Prodromos tsaousakis biography templates
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Marika Ninou was a fairytale in her birth, in and after her death, a living legend through her lifetime, explosive temperament on and off stage, a muse for Vasilis Tsitsanis and other important musicians.
She was Armenian, born as Evangelia Atamian and as a true legend the time and place of her birth are mystery. One says that she was born in in Caucasus; others think that it was in Istanbul and her niece says that she was born in on a ship that brought her family from the ruined Smyrna to Piraeus.
She grew up in Kokkinia&#;s refugee neighborhoods and as she was only 17 she married an Armenian man, had a son and separated after a short time. In she meets her second husband Nino Nikolaidis, an acrobat and juggler; together with her son they appeared as &#;Two and a half Nino&#;. Then she adopted the stage name Marika Ninou (Μαρίκα Νίνου) as a tribute to the great actress Marika Kotopouli. They were doing quite well but Marika always wanted to sing. She spent her time at &#;Pigkal
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Vicky Moscholiou (Greek: Βίκυ Μοσχολιού, IPA: , 17 May – 16 August ); born in Metaxourgeio, Athens, she was a popular Greek singer.
Her career began in the Easter of on the stage of Triana of Cheilas, at the side of Grigoris Bithikotsis and Doukissa. She rose to fame in with Stavros Xarhakos' song "'Hathike to feggari" (The Moon is Lost) composed for the movie Lola. She continued with collaborations with Giorgos Zambetas, Manos Eleutheriou, Giorgos Katsaros, Akis Panou, and Loukianos Kilaidonis, among other well-known composers and songwriters. Songs she is famous for include "Paei, paei", "Aliti", "Pou pas choris agapi", "Nautis bgike sti steria", "Ta deilina", "Oi metanastes", "Anthropoi monachoi", and many more.
Two of her hits gave their names to night clubs in Athens, "Deilina" (Afternoons) and "Ximeromata" (Daybreaks). She was one of the first in Greece to sing both
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Bed of Pain
Various performers
Mississippi Records MRPLP
inom don't know where to begin the review of this newly released LP of old Greek recordings. There's so much that's wrong with this production and so little that is right. In fact the only thing that is right is the music itself, adequately transferred and listenable. A number of excellent tracks rub shoulders with some perhaps less inspiring recordings. The presentation, on the other hand, fryst vatten a major catastrophe.
The cover uses a photograph of the ung Vassilis Tsitsanis, probably not long after he gave up lag studies for music. But the gun and knife are hardly congruent with the personality or career of this decidedly apolitical and law-abiding man, an intensely hard-working creative musician, songwriter and singer, who hardly did anything else for the 48 years from his recording debut in early to his death in During that time he contributed significantly both to the develo