581:(west of central Athens), with Pagioumtzis listed as his guardian on the admission form. When he was released after several weeks on February 28, Delias refused to return to the Pagioumtzis household and probably died several months later. Some sources specify the date of Delias's death as 31 July 1944. It is generally agreed that Anestis Delias died of starvation, aggravated by his addiction to heroin. Most accounts claim his dead body was found on the street and was picked up by a municipal cart responsible for clearing the streets of corpses during the occupation by the Axis powers.
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445:, literally The Famous Quartet of Piraeus). Delias was the youngest member of the quartet. Both he and Payoumtzis were refugees from Asia Minor and Vamvakaris had moved to Piraeus from the island of Syros. Batis was the oldest of the group and the instigator for the formation of the ensemble. In 1934 the quartet gave its first professional performance at Sarantopoulos' tavern in Drapetsona. This quartet, and the recordings and subsequent careers of its individual members, influenced subsequent generations of musicians and composers.
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The bare outline of his "inherently tragic story" has been shaped to fit certain archetypal narratives such as the victim unable to save himself, innocence succumbing to evil, or a symbol of lost youth. As a musician who died young, there is the added dimension of the tragic artist overwhelmed by self-destruction and the wasted potential of the music he might have created. These factors have combined to give the present-day image of Delias many enduring qualities and a particular mythic potency.
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381:, one of the refugee neighbourhoods of Piraeus (on the northern side of the inlet), and Delias' sister Eleni was born soon afterwards. By 1928 the population of Athens almost doubled as a result of the mass movement of Christian refugees from Asia Minor to the Greek mainland, with the result that the city was surrounded by encampments and shanty towns such as Drapetsona and
577:' in Greece during the Axis occupation). However, further evidence, published in 2007, has revealed that Delias died during 1944. By that year Delias was living with, and being cared for, by his old friend and fellow musician, Stratos Pagioumtzis, and Stratos' wife Zoe. In early February 1944 Delias was admitted to the Dromokaiteion Psychiatric Hospital, in the suburb of
507:, which was considered to be a debased Oriental music from the slums and outside of Greek tradition. The focus of attention was applied to the lyrics of songs, which were required to be submitted to the Ministry for approval. Lyrics were extensively censored, with song-writers forced to rewrite lyrics or practice self-censorship before submission.
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acknowledgements and greetings between the musicians on the recorded songs, Delias was sometimes referred to as 'Anestaki' (Ανεστάκι), an affectionate version of
Anestis (literally 'little Anestis'). He was also referred to as 'Artemis' (Αρτέμης) or 'Black Cat' ('Μαύρη Γάτα'), in both song lyrics and musicians’ acknowledgements.
634:
Despina
Michael, in her examination of the depiction of Delias in the popular imagination, asserts that the paucity of firm evidence about Delias' life "has stimulated the mythopoetic tendencies of his various biographers" in their attempts to give "the shadowy figure of Delias substance and form".
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musicians. The sources for determining the details of Delias' life are few. Primary sources include recorded songs, advertisements and a small number of photographs. However, most of the information comes from recorded interviews of his friends, fellow musicians and family members, which began to
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After his release from Ios in about mid- to late-1939, Delias' lived with a prostitute named Koula
Skoularikou, who was also a heroin addict. Various of Delias' friends and fellow musicians have described his unsuccessful attempts to work as a musician and to end his drug dependency. Friends such
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in Greece in August 1936 the
Ministry of Press and Tourism was formed and given the responsibilities of supervision of the Greek and foreign press, the supervision of Greek cultural production and the 'enlightenment' of public opinion. By 1937 the Ministry had begun to impose censorship on musical
494:
label. A total of ten songs were recorded under his name from 1935 to 1937, issued on the
Columbia and His Master's Voice labels. On two of the songs issued under Delias' name, Stratos Pagioumtzis features as the vocalist, but Delias himself sings on most of his recordings. Delias also continued
584:
The nature and details of Delias' death has prompted many commentators to draw attention to the seemingly prophetic line of lyrics in Delias' song 'Ο πόνος του πρεζάκια' ('The pain of the junkie'), recorded in 1936: "η πρέζα μ’ έκανε στους δρόμους ν’ αποθάνω" ("the drugs have pushed me into the
459:
The early recordings by the members of The Famous
Quartet of Piraeus, while dominated by the sounds of fretted instruments (the bouzouki and the baglamas), nevertheless "bear a distinct imprint of eastern modality and language" revealing the influence of the Anatolian refugees on the music. In
388:
As the only son of the family, Anestis worked in many different jobs to support his widowed mother and two younger sisters. In about 1930 Delias found work in a tavern in
Drapetsona, where met older bouzouki players such as Nikos Aivaliotis, as well as players closer to his own age such as
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539:, who had been exiled for a year on the island after being deemed to be ‘Δημόσιο Επικίνδυνο’ (a danger to the public). The island held a large number of exiled drug addicts and, according to Yenitsaris' account, during Delias' banishment on Ios he continued to use heroin.
570:. Germany administered the most strategically important zones, including Athens. The occupation by the Axis powers decimated the Greek economy and severely disrupted agricultural production, causing widespread hardship and famine amongst the Greek population.
456:(Quietly into a boat)" . From acknowledgements between the musicians during the song, heard on the live studio recording, those playing on the record can be identified as Pagioumtzis (vocalist), Delias (bouzouki), Vamvakaris (bouzouki) and Batis (baglamas).
1174:
Dimitris
Ifantis (October–November 2007). "Ανέστης Δελιάς: Μια αληθινή φιλία με την οικογένεια του Ετράτου, η νοσηλεία και το τραγικό τέλος (Anestis Delias: A true friendship with Stratos' family, hospitalisation and the tragic end) (part 2)".
52:
475:(Pireotika). The style of music featured a mix of modal and tonal structures performed on tempered instruments (mostly the bouzouki and the baglama, sometimes the guitar), with less ornamented voices and a rough style of singing. Piraeus
357:. His father, Panagiotis Delios, was a shoemaker by profession and was a well-known professional musician in Asia Minor. The Delios family had a significant musical heritage; like his father before him, Panagiotis Delios played the
361:
and his brother
Michalis (Delias' uncle) played the violin. Delias' mother, Photina, was also a singer. Panagiotis Delios was known as 'Μαύρη Γάτα' ('Black Cat'), an epithet later given to Anestis Delias by his fellow musicians.
66:, is a useful starting point for translations, but translators must revise errors as necessary and confirm that the translation is accurate, rather than simply copy-pasting machine-translated text into the English Knowledge (XXG).
601:
was being questioned, with commentators challenging the genre's contribution to modern Greek culture and identity because of its low-class origins and distinct
Oriental elements and influences. The revival of
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Individual members of The Famous Quartet of Piraeus began recording songs from late 1932, with recording sessions which often included one or more of the other members of the quartet, as well as other
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compilation of Delias' recordings (plus two songs released under Stratos Pagioumtzis' name, on which Delias played bouzouki). The compilation was later released on the Lyra label.
397:. In the inter-war years in Greece the bouzouki was an instrument of low social standing, which was embraced by the new generation of musicians based in the urban refugee suburbs.
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Songs of the Minotaur: hybridity and popular music in the era of globalization: a comparative analysis of Rebetika, Tango, Rai, Flamenco, Sardana, and English urban folk
781:
1227:"Δελιάς: «Τετράς η ξακουστή του Πειραιώς» και ένας άγγελος πεταμένος στα σκουπίδια (Delias: 'the famous quartet of Piraeus' and an angel thrown in the trash)"
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The following are the recordings released under Anestis Delias' name; each release was made up of two songs, one on each side of a 78 rpm gramophone record:
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34:
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Do not translate text that appears unreliable or low-quality. If possible, verify the text with references provided in the foreign-language article.
761:
Gail Holst-Warhaft (2002), Chapter 2: 'The Tame Sow and the Wild Boar: Hybridisation and the Rebetika', pages 21–29 (in) Gerhard Steingrass (ed.),
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483:) which appealed to groups of the lower socio-economic strata and became popular in Greece as recordings became available during the 1930s.
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attempted to help him abstain from drugs, but without success. Delias' failure to give up heroin led to "his gradual, tragic decline".
907:(thesis). Department of Music, Science and Art, School of Social Sciences, Humanities and Arts, University of Macedonia, Thessaloniki.
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The date of Delias' death has been the subject of speculation. Some sources claim he died in 1941 (the year of the beginning of the '
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Chapter 18: 'Between Orientalism and Occidentalism: The Contribution of Asia Minor Refugees to Greek Popular Song, and its Reception'
784:, Κατάστιχα (Wiki) για το Ρεμπέτικο και την Παραδοσιακή μουσική (Wiki for Rebetiko and Traditional music). Retrieved 20 January 2022.
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In 1988 the Αδελφοί Φαληρέα (Falireas Brothers) label, an independent Greek record label founded in the early 1980s, published an
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Delias was a figure largely forgotten to history in the decades after his death, during a period when the 'Greekness' of 1930s
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Members of The Famous Quartet of Pireaus, (l. to r.) Stratos Pagioumtzis, Markos Vamvakaris, Yiorgos Batis and Anestis Delias.
905:Μ. Βαμβακάρης, Α. Δελιάς και Γ. Μπάτης: Το προπολεμικό τους έργο (M. Vamvakaris, A. Delias and G. Batis: Their pre-war work)
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Panagiota, Anagnostou (Winter 2018). "Did You Say Rebetiko? Musical Categories, Their Transformation, and Their Meanings".
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523:(an addiction that possibly began as early as 1935). In 1938 he was sentenced to eighteen months’ exile on the island of
90:
Content in this edit is translated from the existing Greek Knowledge (XXG) article at ]; see its history for attribution.
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Michael (2010), page 52; citing a doctor's assessment in February 1944 that Delias "had been an addict for nine years".
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531:'s policy of expelling drug addicts from urban centres to designated provincial areas. While on Ios Delias met up with
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805:"Rebetiko Neighbourhoods: Musical Encounters and Social Transformations in Drapetsona and Nea Kokkinia, Piraeus"
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history, and its sociological and cultural importance, led to an intensified interest in the biographies of the
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669:"Ο Νίκος ο Τρελάκιας" ("Níkos the Crazy") – Columbia (Greece) DG-6185 : CG-1348 / CG-1349 (January 1936).
296:. He became an accomplished player of the bouzouki and joined with other musicians in the refugee suburbs of
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Michael (2010), pages 60–61; citing a 1989 interview with Zoe Pagioumtzis and Dimitris Ifantis' 2007 article.
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708:"Τον άντρα σου κι εμένα" ("Your husband an’ me") – Columbia (Greece) DG-6282 : CG-1546 / CG-1547 (1937).
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1054:"Ο Μιχάλης Γενίτσαρης εξόριστος στην Ίο (1936–37) [Michalis Genitsaris exiled to Ios (1936–37)]"
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490:" ("Το χαρέμι στο χαμάμ") backed with "The jacket" ("Το σακάκι"), released on the Greek division of the
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Crossing the Aegean: An Appraisal of the 1923 Compulsory Population Exchange between Greece and Turkey
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Delias began to release songs under his own name in 1935; his first release was "The harem in the
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in Greece with his pregnant mother and younger sister, refugees from the final stages of the
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recordings, including songs of his own composition released under his name. He became
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699:(I alone was born a sinner)" – HMV (Greece) AO-2375 : OGA-498 / OGA-499 (1937).
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589:' comment that Delias was "an angel thrown in the garbage" is also often quoted.
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By the early 1930s Anestis Delias had become known as a proficient player of the
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borrowed themes from the underworld (prison life, disdain of the police, use of
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that occurred when the Turkish forces captured the city. The family settled at
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1078:Μιχάλης Γενίτσαρης (Michalis Yenitsaris) and Stathis Gauntlett (ed.) (1992),
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to play as a studio musician on the recordings of others during this period.
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musicians. In 1933 Batis released a song he had written called "Spanish
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373:. His father had remained in Smryna and was killed that year during the
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In July 1922 young Anestis, aged about ten years, arrived at the port of
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Concepts of Greekness: The Recorded Music of Anatolian Greeks after 1922
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Delias was born Anastasios Delios (Αναστάσιος Δέλιoς) in about 1912 in
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to the source of your translation. A model attribution edit summary is
631:, providing commentary and additional information about Delias' life.
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be published in magazines and newspapers in the 1970s. Historians of
163:'Anestaki' (Ανεστάκι), 'Artemis' (Αρτέμης), 'Black Cat' ('Μαύρη Γάτα')
610:, leading to a more positive reassessment of the legacy of inter-war
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1295:'Μαύρη Γάτα: The Tragic Death and Long After-Life of Anestis Delias'
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By 1938, when Delias’ recording activities ceased, he had become
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1150:"Starvation Without Reparations: The Nazi Occupation of Greece"
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1200:"Σαν σήμερα στις 31 Ιουλίου το 1944 πέθανε Ανέστος Δελιάς"
682:(HMV) (Greece) AO-2307 : OGA-334 / OGA-335 (1936).
903:Ευαγγελου Πετρινιοτιη (Evangelos Petriniotis) (2017).
1122:Ελένη Λαζαρίδου (Eleni Lazaridou) (10 October 2019).
844:Νιάρχος Θανάσης (Niarchos Thanasis) (4 August 2017).
1312:, New York: Berghahn Books, ISBN 978-1-57181-767-9.
59:
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695:"Ραστ Νεβά μανές (Μόνον εγώ γεννήθηκα αμαρτωλός)" "
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1299:Modern Greek Studies (Australia & New Zealand)
996:Metaxas Project: Inside Fascist Greece (1936–1941)
665:"Ο πόνος του πρεζάκια" ("The pain of the junkie")
421:. In about 1933 he joined with fellow musicians,
55:a machine-translated version of the Greek article.
1086:), Athens: Εκδόσεις Δωδώνη (Dodoni Publications).
660:(Greece) DG-6165 : CG-1308 / CG-1309 (1935).
652:"Το χαρέμι στο χαμάμ (Μες στης πόλης το χαμάμ)"
1225:Κώστας Μπελιάς (Kostas Belias) (31 July 2020).
1124:"Ο άγγελος Ανέστης Δελιάς που δραπέτευσε νωρίς"
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498:Soon after the imposition of the totalitarian
84:accompanying your translation by providing an
46:Click for important translation instructions.
33:expand this article with text translated from
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674:"Το κουτσαβάκι (Βρε μάγκα, το μαχαίρι σου)"
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678:"Σούρα και μαστούρα" ("Drunk and stoned") –
1712:Emigrants from the Ottoman Empire to Greece
1308:, pages 247–260 (in) Renée Hirschon (ed.),
925:, October 1999, Vol. 17, Issue 2, page 359.
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846:"Η ξακουστή Τετράς (The famous quartet)"
992:"Censorship in the 4th of August State"
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614:and its leading exponents. A focus on
276:. Delias was from a musical family of
704:"Ουσάκ (Το Τραγούδι Της Ξενιτειάς)"
463:The members of the quartet, and other
965:Kosmas Vrouvlianis (September 2011).
153:Anastasios Delios (Αναστάσιος Δέλιoς)
7:
967:"The Metaxas Censorship of Rebetiko"
737:Michael (2010), pages 44, 50–51, 66.
1707:Deaths by heroin overdose in Greece
1259:Michael (2010), pages 52–53, 61–62.
558:, with the country divided between
197:. July 1944 (aged 31–32)
503:records, with particular focus on
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429:, to form the first professional
443:Η τετράς η ξακουστή του Πειραιώς
435:I Tetras i Xakousti tou Peiraios
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96:{{Translated|el|Ανέστης Δελιάς}}
20:
1682:20th-century Greek male singers
923:Journal of Modern Greek Studies
873:Papadopoulos, Lefteris (2010).
270:player, composer and singer of
224:Musician, composer, song-writer
1677:Greeks from the Ottoman Empire
627:also recorded interviews with
94:You may also add the template
1:
1687:Greek male singer-songwriters
1148:Graham Land (7 August 2018).
765:, London: Lit Verlag Münster.
656:"Το σακάκι" ("The jacket") –
263:. 1912 – 31 July 1944) was a
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137:Anestis Delias in about 1934.
1250:Michael (2010), pages 44–50.
917:Nicholas G. Pappas (1999), '
593:Assessment of Delias' legacy
1016:Gauntlett (2003), page 248.
875:Μάγκες πιάστε τα γιοφύρια..
803:Mourgou, Alexandra (2021).
793:Gauntlett (2003), page 253.
556:Axis forces occupied Greece
107:Knowledge (XXG):Translation
1738:
1304:Stathis Gauntlett (2003),
1301:, Volume 14, pages 44–74.
1097:"Anestis Delias 1912–2012"
535:, his friend and a fellow
511:Heroin addiction and death
425:, Stratos Pagioumtzis and
375:destruction and atrocities
308:. Delias played on early
58:Machine translation, like
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937:Journal of Social History
822:10.4000/balkanologie.2885
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326:Nazi occupation of Greece
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35:the corresponding article
1692:Greek singer-songwriters
1293:Despina Michael (2010),
1043:Michael (2010), page 52.
749:Michael (2010), page 51.
105:For more guidance, see
1702:Greek bouzouki players
1697:Greek rebetiko singers
1560:Smyrneiki Estudiantina
1084:Mágka from a young age
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143:Background information
1398:Singers and composers
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284:, who arrived on the
78:copyright attribution
1722:Musicians from İzmir
1717:Deaths by starvation
608:Greek military junta
644:Original recordings
545:Stratos Pagioumtzis
533:Michalis Yenitsaris
395:Stratos Pagioumtzis
1080:Μάγκας από μικράκι
949:10.1093/jsh/shy031
680:His Master's Voice
585:streets to die").
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86:interlanguage link
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1379:Majore and minore
1179:. pp. 63–75.
1177:Λαϊκό Τραγούδι 21
884:978-960-03-5207-8
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1626:A. Iakovidis
1621:V. Capossela
1590:V. Tsitsanis
1570:A. Tomboulis
1555:K. Skarvelis
1545:K. Roukounas
1485:A. Katinaris
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1274:. Retrieved
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1231:ΦΟΣ (online)
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1103:. 9 May 2012
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82:edit summary
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1667:1944 deaths
1662:1912 births
1631:M. Katinari
1605:N. Vrachnas
1565:Smyrna Trio
1520:M. Papagika
1495:G. Mitsakis
1490:G. Kavouras
1455:R. Eskenazi
971:Rebetoparea
713:Compilation
689:Athenaiissa
639:Discography
549:Bayianteras
467:(ρεμπέτες;
292:during the
288:as a young
1656:Categories
1636:B. Tsertos
1600:G. Vidalis
1575:P. Toundas
1480:K. Karipis
1460:S. Gavalas
1445:L. Daralas
1435:M. Chiotis
1276:26 January
1236:24 January
1210:26 January
1159:25 January
1154:HistoryHit
1133:26 January
1107:25 January
1064:24 January
1002:23 January
976:23 January
855:24 January
725:References
379:Drapetsona
341:Early life
149:Birth name
42:(May 2016)
1580:I. Tsaous
1550:D. Semsis
1470:S. Haskil
1450:A. Delias
1440:A. Dalgas
1425:S. Bellou
1410:G. Asikis
1405:R. Abatzi
1272:. Discogs
1058:Ερανιστής
831:244173957
454:zeïbekáno
353:coast of
349:, on the
336:Biography
100:talk page
1505:M. Ninou
1415:Y. Batis
1358:Rebetiko
658:Columbia
625:rebetika
616:rebetiko
612:rebetiko
604:rebetiko
599:rebetika
568:Bulgaria
517:addicted
505:rebetika
492:Columbia
477:rebetiko
473:rebetiko
469:rebetiko
450:rebetiko
431:rebetiko
419:baglamas
415:bouzouki
383:Kokkinia
359:santouri
355:Anatolia
330:rebetiko
314:addicted
310:rebetiko
306:rebetiko
282:Anatolia
273:rebetiko
268:bouzouki
237:baglamas
233:Bouzouki
214:Rebetiko
183:Anatolia
76:provide
37:in Greek
1614:Current
1289:Sources
629:rebetes
620:rebetes
579:Haidari
537:rebetis
481:hashish
465:rebétes
367:Piraeus
302:Piraeus
290:refugee
98:to the
80:in the
39:.
1384:Makams
1128:MaxMag
881:
850:Ta Nea
829:
521:heroin
351:Aegean
347:Smyrna
318:heroin
298:Athens
278:Smyrna
202:Genres
179:Smyrna
176:. 1912
1389:Laïko
827:S2CID
815:(1).
488:hamám
439:Greek
265:Greek
252:Greek
60:DeepL
1278:2022
1238:2022
1212:2022
1161:2022
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1109:2022
1066:2022
1004:2022
978:2022
879:ISBN
857:2022
566:and
547:and
417:and
393:and
300:and
189:Died
168:Born
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72:You
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