Tsaousakis biography of michael jackson
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Tsaousakis biography of michael
Tsaousakis biography of michael jackson
Tsaousakis was born in Constantinople[a] Greek religious base. He became a professional wrestler at a young age and volunteered to the Greek army in He was arrested and tortured during the German occupation. InTsaousakis met Anna Kadoglou and married her a year later.
At that time, Tsaousakis sung with various bands in Thessaloniki and met Vassilis Tsitsanis. Tsaousakis' recording career started in and he quickly rose to fame. He worked until with Tsitsanis, who wrote several of his great songs inspired by Tsaousakis' voice.
From onward, his career started to decline, partially due to the appearance of Stelios Kazantzidis.
Πρόδρομος Τσαουσάκης
| Το λήμμα παραθέτει τις πηγές του αόριστα, χωρίς παραπομπές.Βοηθήστε συνδέοντας το κείμενο με τις πηγές χρησιμοποιώντας παραπομπές, ώστε να είναι επαληθεύσιμο. Το πρότυπο τοποθετήθηκε χωρίς ημερομηνία. Tsaousakis biography lay into michaelΓια τη σημερινή ημερομηνία χρησιμοποιήστε: |
Ο Πρόδρομος Τσαουσάκης (πραγματικό όνομα: Πρόδρομος Μουτάφογλου) (Κωνσταντινούπολη, 15 Σεπτεμβρίου [1] - Αθήνα, 23 Οκτωβρίου ) ήταν δημοφιλής Έλληνας τραγουδιστής, στιχουργός και τραγουδοποιός του ρεμπέτικου/λαϊκού τραγουδιού.
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Rebetiko Worlds. Ethnomusicology and Ethnography in the City (Cambridge Scholars Publishing, 2007)
FOREWORD PROFESSOR JOHN BAILY
Ever since it was first identified as a distinct genre of music, rebetiko has excited controversy. Its romanticised associations with the underworld of hashish-smoking spivs and petty criminals, and its connections with the music of Asia Minor, have exerted a powerful fascination for Greeks and non-Greeks alike. Poised as it was between European and Ottoman cultures, it was subject to competing interpretations as to its origins and its meanings. The discourses around rebetiko on the part of the local intellectual and artistic elite (as distinct from musicologists) have led to the development of a distinctive "rebetology", which shares certain characteristics with the interest in early jazz, blues, flamenco, fado, indeed almost anything which is seen to derive from the underside of life.
Dafni Tragaki's remarkable study of rebetiko achieves a number of difficult objectives. The work is divided into two parts. The first is a critical survey of the history of the genre, based on early newspaper reports, 78 rpm commercial records, the publications of intellectuals, scholars and enthusiasts, and the biographies of a few musicians. The pol
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