Political songs

Greek modern history was marked by intense political turmoil and social conflict. The rise (1967) Ç äéêôáôïñßá åãêáèéäñýåôáé. Áêïýãåôáé ï ðáñáëçñçìáôéêüò ëüãïò ôïõ äéêôÜôïñá Ãåþñãéïõ Ðáðáäüðïõëïõ åíþ áóôõíïìïêñáôßá êáé óôñáôïêñáôßá åðéêñáôåß óôïõò äñüìïõò ôçò ÁèÞíáò and fall of the military dictatorship Ç åîÝãåñóç ôïõ Ðïëõôå÷íåßïõ ôïí ÍïÝìâñéï ôïõ 1973, ïäÞãçóå óôçí ðôþóç ôçò óôñáôéùôéêÞò ÷ïýíôáò intensified those phenomena. This background created a new tendency in music called “political song”. It included songs written in the context and style of art-music (“entechno”) which also incorporated elements of political doubt and social criticism. It was created by musicians and poets of leftist political beliefs and it was mainly popular in these political groups.

Political songs became extremely popular after the fall of the dictatorship; concerts at football fields crammed with people who sang these songs along with the singers thus enjoying their newly reinstated freedom of speech. The political song trend decayed and ceased to exist in the early 1980s. Mikis Theodorakis «Åíèïõóéáóìüò ãéá ôçí åðÜíïäï ôïõ Ìßêç ÈåïäùñÜêç ìåôÜ ôçí ðôþóç ôçò äéêôáôïñßáò» «Ï Ìßêçò ÈåïäùñÜêçò óå óõíáõëßá óôï ãÞðåäï ÊáñáúóêÜêç ôï 1974», «Ï Ìßêçò ÈåïäùñÜêçò óå óõíáõëßá óôï ãÞðåäï ôïõ Ðáíáèçíáúêïý ôï 1976» Ìßêçò ÈåïäùñÜêçò – Brendan Behan «Ôï ãåëáóôü ðáéäß» [1961]. ÔñáãïõäÜ ç Ìáñßá Öáñáíôïýñç Ìßêçò ÈåïäùñÜêçò – ÁëÝêïò Ðáíáãïýëçò «Ïé ðñþôïé íåêñïß» [1971]. ÔñáãïõäÜ ï óõíèÝôçò Ìßêçò ÈåïäùñÜêçò êáé ÔÜóïò Ëåéâáäßôçò «ÌÜíá ìïõ êáé ðáíáãéÜ» [1961]. ÔñáãïõäÜ ï Ãéþñãïò ÍôáëÜñáò Ìßêçò ÈåïäùñÜêçò «Ôï óöáãåßï» [1968]. ÔñáãïõäÜ ï Áíôþíçò ÊáëïãéÜííçò óå óõíáõëßá ôï 1974 Ìßêçò ÈåïäùñÜêçò êáé Brendan Behan «Ðïéïò äå ìéëÜ ãéá ôç ËáìðñÞ» [1961]. ÔñáãïõäÜ ç Ìáñßá Öáñáíôïýñç óå óõíáõëßá ôï 1974 Ìßêçò ÈåïäùñÜêçò «Ìçí îå÷íÜò ôïí Ùñùðü» [1970]. ÔñáãïõäÜ ï óõíèÝôçò óå óõíáõëßá ôï 1974 had been a major composer of political songs already from the 1960s. Other contributors to this kind were:

Thanos Mikroutsikos «Ï ÈÜíïò Ìéêñïýôóéêïò ìå ôïí ôñáãïõäéóôÞ ÃéÜííç Êïýôñá» «ÈÜíïò Ìéêñïýôóéêïò - Ôá ôñáãïýäéá ôçò ËåõôåñéÜò. Ôï åîþöõëëï ôïõ äßóêïõ» ÈÜíïò Ìéêñïýôóéêïò – Íáæßì ×éêìÝô «Áí ç ìéóÞ ìïõ êáñäéÜ» [1975]. ÔñáãïõäÜ ç Ìáñßá ÄçìçôñéÜäç ÈÜíïò Ìéêñïýôóéêïò – Öþíôáò ËÜäçò «Ï öáóéóìüò» [1978]. ÔñáãïõäÜ ç Ìáñßá ÄçìçôñéÜäç

Giannis Markopoulos «Ï ÃéÜííçò Ìáñêüðïõëïò êáèéóìÝíïò óôï ðéÜíï» ÃéÜííçò Ìáñêüðïõëïò - Ãéþñãïò Óêïýñôçò «ÌðÞêáí óôçí ðüëç ïé ï÷ôñïß» [1970]. Áðüóðáóìá áðü óõíáõëßá ôçí äåêáåôßá ôïõ 1970, ëßãï ìåôÜ ôç ìåôáðïëßôåõóç. ÔñáãïõäÜ ï Íßêïò Îõëïýñçò

Manos Loizos ÌÜíïò ËïÀæïò «Ôóå ÃêåâÜñá» [1974]. Áðüóðáóìá áðü óõíáõëßá. ÁèÞíá 1974 and others.