Скачать с ютуб Brendan Perry: Gypsy Girl ( G i o r g o s B a t i s ) в хорошем качестве

Brendan Perry: Gypsy Girl ( G i o r g o s B a t i s )

Brendan Perry: Gypsy Girl ( G i o r g o s B a t i s ) Gypsy girl in the hammam* I’m payin’ for all in cash So that you enjoy your bath so I don’t drop dead and pass tsibi ribi, yallah* When you put on your scarf flower behind your ear cigarette in your hand cruising the street bars Blessed be your beauty your dress hanging long your heels rising high as you walk the earth shakes along My gypsy girl so sweet my heart lies underneath your feet you made me lose my mind ‘cause I love you my light Blessed be your beauty your pinafore of gold you walk around barefoot beloved gypsy girl I can’t quite figure out if you’re Turkish or Greek if you’re English or French your beauty’s so unique When you wear your fez its bobble made of gold the whole sky shakes and falls with the stars falling along Karsilamas Rhythm in the Ussak Mode Santouri - Tsouras - Baglamadaki - Guitar - Sagat Rebetiko is often defined as a Greek, urban, subcultural kind of music that developed around ports and urban centres in the end of the 19th and up to the first half of the 20th century, with the bouzouki as its main instrument. Today's rebetiko enthusiasts are fascinated not only with the way it combines oriental modes and rhythms with European harmonies, or by the passion and virtuosic skill of its players, but even more by the defiant, hedonistic spirit of the culture it was born out of. Songs about taking and smuggling drugs, prison life, prostitution, fights, petty theft and confrontations with police evoke the image of a group of people separated from mainstream society and, for sociologists such as Stathis Damianakos, from the working class.i Elias Petropoulos' seminal 1961 book on rebetiko painted an image of an unconventional, semi-criminal subculture of rebetes (rebetiko musicians) who despised work, smoked hashish, were against marriage, hated the police, helped the weak, dressed, spoke and moved in a distinctive style, and wrote their songs in prison and in hash dens. This captivating depiction of the rebetes has been influential for younger fans – for example James Sclavunos of The Bad Seeds praises the ‘punk spirit' of rebetiko which he endeavours to keep alive in his bands.ii On the other hand, more recent researchers such as Nearchos Georgiadis and Panagiotis Kounadis dispute such accounts of marginality as a myth originating from the criminalisation of rebetiko up to the 1950s, insisting instead that it represented working class culture. The debate rages on in books and online forums with the two sides presenting evidence that appears equally valid but also betrays an inability to deal with the ambiguity of language, class and cultural production.