] maybe 5 years, 6 years... like the Katsimichas brothers, say... Among the very youngest is Andreou, and even those are quite grown up. We haven't... The others, dozens of artists doing excellent work, we never ever get to hear them.

There is a very serious problem there. And I am saying that those people are a species threatened with extinction, and ought to be protected. Why? I...

Careful now, look out, see where we are going. Say that I, for some reasons, have become a very well-known singer. I was helped by the work I did, by luck, by circumstance - whatever. Did I become a good singer? How on earth did I become a good singer??? What would I be, if I hadn't sung the songs of Kougioumtzis, the songs of Loizos, the songs of Theodorakis, the songs of Kaldaras, the laika, or Nikolopoulos', or Markopoulos'? What would I be?

Without the songs, the singer, the popular singer, or the good singer, does not exist.

Therefore, in Greece, we ought to remember that which we used have, and have forgotten. In Greece, once upon a time, there was a team of people - of well-trained people, who were writing songs, bending over their work, their pencil in their teeth... writing poetry... and from among this, a whole world was born, which really became something, it lifted this country up high.

Afterwards, as soon as they started to divide the cake... or - I'm talking in market terms to make visible that the economic factor is in it too - the record companies were sold to foreign companies... and now what have we got???

We've got... An avenue - given over to singers who would appear to have that something that people like... flirtatious, cunning, in command of the night, princes and princesses... pretty kids, who move prettily, dress in nice leather clothes, sexy and everything... we've got all that...

And singing? Where's the singing gone??

Where have all the good songs gone???

Isn't that our business?

This is where the big problem is. From the moment, then, that those [experienced] people were gone, the singers don't have the specific mass [needed] to make the difference. However loudly my colleagues my protest - who can sing well enough, we do have very good singers, we always did and always will...

#15/ "This thing they call virtual reality..."

G. [Again very fast:] ... and even now, while we are talking, in the middle of the enormous crisis, as we say and say again, which in fact in not a crisis just of singing, but of society - and there's this segment of society, this thing they call virtual reality [he uses the English word], this image-of-the-truth that they want to make us believe we are living in... As if the 400 people who are actually involved in that thing were 9.5 million [i.e. all the inhabitants of Greece]! The others are sleeping! Because they go to work in the morning and have to be up at seven! Have you ever asked them, those who work for their pay and who get up at seven, what would they say? What is their opinion about all this that is happening around us?

[Ouf - he goes on in his normal quiet and serious manner:] Anyway. That's the way things are.

So, I agree with you that dozens of excellent composers-lyrics writers have no entry anywhere. Except with some crazy people, one of who might be this gentleman here [meaning Ioannou], another who has published a magazine about music, a third over there, who give them some ... some reason and some room.

We need to be careful, here... not to fall into the other extreme... because there once was an incident... [smile]... once upon a time, a journalist, one with a good reputation, and who later made an excellent career, in order to put forward one of those new composers-lyrics writers, a friend of his in fact - because what can you do, the personal involvement will always exist, with all its... - it's the old problem - [this journalist] once slapped the famous [singer] in the face in order to get attention for his friend. Now that is not proper behaviour. Let's not talk about it, as we've become friends since, and so on... But these things do happen. Just so you know that there are always things like that happening.

But that's not the way! Everyone has to do their bit! Each with their own weapons!

Me, what do I do, do I sing well? If I sing well, I'll get paid and I'll get the reward for what I can do and what I have.

"To be somebody" doesn't mean picking up whatever takes your fancy just putting your hand next to you! "To be somebody" means getting what you deserve and deserving what you get.

So, I am able to persuade you that these songs have some kind of meaning, that's what I'm worth. If I am able to keep it up, there's some good in it. But probably, I won't be able to.

#16. «I am incompetent at keeping up my famousness...»

G. You know, I am not competent at keeping up my famousness. And I never claimed I was. When I have to go into the world, even to this day - at a time when I'm supposed to be talking about my records! - what I want to do is thank the musicians and things like that... because music is what I'm burning for! No way, you've got to take that as given.

[upset] Look... take a look at me now.

What might the person who is here from my record company, the representative, say? He must have gone mad. He might say "but what's that guy doing? He's destroying what I worked for!" It's what mister Matsas used to say. And this one here - who like me! - says the same thing, "go easy now", he says, "if you start saying things like that, what are you exposing yourself to!" I don't care what I am exposing myself to, the essence is what I care about!

O. "This one here" means me. But... look here... could we be a bit...

G. E, of course I mean you, Odysseas!

O. ... No, it's because we're not on tv...

#17. O.I. «slightly more laconic answers?« G.D. «But I'm from Peiraias...»

O. ...I'm explaining for our listeners. E... slightly more laconic answers, because the people who have come here, who have come because they want to ask something, so... Because some times you answer a question that has not been asked...

[A. laughs]

O. ...because you have this... you are very anxious to say certain things... Let's be a little... Slightly more laconic answers, because they have many questions...

G. More laconic? I can't, you all know I'm from Peiraias, Lakonia is - how many kilometres away?

[T.N. This is word-play on the etymology of "laconic". Originally it only means "inhabitant of Lakonia (the Sparta region)". Since the Spartans avoided superfluous... anything, even words, the adjective came to mean also "of few words" - in many languages besides Greek.]

O. Just give me a little minute, so I won't have to let the subject drop, though it's not me who's giving the interview at the moment, just a little minute, because it concerns Melodia. You are right in what you said, and I've maintained it myself, and our audience had recognized it as well, that one of the "faults - in quotation marks" of Melodia is that some times, we have given air-space to good... to good intentions rather than good songs... I think it's a very small fault - to support good intentions from people you love, while your intentions are very good, and even if their work is not all that important - [it's a small fault] and not a big fault. And it's a matter of democracy, not just an aesthetic matter, that there should be a radio station which opens its doors to people to whom all the other media are closed. A matter of democracy - much less an aesthetic one.

And I agree with what Giorgos said before (and I've often said so myself, and lots of people have disagreed with me): a great singer - in my opinion - is only a singer who, be through circumstance, luck, or personal choice, has sung great songs. If you have not sung great songs, you can have any great voice, you are not a great singer.

[aparte]... the mike...

G. And by the same token, I am in need of songs. That's why. I admit I am helpless here!

From a certain point onwards, I became very famous and big... people started to fear bringing songs to me! I don't know if you understand... And I what I care about, is song! Because, how many more years am I likely to be singing yet? If I don't have good songs, what am I to sing?

I said one, two... ok, I'll write some songs myself, it was a mistake not to have done it in the past. But - begging pardon off the singer-songwriters - apart from a very few examples, the rest of the songs are nothing special! Let's not fool ourselves!

Take a composition by Theodorakis, in his good period or in the other, take [a composition by] Theodorakis, by Markopoulos... do they have anything in common with what we cobble together between us? [he sings:] "diri-diri, diri-diri, and I take you..."? What are those things, are they songs? Will you please excuse me! Apart from a very few cases. There do exist people who have a double talent. There are singers who write beautiful lyrics. There are singers who write beautiful music. They do exist. But let's not be fools! Let's not fool ourselves that we are creating masterpieces! We do not have any masterpieces!

#18. Question about the remakes and answer about "Omorfi poli"

[T.N. For brevity's sake, I use the term "remake" for the Greek "epanektelesi", but please note that the Greek word actually is "making a new version/interpretation of an existing work", and is thus neutral or positive, while remake is at best condescending.]

[some words that can't be heard clearly, until she reaches the microphone...]

A. Good evening, my name is [... ... ...] and I am 25 years old. Basically, my original question was about a phenomenon that can be seen the last few years, a constant return to making new versions of old songs, with reference to "Omorfi poli" on your record. But with the new facts, the things we are hearing now, maybe - I mean, talking about not having good singing... How do we come back to good singing? By way of remakes? Or could it be the case that we are, in some kind of way, burying the other artists who do exist - with remakes - by famous names such as yourself - of good songs?

G. Well... this too, though, wants some answering... how... I'll need a little... I can't answer with a "come and get it"...

[T.N. I'm sorry, but what I've translated as "come and get it" seems to be (according to mr. Babiniotis' 3.2 kg dictionary) a quote from Plutarch, more precisely the answer he reports Leonidas (who was from, guess where, Laconia) as having given to his opponent Xerxes the Persian, who urged him to surrender his arms before the battle of Thermopylae. It ought to be "come and get them" (the weapons), but that sounds weird in English. Sorry, I can't seem to get used to the Greeks quoting their Ancients the way the Brits do Shakespeare... ]

O. I am sure you can.

[A. laughs]

O. You can answer within two minutes.

G. Well, I'll make an attempt... So, I personally have a love for old songs, and I do it all the time. I never was afraid to be compared, even to very great people. I always did remakes. I saw it, I saw my older teachers [do it], I saw it and I saw that it was useful for my generation, the younger one. I never thought that Bithikotsis, singing his new version of "Frangosyrianni", did wrong. That is why I did it repeatedly, in all sorts of genres. Our generation has more cheek, we grew up Tsitsanis but also with the Beatles, and other bands, and we picked up other things too. It's probable that an older singer would have said "what business do I have with the new ways and the electric guitars? I've learned the traditional singing, I will sing the traditional singing and that's the end of the story, I'll go to a tavern and end my life in a tavern". As for me, I didn't think in that way.

Now, since we've been saying all these things, and you've seen that new songs, original songs - I don't have any... I'm demanding... if someone brings me new songs and they don't have something to say, I prefer to sing the old ones. If you are tired of them, right, I understand, but... e... some times, we have a duty.

As for "Omorfi poli". "Omorfi Poli" has run to 3 or 4 versions. In Iera Odos with Frangoulis, the first... e... [... ... ...] [... ... ...] - quite right, with the Metropole... and now it's here again.

It was not among what I chose. But you know what... Dulce Pontes wanted to sing something... she said to me "can you find me something?". I say to her "you have to sing one song by Chatzidakis and one by Theodorakis!". And we did. It's a way of honouring Greek song. She is singing in French what Edith Piaf sang 40 years ago. Let there be one different version... after all, she is Dulce Pontes! I mean, I don't think - compared to the disgusting things that burden our soul - that we'll suffer much from the greatness of a song such as... such as "Omorfi poli".

#19. "Of course it is necessary to keep singing the old songs"

[A bit is missing, which could not be heard on the air].

A. ... the "Omorfi Poli" was only a way of introducing the subject... [she reaches the microphone and repeats:] "Omorfi Poli" was only a way of introducing the subject, it wasn't... What I wanted to talk about was the subject in general, including the new facts, what you were saying about the new artists there are, and that... that about us forgetting the good singing... What is the way back? Is this the way back to good song?

G. It is - among other ways. Obviously, it is.

O. So...

A. But the young artists, this way, aren't they.... [here there is a hole in the recording]

G. But I was saying so earlier, that it's a mistake, and we must, all of us, give them a chance. Look here, a year ago, I made a record on which there are 3 or 4 young composers. There is Gargalas, with 4 songs, [there is] Stamos Semsis who isn't all that old, he isn't some huge three hundred year-old composer, he's one of the youngsters, the new generation, and there's another pair, and new lyrics writers...

#20. "With Odysseas, that's how we got to know each other - sparring..."

G. ...don't mind now - the way we are bickering together, that's ... it's the way we get on together, this... With Odysseas, that's how we got to know each other.

O. [smiling] In a [boxing] ring.

G. Yes, sparring.

[A. laughs]

G. Just so. In a friendly way.

There. We were saying, about the songs. I believe that what the youngsters had to give, they gave. Good [or] bad, this is what they had. Gargalas' songs are very nice. "Monos", for example, is a very nice song, I do wish you'd play it.

#21. «ta ra ra ta ra ra raaa ra»

G. [sings:] «ta ra ra ta ra ra raaa ra»... that song. Play it!

O. I know which one you mean, yes.

G. Come on now Odysseas, why don't you play it? ...

O. Well, we are going to hear the station's tune, because it's exactly seven o'clock, no way, you have to wait, we are going to hear the tune, the commercial, we won't get to hear any songs, I can see...

G. [to the woman who had asked the question] Did I answer you? ... I didn't?...

O. ... and afterwards we will have one hour for the rest of the questions.

G. [To the woman, much upset:] Ooooch......!

#22. Tune of Melodia

#23. Commercial

that was the second half-hours, there's two more to go.

[Marijke 23]

what a work this already must have been!!

Thanks a LOT,and more..Geeske! It's just wonderful to listen WITH complete understanding

[Geske 37]

Thursday, 8 December 2005

Giorgos Dalaras gives an interview to the listeners of radio Melodia, in Odysseas' Ioannou's hour.

O >> Odysseas Ioannou

A. >> audience (any or all of them)

G. >> Giorgos Dalaras

The Greek transcript contains everything that was said, word by word.

The translation is as faithful as I could make it, but mind, I've translated the meaning of sentences, not individual words.

The [ ] are remarks by me about the way in which things are said, when people laugh, etc. In a few cases they are words that were implicit in the Greek, which I've added explicitly in the translation.

In the Greek version, [... ... ...] and [?] mark words that can't be heard clearly on the recording. I haven't marked all of them in the translation.

The #numbers are the tracks I cut to avoid getting lost in a 2-hours mp3 recording. I put in titles, too, to make nicer reading, but in reality the only breaks are the 3 commercial + song breaks at 18:30, 19:00 and 19:30.

T.N. is a "translator's note".

Here goes for the third half hour...

#24. Tune of Melodia + Song "Omorfi poli"

#25. Question "where you a trouble-maker..." and he: "Well done my dear!"

O. This was "Omorfi Poli", by Dulce Pontes - Giorgos Dalaras, the eighteenth track of the record, [the track] that ends the record "Mesogeios". In the end, we will get to hear only 4-5 songs in these two hours. I could see it some thing like this coming. We have been here since six o'clock, with Giorgos Dalaras, and with 40 friends from among our listeners, the ones, that is, who got drawn by lot from all those who called to say they wanted to be here today with us, for this interview - an interview done by them that is, not by me... eee... What have we? There, the microphone.

A. Good evening, mister Dalaras.

G. Good evening.

A. I am Maria Kamarana, and I'm from the "Proto lykeio" [lyceum, high school, etc. - so she's about 17] of Nea Ionia, and... to lighten the atmosphere a little, I would like to ask you about the time when you went to school yourself. More generally about your childhood. What you were like as a kid, as a schoolboy... em... whether you were a trouble-maker... We who are in the last class of the lyceum, most of us, of the ones who are here, it makes us very anxious to be in our last year - and we'd like you to tell us what you were like when...

G. [With great surprise and greater tenderness:] Well done my dear, well said! Well done, drawing me out of this... out of the controversy.

I was a trouble-maker indeed, very much so. Oh yes, I was... What exactly would you like me to tell you?

[some suppressed laughter]

G. I went... when I first went to school, in first grade, they put me into the choir straight away. I already had some idea, since my family used to say so "a, that child sings beautifully..." and so on, but I hadn't been paying much attention. But in school, they took and made me sing. And curiously enough... - now this would seem strange to you... - eee... when I was singing, singing along to the radio, I never would sing the first voice. I was always doing a descant, singing second voice. Do you see, now, what's experience, what's...

O. ...heredity.

G. Heredity! It's incredible.

I did know that the first voice was what Maroungas, for example, was singing, or Gounaris, in those days... I'm talking about '56, '57... or Bithikotsis... [but] instead of singing along to the expected melody line... He would sing, for example [sings:] "me garifallo st'afti..." ["with a carnation behind the ear..."] and I would not sing the melody, but a descant! This, then, my teacher discovered, miss Sofia - I even remember her name - and she put me into the choir, to sing, but she was always telling me "no, don't sing the second voice! You sing first voice!". And would scold me, because I was put in front to sing the melody, and instead I did a descant. I would say to her: "But... this is much more interesting! The other, where's the fun in it?" And she would say to me: "You will come to a bad end."

[A. laughs]

G. And she may well have been right [smiling], that I will come to a bad end. After what you've seen today. So...

O. Next?

#26. Question "whether you quality does exist nowadays... any recommendations?"

A. [she says her name but we can't hear] and I'm from the "Proto lykeio" of Nea Ionia... E... I would like to ask... We are young kids [without experience] ... and I'd like to know if quality, in the end, _exists_, and if you'd recommend anything [in particular] - [something] for us to listen to... Something different.

G. Of course quality does exist. As long as there are people, there will be quality. People are not all low-level. Of course there is, of course there is quality! Of course, everywhere! In singing, which is a dominant element of our every day reality, quality exists. There are people with talent, with interest, people who write excellent poetry, excellent song lyrics, musicians, instrumentalists, performers, good singers: they do exist!

This was always there. Once upon time, in other decennia, the environment was such that it helped people - e... of course we must not forget that historical facts play a role in shaping the aesthetics of any time... Our time is much more... we live in a society of consumption and of material goods, [living] much better than our grand-fathers did, but by much lower standards. We have lowered the standards. While at the Olympic Games the long jump is - I don't know - nine meters, we have set it at three. And then we think we are jumping far. While we are not. We are jumping only three meters, not nine. That's the difference.

Now, what is left to you is to discover _why_ a song... I guess... To find it, right? Let's take two songs of our day. There is one song which says: "

#27. "... den ekana taksidia makrina..."

G. "Den ekana tragoudia..." ["I made no songs...]"

O. ...taksidia... ["journeys"]

G. "den ekana taksidia makrina, taksidepse I kardia mou ki afto mou ftanei..." ["I made no far journeys, my heart went travelling and that is enough for me..."]

E, a little song. I've sung it a little myself [T.N.: Live version on "Iera Odos 2", studio version on "The Ultimate Collection"] , it was written by Andreou, it was sung also by.... by Theoch...

[everyone simultaneously:]

O. Theocharidis

A. Theocharidis

G. Theocharidis

So, there is that song, and there is another song which says... [searching a bit...] If... "I've heard the guy has many talents, from what they say... [A. laughs] ...if what they say is true, then tonight we'll have some fun." And that too is a song. I've no objection. Whether it's good or bad, I don't know. There is a song from my own days which was about "the short guy with that tie". [A. laughs]. And there is... at that same time there was a song which was saying "paraponemena logia... echoun ta tragoudia mas" ["...our songs have...words of grievance... "] [/i] [T.N.: "paraponemena logia", originally on "Sergiani ston kosmo"] [/i] .

I don't know what to tell you! You might help me a little!

Whether there are any _laiko_ songs, today?

There is a song written by... [laughs] by Orfeas! A great song, it's called "Stagdin vradeos". It's a laiko song, a surprising one! Really surprising! And the way he's made it, it resembles the songs of Akis Panou, who was a one-of-a-kind composer, he had very strange way of writing, each word was also a note.

So.

Hasn't Malamas written excellent songs?

He's even got this satirical, like, point of view, saying "I see you all in a good humour" and so on "after I have a drink..."

There are excellent songs being written today. We need to discover them.

So why, you will say, why does the entire official community, and its media - be they newspapers, magazines, radio, tv... - why do they play the other kind? E, don't you know why? Because they think of us, all of us, as mere grist to their mill - they are grinding us! [Translator's note: the word he uses is actually 'kima', minced meat]. That's what they want, keep that in mind... I'm not even really preaching to you, I'm mostly reminding myself. All those things I say: [they are directed] to myself first.

That's why I, too, in my own way... Of course, famous people have bigger responsibilities, Odysseas was very very right on that point... meaning that, certainly, a thing I do, a word I say, has... definitely it has a different impact than one from a young girl who's just finishing school. People listen in a different a way to me than to you [plural]. You're right. I'm trying! I never said I'm infallible. Nor that I'm any kind of authority, never, on anything. Just about!

#28. «...why can't this life go a little easier on us, leave us a little time...»

G. What I've been saying all these years is - I've been a musician for 40 years... and I still haven't learned anything yet! And I'm sad and envious: why can't this life go a little easier on us, leave us time to learn, to study all we should! Imagine, if I were to go into poetry, what I'd still have to learn! Or into science, the labs! You can't have it all. Everyone is meant for something. Our life is but a little shadow. How much of it is there? The better we live it...

As for me, I have to tell you that, for all my grumbling - about all those things that are happening around us - I am a very cheerful person. _Very_ cheerful indeed! I believe that my life unfolded like a fairy tale. I only wish that other people could feel... feel... that they could experience the happiness I have experienced! A kid with no one and no thing to lean on - and later by my own choice not wanting anyone propping me up, that's the reason for all this thing about "far from all parties, all teams and companies, all small interests..." - alone! This "alone" is a choice...

I am _so happy_! [T.N.: the Greek word is "three-times-happy", in one word] I do know that there are some people watching me with a magnifying glass, or others watching me like they wanted to... to make me disappear. But it doesn't bother me! I am all right. My life has gone like a fairy tale.

29. «Cinderella, if she'd been a boy...» [/b]

G. Cinderella, if she'd been a boy, she'd have had something like my life-story. I've been doing work I love, work that moves me, and even getting paid for it! It's not enough that I can do what I love doing, I get rewarded! I'd be exceedingly ungrateful if I wasn't speaking to you the way I am speaking now.

A. You mean we ourselves have to find that quality among the young artists? Artists that come forward in the... e... the reality games? [T.N.: "ριάλιτι", "reality" as in tv games and shows, is fast becoming a Greek word - note that its meaning in Greek is, or will soon be, quite the opposite of the original one.] Artists that are trying to present their music in some other manner?

G. Listen. "Quality" isn't some thing you buy at the periptero on the corner, or in some place where it's sold as a product. "Quality" is a _non-material_ thing. It's hidden inside the product. It's you who have to discover it. Quality, supposing you are buying cheese... the «which is the quality cheese» problem is yours, not mine. Me, I could be making it for you, living in Arachova, and bringing you a piece of cheese. It's _you_ who must see the quality of the cheese. I, who know how to make cheese, I'll make it for you as best I can, from pure ingredients. From that point onwards, there's the one who sells it, or the one who consumes it, it's their problem to find it. Me, I can't go into that. Among the young [artists], quality does exist, and among the middle-aged... among the new-comers and the old hands... among the next-ones-along, which you have to discover... and among the previous ones.

Quality is there along with your life. Just like the shadow with the light, just like your wickedness or your goodness. All these are non-material. You yourselves have to detect them. From a person's actions you see whether you are a good or a bad person, and from the choices, from what you are buying, you'll see if you have quality or not.

#30. Question about the re-editions

O. Are we moving on Christos? [This would seem to address some technician or someone who's holding the microphone].

A. Yes... Good evening... My name is Pagoumi [?], Afrodite, and my age is almost the same as the age of mr. Dalaras' career. [Laughter - she goes on in an extremely sweet and well-mannered way:]. I would like to express a complaint, which contains a question inside it. In recent years, more and more artists, very well-known ones, after a certain interval after the release of their record, re-edit it with the addition of one track, two tracks, a dvd... you know what I mean. You did it yourself recently.

Γ. [Very softly] Quite so.

A. I'm starting to feel I'm being tricked - I apologize for the expression - with this practice, because here I am, hurrying to buy the new records of people I love and value and respect, contributing to giving them the joy of seeing their CD turn gold and platinum soon. When, after some months, a fuller version is released, I'm feeling they are tricking me. I don't know...

G. [Extremely seriously] You are absolutely right. You've stepped on the sore toe [T.N.: literally, he says "on the callus"] , as... as grandma would say. You are right. You are right, absolutely!

A. If I may fill in something else... I might expect it - from artists who don't have such a long history in the business. I do believe that the record companies, nowadays, need to run after the 5 or 10 great names there are in Greek singing.

G. [in a low voice:] Certainly - very well...

A. [Passionately:] You are not theirs! I do not believe you are one of them, having to crawl after the record companies!

G. That's the way of it. I'm rather the opposite. The record company never dragged me anywhere. But for all that, I have to tell you: your question hides a lot of things. I'll try and answer as quickly as I can, again. For...

#31. «The record industry... chasing their own tail... we're talking about a catastrophe»

G. ...you to see what things are like in the record industry. The record industry is going through black days. The [cd as a] material carrier is nearing its end. Tomorrow something else will come out, and it will be over. There's Internet coming, the law has no provisions for any of it... They've caught... they are chasing after their own tail... we're talking about a catastrophe. [With severity:] We are talking about destruction, destruction in the order of 80%. What they live on is the old material. Investing in new things: forget it.

And now that the companies, that were Greek, have become foreign, and belong to Sony and Chrysler and the like, [it sounds like he's rubbing his hands:] that's the end of it. These people, the companies, they're vegetating.

Can you understand this? We're talking about a catastrophe.

Caught in this process, we, the singers, are tied by exclusive contracts to these companies. We are forced to comply with certain norms. In some matters, we speak our minds. We get listened to, or sometimes - not.

This particular person is an enemy of companies, congenitally. They are watching me out of corner of their eye, except for some individuals who work together with me and who love me, because they understand what I'm doing and probably they like my work as well.

With the record company bosses, we are constantly at odds. Always.

The record companies, with the tricks they track down or fish up every day in the marketplace, are looking to find a way to give more prominence to their material. Some have a woman who sings and whom, since she's agreeable, they undress once a week. And... one time she takes of this bit, the next time that... to sell a little bit more. With another [artist], who is slightly better, they don't do that, they'll throw in 2-3 songs. As for me, _I do not agree_ with this rationale! And I'm grumbling and complaining all the time, and that's why, the minute you said this thing, I told you that you are right! Now, though, you will get to see my own character - at the moment I don't care what the companies are doing, I'm not going to apologize and justify them, let them do that themselves. What you refer to, though, it does happen. Luckily not on a very large scale. As for me - I'm resisting it as much as I can.

#32. «The record at the Orfeas... me, I didn't want it to be released! Boum!»

G. But listen to what's the matter with me. In 1983, we released a record from the Orfeas [T.N.: "Ta tragoudia mou, live recording at the Orfeas" - also in the recent remasters series]. Now this Orfeas record is among the best-selling records ever in our country [T.N.: see http://www.dalaras.com/forum/index.php?act...621be707faa5d71 ] . But I - I did not want this record to be released!

...!

Boum!! Do you know why? Because the recording, in my... to my way of thinking and in my ears, was not up to standard.

Some people very close to me, whom I love, put a lot of pressure on me, and I let myself be persuaded, I said "yes". If I had said "no", this record would not exist. This record would not exist, which may have something to it, I don't know what it may have, you know that better than I do.

In 1994-5, we did, at Megaro Mousikis, the "Kai me fos kai me thanaton akatapafstos" [T.N.: "With both light and death relentlessly", a musical representation of Greek history/music from Antiquity up to the present] , a magnificent piece of work, to me it was... it doesn't get any better. Since I had this grievance against the Orfeas record that came out in '83, with the bad sound, I didn't allow that cd to be released. And I was wrong, dear madam. I was wrong! I should have let it be released. It was only released as a... e...

O. Wasn't there something in the concert programme?

G. ... a videocassette, and I don't know if...

O. A few tracks with the concert programme?

G. No, it's never been released [on record].

O. Wasn't there a CD with four tracks? Included with the programme booklet? No? [T.N.: his usually phenomenal memory is probably confusing this performance with the first run of the Tsitsanis concerts, in 2001, which had a somewhat similar set-up, and where the programme did include a CD with some previously unreleased archive material - the same that was later included as the 3rd cd in the Tsitsanis box.]

G. No, no.

Therefore, now, take care, I... you are talking to an incompetent person! I am opposed to this way of thinking of the record companies!

I was trying, earlier, to justify why "Omorfi poli" should have yet another version. I think I covered your question, it's because it's not me singing it, I sing one part, Dulce Pontes sings the other, as an homage, like.

So we might just say "don't bother your head, we've got an excuse...

#33. «... some things of that kind, which are beyond my control... I am not a record producer!»

G. ... mistakes do happen.» Many people have told me about them, they have written about it in the Internet as well, that some... some records are circulated and the sound is bad, that in the "Box" [T.N.: "To mousiko kouti", the music box - the now sold-out 10 cd boxed set released in 1997] it's written that there is a song with Ian Anderson and it's not there... some things of that kind, which are beyond my control. I am not a record producer! I do get the impression that they ought to be more careful! That there ought to be a consumers'... e... a consumer control department, say, for the product, so that it would come into your hands the way it ought to be! [With something like despair:] Me, I don't know how to do these things, I am not a good merchant. You are doing the right thing saying these things now, let them hear it now, at this moment. I'm insisting on them too, let them hear it!

O. That's all very well, but this whole "repackage" [English word used in Greek] of the record did not happen without you...

G. It didn't. They told me they would make...

O. You went into the studio, you sang a whole new song with Charoula [Aleksiou]...

G. Not just that! Not just that! We've got this record here, it's going to come out - there are other versions as well.

O. Hm hm...

G. There are other versions as well! There are other versions as well! I do not know the reason why this happens. I personally believe that one record ought to have _one_ content. Why should it have two, why should it have three? Possibly because it didn't get done? Because this particular edition didn't manage to get ready at that particular time? I am unable to understand why there must be these differences! I am unable to explain this to you, I am unable to answer.

I believe they are not doing it from... from... from bad intentions, they must have something in mind. But I am unable to answer you as to _what_ they have in mind. Often enough I never learn it myself. [sadly:] I do not know the reason why.

A. ...what you are saying about the re-edition of this record, is that you did not consent to it?

G. What I know is that this record [Mesogeios], ten days from now...

A. no...

G. ...will come out...

A. Yes...

G. ...in a composite... in a composite version, which will have a dvd in it as well.

A. No, what I'm talking about is...

#34. «This album I recorded, the one I thought had some quality issues, didn't do well at all!»

A. ...last year...

O. She's referring to the "repackage" of the _previous_ record.

G. The repackage of the previous record? [He thinks it over for a second and then, extremely seriously and rather severely:] I have a notion that _that_ record must have done not-so-well. And here we are answering the other [remark] as well, by the young man who was saying about it [though it wasn't heard on the air:] "but isn't it - like - selling out cheap?" as he put it, and so on. That record...

Listen. You have learned to listen to me in a certain way. [Fast:] Songs that have a certain content. Plus a few songs for fun, laiko songs. You listen to those.. do I know... to what's its name... the old Bithikotsis songs... and the one that goes "I never went to school, never learned my letters..."... Those do not worry you, they have the patina of time. But in general, you've learned to hear me sing songs that have something to say. When you hear songs that are trying to mimic their times, to "please"... you don't buy them. Should I tell you whether you are doing right or wrong??? I don't know! It's up to you.

I too am experimenting! I'm trying myself out and I'm trying you out too. So, this album I recorded, the one I thought had some quality issues, it didn't do well at all! It did not do as well as the others wanted it to. And I would like to emphasize that.

[More quietly:] I personally disagree also with the way in which the record company advertises the records. What I'd wish... If we have confidence in a certain material, in a record which my record company, last year, had been pushing me _very_ hard to make... [He imitates a stern manner:] "Giorgos, we are getting so many messages from the public, that they want you a little more _po-pu-lar_! that they want you a little more _ac-ces-s-si-ble_! With songs _sim-ply a-bout lov-ing_! With songs a little more...» That's what the record company is doing. [With emphasis:] These are _not_ my own choices! What I myself want to do is dimotiko songs! And I shall!

So: do you understand?

Of course, if I move away too far from you... You, who are at the moment acting all sensitive - not you who are here personally, I'm mentally addressing the others as well - you are acting all sensitive and hurt... you will buy five thousand records with dimotiko songs, and afterwards - you'll say goodnight! "Bye-bye my love" [he says in English, dripping sarcasm], to put it in fluent Greek. And I, little by little, as the years go by, I'll be left with 5 thousand listeners, 10 thousand listeners, and that was that! I'll become history, in my turn... the way it always happens. Because the arena - you, that is - you are thirsting for blood. You demand new products. You like, very much, the pretty young man who takes of his clothes and wags his tailbone and is oh so sexy. You do like him so very much, inside. Not you, personally, who are here, the rest, who might be listening. Why, since you like him, why should you deny it? And the pretty girl undressing... Would you want to see a singer who has very beautiful voice? [Why should you,] since she's beautiful as she's taking off her clothes and the lights behind her showing off all her... all there is! You like it, it drives you crazy, as soon as the TV shows it that's where you are sitting! And the older ones, who are my age, your eyes are popping. [A. laughs]. What do you mean, you don't want it? You mean all this is happening all by itself? Or is it that you have discovered that these magnificent super-voices are irreplaceable artists??? I've said it day before yesterday too [in another interview] that singing has filled up with very beautiful girls and boys, and extremely very ugly songs. I'm stressing it again today. That's the way it is. I apologize for addressing all this to you, I'm using the occasion, I'm not saying... it's not you personally I'm criticizing. Anyway it might be a good thing for this to happen, to enable us to see why there is this grumbling. You, too, come here to grumble, and I'm answering you in kind.

O. We've got to have a break, the last one... the last commercial break...

#35. «You've got a terrific talent for the second person plural...»

O. ... because it's exactly half past. And we'll go on afterwards. It's just... I want us to start off, afterwards, keep it in mind, [with severity:] you've got a terrific talent for using the second person plural... really terrific.

G. Where...

O. When you want to say something ugly. [With great severity:] You! You! You! You! Give us a "we" as well!

G. Just let me say it!

O. You know what I mean.

G. We!

O. _You_ are to blame for this happening, _you_ are to blame for Remos, you are to blame for...

G. _We_ are, too! Let me say...

O. ...which songs sell [or not]... We are all part, you too, in fact you are a very prominent part, of this landscape, and you are not outside it - you are not outside it at all, you never were an outsider...

G. Certainly...

O. ... you are inside all this...

G. ... of course.

O. You are playing in this [landscape], within its rules, and you are playing really well, really cleverly, and very...

G. But I were not...

O. ...with a very good strategy.

G. [With surprise:] But if were not in here, I wouldn't...

O. Agreed.

G. ...isn't [my] share of the responsibility evident?

O. Last commercial break...

G. [Totally surprised and not angry at all:] Have you ever seen any one... any one who...

O. ... and we'll be back together again for one more half hour.

G. ... any one who occupies a place like mine and [he can be heard smiling at this] who is as famous as I am, talking the way I do about their work?

#36. Commercial break

With very many thanks to someone for the magnifying glass and the quality issues

The fourth and last half hour will follow as soon as I can get it done. I'm awfully sorry to make you wait so long, but it really is a largish quantity of typing, even though its relatively easy to translate.

[GIANNHS 0]

Κοινή συνέντευξη στον Μελωδία θα δώσουν ο Γιώργος Νταλάρας και ο Λευτέρης Παπαδόπουλος για να παρουσιάσουν την καινούργια δισκογραφική δουλειά τους ΄΄Σπάει το ρόδι΄΄

Την από κοινού συνέντευξη θα την δώσουν μάλλον στον Κώστα Θωμαίδη, και λέω μάλλον γιατί δεν έχουν αποφασίσει ακόμα ποιός παραγωγός θα την κάνει.

Ούτε η ημερομηνία έχει καθοριστεί, αλλά απ ότι μου είπαν είναι θέμα ημερών.

[SOFIAGOUL 0]

Γειά σου ρε Geeske!

Καταπληκτική η δουλειά που έκανες!

Δυστυχώς εγώ δεν μπόρεσα να την ακούσω,γιατί δούλευα και πραγματικά το καταχάρηκα που τη βρίσκω εδώ τη συνέντευξη.

Σε υπέρευχαριστούμε κοπελιά...

:lol:

[GIANNHS 0]

Μάλλον την συνέντευξη Νταλάρα - Παπαδόπουλου στον Μελωδία θα την κάνει ο Οδυσσέας Ιωάννου τελικά, και όχι ο Θωμαίδης.

Σαν πολύ να το κουράζουν το θέμα εκει στο Μελωδία και αυτό δεν τους τιμάει ιδιαίτερα.

[marochr 4,538]

Μάλλον την συνέντευξη Νταλάρα - Παπαδόπουλου στον Μελωδία θα την κάνει ο Οδυσσέας Ιωάννου τελικά, και όχι ο Θωμαίδης.

Κι εγώ έτσι έμαθα... Γιατί αργούν όμως?...

[gogo 14]

Μάλλον  την  συνέντευξη  Νταλάρα -  Παπαδόπουλου  στον  Μελωδία  θα  την  κάνει  ο  Οδυσσέας  Ιωάννου   τελικά, και  όχι  ο  Θωμαίδης.

Κι εγώ έτσι έμαθα... Γιατί αργούν όμως?...

Το καλο πραγμα αργει να γινει... (παρηγορια στον αρρωστο.... )

[Tasos 3]

Τελικά η συνέντευξη στον "ΜΕΛΩΔΙΑ"(99,2 FM) θα πραγματοποιηθεί την Τρίτη 13 Μάρτη 2007 στις 18.00 - 20.00.

Ο Οδυσσέας Ιωάννου θα υποδεχτεί - για να μιλήσουν για το CD "Σπάει το ρόδι" - τους : Λευτέρη Παπαδόπουλο, Γιώργο Νταλάρα και Μιχάλη Κουμπιό.

[gogo 14]

Μια ερωτηση κρισεως...

Εχει ακουσει κανεις απο οσους ακουνε Μελωδια, περισσοτερο απο εμενα,καποιο τρειλερ σχετικο με την εκπομπη;

[agelica 0]

Εγώ πάντως σήμερα το άκουσα από κάποιον παραγωγό...Και άκουγα όλη μέρα σήμερα Μελωδία και το ανέφερε μόνο ένας...

Τι να πεις...

[SOFIAGOUL 0]

Και γω Μελωδία ακούω.Και πραγματικά δεν άκουσα,κανένα διαφημιστικό.

Αλλά,μάλλον θα φταίει η αφηρημάδα μου.aggelica,μάλλον θα υπερβάλλεις.Δυσκολεύομαι να το πιστέψω...

Επειδή πάντως θα δουλεύω την Τρίτη ,θα πρέπει να γράψω την εκπομπή.

Αλλά,πάλι....όχι δεν θα τη γράψω,ούτε και αυτή τη φορά!

Δεν έχω τη δυνατότητα,μαγνητοφώνησης.

Ας το κάνει κάποιος άλλος γιαα μένα!

Σας παρακαλώ...

Είμαι αδιόρθωτη...

Όλα έτοιμα στο πιάτο τα θέλω.

[marochr 4,538]

Εγώ πάντως άκουσα σήμερα και διαφήμιση και κάποια παραγωγό να το αναφέρει...

[gogo 14]

Κι εγω πριν λιγο το ακουσα στην εκπομπη του Λαλαουνη

[JUANITA 0]

Επιβεβαιωμένο παιδιά...

Συντονιστείτε

[agelica 0]

’κουσε κανείς???Για πείτε...εγώ άκουσσα μόνο αποσπάσματα...Έτρεχα σε δουλειές και ότι άκουσα στο αυτοκίνητο!

[EKOSTEL 8,742]

Δυο φωτογραφίες από το προφίλ του Οδυσσέα Ιωάννου.

https://www.facebook.com/photo.php?fbid=10151362747423311&set=pb.785588310.-2207520000.1421002600.&type=3&theater

 

και

https://www.facebook.com/photo.php?fbid=10151368814213311&set=pb.785588310.-2207520000.1421003380.&type=3&theater

[nefeli 1,116]