I’d rather be in good friends’company than keeping a blog on my own,gotta admit its quite tiring.
Same kind of posts and a touch of music in the Diary of my insomnia (oops got me a new blog title)
Thank you very much for reading my posts,for following,for forming a community. I really appreciate it. Hope to see you soon enough on the mentioned links- not redirecting any of you.
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Thanks to all of you for your constant support.Without you this tiny blog would mean nothing.
just 67,476 have signed but when it had happened,Twitter almost went down from the excessive amount of tweets. So much hypocrisy still!Still a spectator? You can do something from the conformity of your computer chair: Sign the petition here
Posted: 4 January 2013
She was a 23-year-old physical therapy student who boarded a bus in Delhi last month. Six men locked the door, and savagely raped her for hours, including with a metal rod. They dumped her naked in the street, and after bravely fighting for her life, she died last weekend.
Across India, people are responding in massive protests to say enough is enough. In India a woman is raped every 22 minutes, and few see justice. Globally, a staggering 7 in 10 women will be physically or sexually abused in their lifetime. This horror in Delhi is the last straw — it’s 2013, and the brutal, venal, global war on women must stop. We can start by drawing the line in India.
The government is accepting public comments for the next 24 hours. We urgently need both stronger law enforcement and a massive public education program to change the grotesque but common male attitudes that permit violence against women. If 1 million of us join the call for action, we can help make this young woman’s horror the last straw, and the beginning of a new hope.
Dichotomous is, at it’s core, a post-modern tale of redemption. The film follows two strangers, Nick Dysmas and a character known only as the Chief. These two strangers with nothing in common but a love for a broken nation on the other side of the world, are both searching for the same thing; Redemption. Through a twist of fate, their roads converge leading them down a path which will test their beliefs and endanger everything they hold dear.
It is never your fault. Nobody deserves to be raped. Nothing you have done means that you caused the rape.
• Get to a safe place. It is important that your safety is your number one priority.
• Tell someone you trust what happened. This person may be asked to support your evidence in court, and is known as the ‘first report witness’. If the first person you tell is a stranger, try to write down their details, and remember their name.This way the police will be able to contact them.
• If you have to change your clothes, put your clothing in a paper bag. A paper bag keeps the evidence intact, whereas a plastic bag will affect evidence.
• If you are going to report your rape, do not wash yourself even if you really want to. At the health facility they will collect evidence from your body, which could assist the investigation.
• Try not to eat or drink if your mouth has come into contact with the alleged perpetrator’s body or penis.
• Even if you are drunk or under the influence of drugs, you still have a right to report the rape. Do not let this stop you from accessing help.
Reporting the rape to the police
You don’t have to decide if you are going to report the rape to the police straight away. It is your right to report up to twenty years after the event.
But, evidence is most able to be collected soon after the rape (within three days). Reporting within three days also increases the chances that the police are able to catch the alleged perpetrator.
Go to a health centre for care
• If you are injured, go straight to a health facility (hospital, your doctor, community health centre) for treatment.
• If you are at a police station, they can call an ambulance for you to take you to the health care facility.
• Tell the health care worker that you have been raped, and they will assist you with getting medication that can prevent the transmission of HIV if you are currently HIV negative. These medicines are only effective within 72 hours of exposure to HIV, and are most effective within eight hours of the rape, so it is important that you try to visit a health care facility as soon as possible.
• They will also treat any injuries you have. If you decide to report the rape, the health care worker can call the police to the health care facility.
Get medical attention
To prevent infection from any injuries, and to issue medication to prevent HIV transmission and Sexually Transmitted Infection (STI) transmission
· To prevent possible pregnancy
· To collect evidence
Reporting the rape to the police can be scary for both women and men. It is a good idea to go to a health facility first to get your injuries treated, and to get Post-Exposure Prophylaxis (PEP) to prevent HIV transmission. The sooner a doctor examines you, the sooner they will be able to find proof of the rape (for example hair, skin cells, and semen from the alleged rapist).
You also have the option of going straight to police station first. See Part 3 of the series for more information.
If you are at a health care centre and want to report
· If possible, call a friend or family member to come and be with you whilst waiting to be examined and afterwards. Ask if they can bring some spare clean clothes for you.
· The health care worker can call a police officer to come to the health facility. If you decide to report, at the health facility they will also collect forensic evidence from your body. It is your right to ask questions, and to be treated with respect.
· If you need to go to the bathroom or are having your period, keep any toilet paper, sanitary towels, or tampons as they may contain evidence. These should be placed in an envelope or paper packet when dry.
· If you think you have been drugged, tell the health care worker and s/he will test your urine and blood for evidence.
· If you have eaten or drunk anything after the rape, tell the doctor so that s/he is aware of this when you are examined. If you were not raped orally, tell the doctor so that you can take medication against infection.
The forensic examination
· At the health care facility the doctor (district surgeon) will conduct what is known as the forensic examination. This examination is for the purpose of looking for evidence of the rape on your body including in your hair, and genital and anal regions. The doctor should inform you of what they are going to do to you.
· The doctor will ask you about your medical history, and about what happened during the rape.
· Your clothes will also be taken from you in order to collect evidence from them as well. It is important that if you have taken off your clothes that you have put them in a paper bag, or wrapped them in newspaper.
· After the examination you will have the opportunity to bath or shower, brush your teeth, and eat something. If the police officer has come to the health facility, s/he will ask you questions ideally in a private room.
After you have visited the health facility it is important to listen to information about when you should return for a check up, and to collect more PEP medication if you are HIV negative.
Talking to the police: You have the option of reporting a rape, or reporting a rape and laying a charge.
You have the right to speak to a female police officer. Sometimes special detectives who deal with reports of sexual offences are not based at every station and may take some time to arrive.
Delays in reporting cannot be used against you in court, but the sooner you report the rape, the easier it is to collect evidence, and catch the perpetrator.
Reporting without laying a charge
If you decide to report without laying a charge the police officer must record the report in the occurrence book and give you an occurrence book number (OB number).
Reporting and laying a charge
Ideally your statement should be taken in a private room by an officer of the same gender as you. If you are very upset, are drunk or drugged, or are injured, they make take a preliminary statement and then take a second statement when you are feeling better.
• If you decide to report the rape to the police, you must go to the station nearest to where the rape happened. Take a friend or family member with you for support.
• Ideally take a notebook with you to write down the details and telephone numbers of those who assisted you, as well as your case number. If you are afraid that the alleged rapist(s) will come after you, tell the police this. This may make it less likely that the alleged rapist(s) is allowed out on bail after being arrested.
• The police will ask you details about what happened to you and will write this all down. It is your right to do so in your home language, and the police should get someone to assist you with this. Do not sign your statement until you are happy with it, and that it says exactly what you have said.
• It is your right to get a copy of any statements you make from the police.
• When giving details of the rape it is important to tell the police if you were drunk or under the influence of drugs. This will not be used against you. If you are drunk or on drugs you cannot consent to sex.
• You have the right to ask that the alleged rapist be tested for HIV at the state’s expense if he is caught. Remember to take PEP medicine as the doctor prescribed it, even if the test comes back negative.
• If the police say you cannot report your rape, do not give up. It is your right to report, even if the rape happened a long time ago. If they still refuse, go to another station and explain what happened. You can then make a complaint about this.
When a case has been opened
• An investigating officer (IO) will take over your case. The police should give you the IO’s contact details.
• If the perpetrator is arrested, the IO has a responsibility to inform you.
• If bail is granted, the IO has a responsibility to inform you.
• If you have to identify the perpetrator, you should be made to feel safe by the police. This may happen in an identity parade if you can recognise the perpetrator, or via mug shots or an identikit if you don’t know them.
If you would like to find out more about the process of reporting a rape, watch the virtual tour of the criminal justice system here.
Στην εποχή του διαδικτύου και όχι των εκδοτών – συνεργατών της χούντας και μετά της δημοκρατίας, καμμία αλήθεια δεν μπορεί να κρυφτεί. Η συγκλονιστική μαρτυρία του γιατρού για τη νύχτα εκείνη, τα λέει όλα.
Κάπως έτσι, μετά από χρόνια, θα ανοίξουν τα στόματα και για τον Δεκέμβρη του 2008, που έφερε τη νέα χούντα, το νέο ξεπούλημα της πατρίδας από τον άλλο “Γιώργο”. Τον νεώτερο.
“Μαρτυρία: «Από σφαίρες ελεύθερων σκοπευτών τα θύματα του Πολυτεχνείου»”Μιλώντας στο Pheme.gr ο κ. Χαρώνης προβαίνει σε μια μεγάλη αποκάλυψη. Όπως αναφέρει στα γεγονότα του Πολυτεχνείου, το ’73, έδρασαν ελεύθεροι σκοπευτές, οι οποίοι χτυπούσαν από ψηλά στο ψαχνό.
«Τα πρώτα θύματα και οι πιο βαριά τραυματίες είχαν βληθεί από ψηλά. Πιθανώς από μπαλκόνια και ταράτσες παρακείμενων πολυκατοικιών», επισημαίνει ο κ. Χαρώνης.
Στο συμπέρασμα αυτό έχει καταλήξει ο γιατρός, έπειτα από «πλήρη μελέτη τροχιάς», όπως
αναφέρει, την οποία διενήργησε.
Σύμφωνα με τα συμπεράσματα των ερευνών που πραγματοποίησε, «οι πρώτοι και βαριά τραυματίες είχαν βληθεί από πάνω προς τα κάτω».
Σε ορισμένες περιπτώσεις, μάλιστα, οι ελεύθεροι σκοπευτές χτύπησαν πισώπλατα, όπως αναφέρει. «Είδα θύματα που εβλήθησαν στην πλάτη, πλάτη προς καρδιά και σπονδυλική στήλη».
Ο τότε Διευθυντής της Γ’ Χειρουργικής Κλινικής του Γενικού Κρατικού Νοσοκομείου, ο οποίος βρέθηκε για 36 συνεχείς ώρες στο χειρουργικό τραπέζι, είναι πεπεισμένος ότι «οι ελεύθεροι σκοπευτές ήθελαν να αιματοκυλίσουν την Αθήνα».
Όπως αναφέρει ο κ. Χαρώνης «σημάδευαν για σκοτωμό, και το ερώτημα μου, βεβαίως είναι ένα: Είναι δυνατόν αυτοί οι άνθρωποι να ήταν Έλληνες; Εύχομαι και ελπίζω να μην ήταν Έλληνες, αλλά πράκτορες ξένης δύναμης που ήθελε να αιματοκυλίσει την Αθήνα, να την μετατρέψει σε σφαγείο για να δικαιολογήσει την μετέπειτα δράση του Ιωαννίδη».
Παρ’ ότι έχουν περάσει 39 χρόνια από τα αιματηρά γεγονότα του Πολυτεχνείου, ο κ. Χαρώνης θυμάται με λεπτομέρειες τα θλιβερά γεγονότα που διαδραματίστηκαν στο χώρο του νοσοκομείου, όπου της άφιξης εκατοντάδων τραυματιών ακολούθησε η βίαιη επέμβαση αστυνομικών, στρατιωτικών των ΕΑΤ-ΕΣΑ, και πρακτόρων της χούντας στο χώρο του νοσοκομείου.
«Γινόταν το σώσε. Για να προφυλάξουμε τους τραυματίες, τους αλλάζαμε τα ονόματα για να μην μπορούν να τους βρουν», σημειώνει ο κ. Χαρώνης. «Βεβαίως η ενέργεια μας αυτή αργότερα τους δημιούργησε μεγάλο πρόβλημα, γιατί ενώ ήθελαν να καταθέσουν τα χαρτιά τους για τη χορήγηση μιας συνταξούλας, δεν μπορούσαν να βρουν τα ονόματά τους»!
Θέτουμε υπόψιν του κ. Χαρώνη, την αμφισβήτηση των νεκρών του Πολυτεχνείου από την πλευρά της Χρυσής Αυγής.
Δείχνει να απορεί και να θυμώνει. «Είναι δυνατόν; Είναι δυνατόν;», επαναλαμβάνει με απορία. «Ας έρθουν σε μένα να τους εξηγήσω, να τους πω για τα δυο παιδιά που ξεψύχησαν στα χέρια μου, τα οποία δεν θα ξεχάσω ποτέ. Ο ένας, νεαρός, είχε δεχθεί σφαίρα στην κάτω κοίλη φλέβα και ο άλλος είχε βληθεί στο κρανίο»!
“Μαρτυρία: «Από σφαίρες ελεύθερων σκοπευτών τα θύματα του Πολυτεχνείου»”Μιλώντας στο Pheme.gr ο κ. Χαρώνης προβαίνει σε μια μεγάλη αποκάλυψη. Όπως αναφέρει στα γεγονότα του Πολυτεχνείου, το ’73, έδρασαν ελεύθεροι σκοπευτές, οι οποίοι χτυπούσαν από ψηλά στο ψαχνό.
«Τα πρώτα θύματα και οι πιο βαριά τραυματίες είχαν βληθεί από ψηλά. Πιθανώς από μπαλκόνια και ταράτσες παρακείμενων πολυκατοικιών», επισημαίνει ο κ. Χαρώνης.
Στο συμπέρασμα αυτό έχει καταλήξει ο γιατρός, έπειτα από «πλήρη μελέτη τροχιάς», όπως
αναφέρει, την οποία διενήργησε.
Σύμφωνα με τα συμπεράσματα των ερευνών που πραγματοποίησε, «οι πρώτοι και βαριά τραυματίες είχαν βληθεί από πάνω προς τα κάτω».
Σε ορισμένες περιπτώσεις, μάλιστα, οι ελεύθεροι σκοπευτές χτύπησαν πισώπλατα, όπως αναφέρει. «Είδα θύματα που εβλήθησαν στην πλάτη, πλάτη προς καρδιά και σπονδυλική στήλη».
Ο τότε Διευθυντής της Γ’ Χειρουργικής Κλινικής του Γενικού Κρατικού Νοσοκομείου, ο οποίος βρέθηκε για 36 συνεχείς ώρες στο χειρουργικό τραπέζι, είναι πεπεισμένος ότι «οι ελεύθεροι σκοπευτές ήθελαν να αιματοκυλίσουν την Αθήνα».
Όπως αναφέρει ο κ. Χαρώνης «σημάδευαν για σκοτωμό, και το ερώτημα μου, βεβαίως είναι ένα: Είναι δυνατόν αυτοί οι άνθρωποι να ήταν Έλληνες; Εύχομαι και ελπίζω να μην ήταν Έλληνες, αλλά πράκτορες ξένης δύναμης που ήθελε να αιματοκυλίσει την Αθήνα, να την μετατρέψει σε σφαγείο για να δικαιολογήσει την μετέπειτα δράση του Ιωαννίδη».
Παρ’ ότι έχουν περάσει 39 χρόνια από τα αιματηρά γεγονότα του Πολυτεχνείου, ο κ. Χαρώνης θυμάται με λεπτομέρειες τα θλιβερά γεγονότα που διαδραματίστηκαν στο χώρο του νοσοκομείου, όπου της άφιξης εκατοντάδων τραυματιών ακολούθησε η βίαιη επέμβαση αστυνομικών, στρατιωτικών των ΕΑΤ-ΕΣΑ, και πρακτόρων της χούντας στο χώρο του νοσοκομείου.
«Γινόταν το σώσε. Για να προφυλάξουμε τους τραυματίες, τους αλλάζαμε τα ονόματα για να μην μπορούν να τους βρουν», σημειώνει ο κ. Χαρώνης. «Βεβαίως η ενέργεια μας αυτή αργότερα τους δημιούργησε μεγάλο πρόβλημα, γιατί ενώ ήθελαν να καταθέσουν τα χαρτιά τους για τη χορήγηση μιας συνταξούλας, δεν μπορούσαν να βρουν τα ονόματά τους»!
Θέτουμε υπόψιν του κ. Χαρώνη, την αμφισβήτηση των νεκρών του Πολυτεχνείου από την πλευρά της Χρυσής Αυγής.
Δείχνει να απορεί και να θυμώνει. «Είναι δυνατόν; Είναι δυνατόν;», επαναλαμβάνει με απορία. «Ας έρθουν σε μένα να τους εξηγήσω, να τους πω για τα δυο παιδιά που ξεψύχησαν στα χέρια μου, τα οποία δεν θα ξεχάσω ποτέ. Ο ένας, νεαρός, είχε δεχθεί σφαίρα στην κάτω κοίλη φλέβα και ο άλλος είχε βληθεί στο κρανίο»!
ΑΥΤΟ ΕΧΕΙ ΣΗΜΑΣΙΑ ΠΑΙΔΙΑ…
“Είναι δυνατόν αυτοί οι άνθρωποι να ήταν Έλληνες; Εύχομαι και ελπίζω να μην ήταν Έλληνες, αλλά πράκτορες ξένης δύναμης που ήθελε να αιματοκυλίσει την Αθήνα, να την μετατρέψει σε σφαγείο για να δικαιολογήσει την μετέπειτα δράση του Ιωαννίδη».”
An employee at the state-run Workers’ Housing Organization (OEK) crouches on a ledge while threatening to jump as a colleague speaks to her, in central Athens, Wednesday, February 15, 2012. The woman was fired as the agency was due to be shut as part of sweeping new austerity measures demanded by Greece’s EU-IMF rescue creditors. After hours of negotiations, the woman was brought to safety as she came in from the balcony. (AP Photo/Thanassis Stavrakis)
Looking for a Police State to blow your Whistle? Here you are! The ex- cradle of democracy the current cradle of Tyranny #tapwire is nothing comparing to what Greek State has become. THIS IS NOT A STATE OF THE PEOPLE BUT OF THE EXTREMES,THE FASCISTS AND THE POLICE INTIMIDATING CIVILIANS
Λέγομαι Αντώνιος Περρής. Εδώ και 20 χρόνια φροντίζω την 90 χρονών Μητἐρα μου(την γεροντοκομώ). Τώρα τα 3- 4 χρόνια έχει πάθει Αλτζχάϊμερ και τελευταία την πιάνουν και κρίσεις σχιζοφρένειας και έχει κι᾽ άλλα προβλήματα υγείας, Και τα γηροκομεία δεν δέχονται τὀσο επιβαρυμένους ασθενείς. Το πρὀβλημα είναι ότι δεν είχα προβλέψει να έχω αρκετό ρευστό στο λογαριασμό μου, διότι έπιασε ξαφνικά η οικονομική κρίση. Παρόλο που έχω αρκετή περιουσία, και τα πουλώ όλα όσο όσο τόσο καιρό, έχω μείνει χωρίς ρευστό(χρήματα) και δέν έχουμε πια να φάμε, κι´η πιστωτική μου κάρτα με 22% επιτόκιο γεμάτη κι´ας δανείζονται με 1%, κι´άλλα έξοδα που τρέχουν. Ζω πια συνέχεια μιά ζωή δράμα.
2) Τώρα τελευταία δυστυχώς έχω νέα σοβαρότατα δικά μου προβλήματα υγείας.
Δεν έχω καμμία λύση μπρος μου. Περιουσία αρκετή αλλά ρευστό καθόλου, οπότε χωρίς φαγητό τι γίνεται ? Μήπως ξέρει κανείς καμμία λύση.
Ισχυροί της γης γιά την οικονομική κρίση που δημιουργήσατε θέλετε κρέμασμα και σας είναι λίγο.
Μη μείνει απ´ αυτούς κανείς.
1) Τον κόσμο αυτό αν θες να φτιάξεις πρέπει ν΄αλλάξεις τη δομή, πρωτού λόγω της απραξίας μας μας αφανίσει η παρακμή, μας κυβερνούν οι λωποδύτες, οι τραπεζίτες κι´ οι αγιογδύτες κι´ όλοι τους οι υποτακτικοί.
R. Δίχως έλεος λοιπόν, δίχως οίκτο, κτύπα τους πριν αφανιστείς, γιατί αλλιώς μεσ´ στη μιζέρια και μεσ´ στο άδικο θα ζεις, δίχως έλεος λοιπόν, δίχως οίκτο, μη μείνει απ´ αυτούς κανείς.
2) Λέει η εντολή ου αυτοκτονήσεις, μα κατ´ ανάγκη αυτοκτονείς, χτύπα τους πριν σε αφανίσουν, εγκληματείς που αδρανείς, της ηθικής μας απραξίας όπως και της νωθρότητάς μας πια ας μην είμαστ´ ασθενείς.
MNA–Unprecedented, for Greece, percentages of depression and suicidal tendencies have been recorded in the Greece society, as well as anxiety and despair, in the past two years due to the economic recession, unemployment and the sense of insecurity, psychiatrists told a press conference on Thursday evening ahead of the 38th annual Panhellenic Medical Congress to be held in Athens next week.
Suicides climbed by 22 percent in the two-year period 2009-2011, while the number of people seeking help in support services have jumped by 20-30 percent.amna
According to Professor Eleftherios Lykouras, director of the Psychiatric Clinic of Attikon Hospital, children, even pre-schoolers, have been affected by the heavy climate, with the number of children requiring psychiatric care increasing by 10-15 percent in the two-year period. He said that most of the children are taken to hospital pediatric departments with intense headaches and stomach pains and pains in their extremities, with the diagnosis resulting from test results indicating a psychological, stress-related factor.amna
He said the reduction in incomes, unemployment and financial difficulties are risk factors for the occurrence of depression symptoms, while the debt is proving to be a critical factor in the link between financial difficulty and depression.amna
Further, fear, insecurity and uncertainty for the future are psychological effects connected with the economic parameters and can also lead to depression.
(Reuters) – On Monday, a 38-year-old geology lecturer hanged himself from a lamp post in Athens and on the same day a 35-year-old priest jumped to his death off his balcony in northern Greece. On Wednesday, a 23-year-old student shot himself in the head.
In a country that has had one of the lowest suicide rates in the world, a surge in the number of suicides in the wake of an economic crisis has shocked and gripped the Mediterranean nation – and its media – before a May 6 election.
The especially grisly death of pharmacist Dimitris Christoulas, who shot himself in the head on a central Athens square because of poverty brought on by the crisis that has put millions out of work, was by far the most dramatic.
Before shooting himself during morning rush hour on April 4 on Syntagma Square across from the Greek parliament building, the 77-year-old pensioner took a moment to jot down a note.
“I see no other solution than this dignified end to my life so I don’t find myself fishing through garbage cans for sustenance,” wrote Christoulas, who has since become a national symbol of the austerity-induced pain that is squeezing millions.
Greek media have since reported similar suicides almost daily, worsening a sense of gloom going into next week’s election, called after Prime Minister Lucas Papademos’s interim government completed its mandate to secure a new rescue deal from foreign creditors by cutting spending further.
Some medical experts say this form of political suicide is a reflection of the growing despair and sense of helplessness many feel. But others warn the media may be amplifying the crisis mood with its coverage and numbers may only be up slightly.
“The crisis has triggered a growing sense of guilt, a loss of self-esteem and humiliation for many Greeks,” Nikos Sideris, a leading psychoanalyst and author in Athens, told Reuters.
“Greek people don’t want to be a burden to anyone and there’s this growing sense of helplessness. Some develop an attitude of self-hatred and that leads to self-destruction. That’s what’s behind the increase in suicide and attempted suicide. We’re seeing a whole new category: political suicides.”
Police said the geology lecturer, Nikos Polyvos, who hanged himself, was distraught because a teaching job offer had been blocked due to a blanket hiring freeze in the public sector.
A blind protester shouts against anti-austerity measures during a protest near the Prime Ministers office in Athens, on February 21, 2012. (AP Photo/Dimitri Messinis)
NATION IN SHOCk
Experts say the numbers are relatively low – less than about 600 per year. But increases in suicides, attempted suicides, the use of anti-depressant medication and the need for psychiatric care are causing alarm in a nation unaccustomed to the problems.
Before the financial crisis began wreaking havoc in 2009, Greece had one of the lowest suicide rates in the world – 2.8 per 100,000 inhabitants. There was a 40 percent rise in suicides in the first half of 2010, according to the Health Ministry.
There are no reliable statistics on 2011 but experts say Greece’s suicide rate has probably doubled to about 5 per 100,000. That is still far below levels of 34 per 100,000 seen in Finland or 9 per 100,000 in Germany. Attempted suicides and demand for psychiatric help has risen as Greece struggles to cope with the worst economic crisis since World War Two.
Nikiforos Angelopoulos, a professor of psychiatry, has a busy psychotherapy practice in an upmarket Athens neighbourhood. He said the crisis has exacerbated the problems for some already less stable people and estimates that about five percent of his patients have developed problems due to the crisis.
“We’re a nation in shock,” he said, even though he suspected that it was the media coverage of suicides that had increased dramatically rather than the actual numbers of suicides. He nevertheless says the crisis is behind a notable rise in mental health problems in Greece.
“I had one patient who came in with a severe depression – he owns a furniture making company that got into financial trouble and he had to lay off 20 of his 100 workers,” he said. “He couldn’t sleep and couldn’t eat because of that. He said his good business was being ruined and he couldn’t cope anymore.”
The furniture maker spent four months in therapy and was also helped by anti-depressants, Angelopoulos said.
“He’s better now. He realised what happened just happened. But there are many others who are unstable or psychotic to begin with and the crisis is increasing their anxiety and insecurity.”
Angelopoulos, 60, has also suffered himself because about 20 percent of his patients can no longer afford his 100 euro ($130) per hour sessions. Some have asked for a half-price discount while others tell him they simply can’t afford to pay anything.
“I never turn people away,” he said. “If a patient says to me ‘I have no money’, I couldn’t tell them to go away. I tell them okay you don’t have to pay now but remember me later.”
HAPPY GREEKS?
There are several possible explanations for Greece’s low suicide rate that go beyond the fact that the country has an abundance of sunshine and balmy weather.
To avoid stigmatising their families, some suicidal Greeks deliberately crash their cars, which police often charitably report as accidents. Families often try to cover up a suicide so their loved ones can’t be buried because the Greek Orthodox church refuses to officiate at burials of people who commit suicide.[…….]
Another important factor behind the low suicide rate is that Greeks have extremely close knit families as well as a highly communicative and expressive culture.
“Greece is a country where everyone will talk to you,” said Sideris, the Athens psychoanalyst. “You’ll always find someone to share your suffering with and someone’s always there to help.
“It’s not only the good weather. It’s the powerful network of support that has made the suicide rate in Greece so low. It’s still there but this crisis is still too much for some people.”
H Δικη των υπαιτιων της Χουντας στην Ελλαδα documentary
The trial of the colonels in charge of the Junta Militar in Greece 1967-1974
Πρόκειται για μια ταινία ντοκιμαντέρ η οποία αναφέρεται στην δίκη των πραξικοπηματιών της 21ης Απριλίου του 1967. Προβάλλονται ντοκουμέντα από την εν λόγω δίκη με τις απολογίες του Παπαδόπουλου, του Αγγελή, του Πατακού κ.ά.
Ο σκηνοθέτης ενδιάμεσα απ’ τις σκηνές της δίκης παραθέτει ιστορικά ντοκουμέντα που φανερώνουν πως φτάσαμε στην Χούντα του 1967 (μεταξικό καθεστώς, Δεκεμβριανά, Εμφύλιος, δίκη Μπελλογιάννη, δολοφονία Λαμπράκη κ.ά.).
Από τον φακό περνάνε σχεδόν όλοι οι πρωταγωνιστές εκείνης της ταραγμένης περιόδου όπως ο τέως βασιλιάς Κωνσταντίνος, ο Μίκης Θεοδωράκης, ο Ιωάννης Μεταξάς, ο Γεώργιος και ο Ανδρέας Παπανδρέου, η Μελίνα Μερκούρη και πολλοί άλλοι.
Πρόκειται για ένα πολύ καλό ιστορικό ντοκιμαντέρ που παραχωρεί στην κρίση του θεατή πρωτογενές ιστορικό υλικό προς μελέτη.
Η ταινία είναι σκηνοθετημένη από τον Θεοδόση Θεοδοσόπουλο. Η μουσική είναι του Γιώργου Γιαννουλάτου με βασική ερμηνεύτρια την Άλκηστις Πρωτοψάλτη.
Κυκλοφόρησε το 1981.
So where is Greece right now? Where is Democracy right now?Right in the hands of the extremist party of Golden Dawn
Theodorakis-Elitis in German? Yup is possible if ALL of us are willing to
/code>
Odysseas Elytis (Greek: Οδυσσέας Ελύτης, born Οδυσσέας Αλεπουδέλλης; November 2, 1911 – March 18, 1996) was regarded as a major exponent of romantic modernism in Greece and the world. In 1979 the Nobel Prize in Literature was bestowed on him.
Contents
1 Biography
1.1 The war
1.2 Programme director for ERT
1.3 Travels
1.4 Death
2 The Poetry of Elytis
3 Works
3.1 Poetry
3.2 Prose, essays
3.3 Translations
4 Reference works
5 Translations of Elytis’ work
6 References
7 External links
Biography
Descendant of the Alepoudelis, an old industrial family from Lesbos, Elytis was born in Heraklion on the island of Crete, on November 2, 1911. His family later moved to Athens, where the poet graduated from high school and later attended courses as an auditor at the Law School at University of Athens.
In 1935 Elytis published his first poem in the journal New Letters (Νέα Γράμματα) at the prompting of such friends as George Seferis. His entry with a distinctively earthy and original form assisted to inaugurate a new era in Greek poetry and its subsequent reform after the Second World War.
From 1969–1972, under the Greek military junta of 1967–1974, Elytis exiled himself to Paris. He was romantically linked to the lyricist and musicologist Mariannina Kriezi, who subsequently produced and hosted the legendary children’s radio broadcast “Here Lilliput Land”. Elytis was intensely private and vehemently solitary in pursuing his ideals of poetic truth and experience.
The war
In 1937 he served his military requirements. As an army cadet, he joined the National Military School in Corfu. During the war he was appointed Second Lieutenant, placed initially at the 1st Army Corps Headquarters, then transferred to the 24th Regiment, on the first-line of the battlefields. Elytis was sporadically publishing poetry and essays after his initial foray into the literary world.
He was a member of the Association of Greek Art Critics, AICA-Hellas, International Association of Art Critics.[1]
Programme director for ERT
He was twice Programme Director of the Greek National Radio Foundation (1945–46 and 1953–54), Member of the Greek National Theatre’s Administrative Council, President of the Administrative Council of the Greek Radio and Television as well as Member of the Consultative Committee of the Greek National Tourist’s Organisation on the Athens Festival. In 1960 he was awarded the First State Poetry Prize, in 1965 the Order of the Phoenix and in 1975 he was awarded the Doctor Honoris Causa in the Faculty of Philosophy at Thessaloniki University and received the Honorary Citizenship of the Town of Mytilene.
Travels
During the years 1948–1952 and 1969–1972 he settled in Paris. There, he audited philology and literature seminars at the Sorbonne and was well received by the pioneers of the world’s avant-garde (Reverdy, Breton, Tzara, Ungaretti, Matisse, Picasso, Francoise Gilot, Chagall, Giacometti) as Tériade’s most respected friend. Teriade was simultaneously in Paris publishing works with all the renowned artists and philosophers (Kostas Axelos, Jean Paul Sartre, Francoise Gilot, René Daumal) of the time. Elytis and Teriade had formed a strong friendship that solidified in 1939 with the publication of Elytis first book of poetry entitled “Orientations”. Both Elytis and Teriade hailed from Lesbos and had a mutual love of the Greek painter Theophilos. Starting from Paris he travelled and subsequently visited Switzerland, England, Italy and Spain. In 1948 he was the representative of Greece at the International Meetings of Geneva, in 1949 at the Founding Congress of the International Art Critics Union in Paris and in 1962 at the Incontro Romano della Cultura in Rome.
In 1961, upon an invitation of the State Department, he traveled through the U.S.A.; and —upon similar invitations— through the Soviet Union in 1963 and Bulgaria in 1965.
Death
Odysseas Elytis had been completing plans to travel overseas when he died in Athens on 18 March 1996, at the age of 84. He was survived by his niece Myrsene and his older brother Evangelos, who received a writ of condolence from the mayor of Athens on behalf of the nation at the funeral at the First National Cemetery.
The Poetry of Elytis
Relief depicting Odysseas Elytis in the Venetian loggia of Heraklion, Crete.
Elytis’ poetry has marked, through an active presence of over forty years, a broad spectrum of subject matter and stylistic touch with an emphasis on the expression of that which is rarefied and passionate. He borrowed certain elements from Ancient Greece and Byzantium but devoted himself exclusively to today’s Hellenism, of which he attempted—in a certain way based on psychical and sentimental aspects—to reconstruct a modernist mythology for the institutions. His main endeavour was to rid people’s conscience from unjustifiable remorses and to complement natural elements through ethical powers, to achieve the highest possible transparency in expression and finally, to succeed in approaching the mystery of light, the metaphysics of the sun of which he was a “worshiper” -idolater by his own definition. A parallel manner concerning technique resulted in introducing the inner architecture, which is evident in a great many poems of his; mainly in the phenomenal landmark work It Is Truly Meet (Το Άξιον Εστί). This work due to its setting to music by Mikis Theodorakis as an oratorio, is a revered anthem whose verse is sung by all Greeks for all injustice, resistance and for its sheer beauty and musicality of form. Elytis’ theoretical and philosophical ideas have been expressed in a series of essays under the title The Open Papers (Ανοιχτά Χαρτιά). Besides creating poetry he applied himself to translating poetry and theatre as well as a series of collage pictures. Translations of his poetry have been published as autonomous books, in anthologies or in periodicals in eleven languages.
Works
Poetry
Orientations (Προσανατολισμοί, 1939)
Port and venetian fortress in Heraklion, Crete
Sun The First Together With Variations on A Sunbeam (Ηλιος ο πρώτος, παραλλαγές πάνω σε μιαν αχτίδα, 1943)
An Heroic And Funeral Chant For The Lieutenant Lost In Albania (Άσμα ηρωικό και πένθιμο για τον χαμένο ανθυπολοχαγό της Αλβανίας, 1946)
To Axion Esti—It Is Worthy (Το Άξιον Εστί, 1959)
Six Plus One Remorses For The Sky (Έξη και μια τύψεις για τον ουρανό, 1960)
The Light Tree And The Fourteenth Beauty (Το φωτόδεντρο και η δέκατη τέταρτη ομορφιά, 1972)
The Sovereign Sun (Ο ήλιος ο ηλιάτορας, 1971)
The Trills Of Love (Τα Ρω του Έρωτα, 1973)
The Monogram (Το Μονόγραμμα, 1972)
Step-Poems (Τα Ετεροθαλή, 1974)
Signalbook (Σηματολόγιον, 1977)
Maria Nefeli (Μαρία Νεφέλη, 1978)
Three Poems under a Flag of Convenience (Τρία ποιήματα με σημαία ευκαιρίας 1982)
Diary of an Invisible April (Ημερολόγιο ενός αθέατου Απριλίου, 1984)* Krinagoras (Κριναγόρας, 1987)
The Little Mariner (Ο Μικρός Ναυτίλος, 1988)
The Elegies of Oxopetra (Τα Ελεγεία της Οξώπετρας, 1991)
West of Sadness (Δυτικά της λύπης, 1995)
Eros, Eros, Eros: Selected and Last Poems (Copper Canyon Press, 1998) (translated by Olga Broumas)
Prose, essays
The True Face and Lyrical Bravery of Andreas Kalvos (Η Αληθινή φυσιογνωμία και η λυρική τόλμη του Ανδρέα Κάλβου, 1942)
2×7 e (collection of small essays) (2χ7 ε (συλλογή μικρών δοκιμίων))
(Offering) My Cards To Sight (Ανοιχτά χαρτιά (συλλογή κειμένων), 1973)
The Painter Theophilos (Ο ζωγράφος Θεόφιλος, 1973)
The Magic Of Papadiamantis (Η μαγεία του Παπαδιαμάντη, 1975)
Report to Andreas Empeirikos (Αναφορά στον Ανδρέα Εμπειρίκο, 1977)
Things Public and Private (Τα Δημόσια και τα Ιδιωτικά, 1990)
Private Way (Ιδιωτική Οδός, 1990)
Carte Blanche («Εν λευκώ» (συλλογή κειμένων), 1992)
The Garden with the Illusions (Ο κήπος με τις αυταπάτες, 1995)
Open Papers: Selected Essays, (Copper Canyon Press, 1995) (translated by Olga Broumas and T. Begley)
Translations
Second Writing (Δεύτερη γραφή, 1976)
Sappho (Σαπφώ)
The Apocalypse (by John) (Η αποκάλυψη, 1985)
Reference works
Mario Vitti: Odysseus Elytis. Literature 1935–1971 (Icaros 1977)
Tasos Lignadis: Elytis’ Axion Esti (1972)
Lili Zografos: Elytis – The Sun Drinker (1972); as well as the special issue of the American magazine Books Abroad dedicated to the work of Elytis (Autumn 1975. Norman, Oklahoma, U.S.A.)
Odysseas Elytis: Analogies of Light. Ed. I. Ivask (1981)
A. Decavalles: Maria Nefeli and the Changeful Sameness of Elytis’ Variations on a theme (1982)
E. Keeley: Elytis and the Greek Tradition (1983)
Ph. Sherrard: ‘Odysseus Elytis and the Discovery of Greece’, in Journal of Modern Greek Studies, 1(2), 1983
K. Malkoff: ‘Eliot and Elytis: Poet of Time, Poet of Space’, in Comparative Literature, 36(3), 1984
A. Decavalles: ‘Odysseus Elytis in the 1980s’, in World Literature Today, 62(l), 1988
Translations of Elytis’ work
Poesie. Procedute dal Canto eroico e funebre per il sottotenente caduto in Albania. Trad. Mario Vitti (Roma. Il Presente. 1952)
21 Poesie. Trad. Vicenzo Rotolo (Palermo. Istituto Siciliano di Studi Bizantini e Neoellenici. 1968)
Poèmes. Trad. Robert Levesque (1945)
Six plus un remords pourle ciel. Trad. F. B. Mache (Fata Morgana. Montpellier 1977)
Korper des Sommers. Übers. Barbara Schlörb (St. Gallen 1960)
Sieben nächtliche Siebenzeiler. Übers. Günter Dietz (Darmstadt 1966)
To Axion Esti – Gepriesen sei. Übers. Günter Dietz (Hamburg 1969)
The Axion Esti. Tr. E. Keeley and G. Savidis (Pittsburgh 1974 – Greek & English)(repr. London: Anvil Press, 1980 – English only)
The Sovereign Sun: selected poems. Tr. K. Friar (1974; repr. 1990)
Selected poems. Ed. E. Keeley and Ph. Sherrard (1981; repr. 1982, 1991)
Maria Nephele, tr. A. Anagnostopoulos (1981)
What I love: selected poems, tr. O. Broumas (1986) [Greek & English texts]
Early years
Mikis Theodorakis was born on the Greek island of Chios and spent his childhood years in different provincial Greek cities such as Mytilene, Cephallonia, Patras, Pyrgos and Tripoli. His father, a lawyer and a civil servant was from Galata (Crete) and his mother was from an ethnically Greek family in Çeşme (in what is today Turkey).
Theodorakis’s fascination with music began in early childhood; he taught himself to write his first songs without access to musical instruments. In Patras[17] and Pyrgos[18] he took his first music lessons, and in Tripoli, Peloponnese,[19] he gave his first concert at the age of seventeen.
He went to Athens in 1943, and became a member of a Reserve Unit of ELAS.[20] During the Greek Civil War, he was arrested, sent into exile on the island of Icaria[21] and then deported to the island of Makronisos, where he was tortured and twice buried alive.[22]
During the periods when he was not obliged to hide, not exiled or jailed, he studied from 1943 to 1950 at the Athens Conservatoire under Filoktitis Economidis,.[23] In 1950, he finished his studies and took his last two exams “with flying colours”.[24] He went to Crete, where he became the “head of the Chania Music School” and founded his first orchestra.[25] At this time he ended what he has called the first period of his musical writing.
Studies in Paris
In 1954 he travelled with his young wife Myrto Altinoglou to Paris where he entered the Conservatory and studied musical analysis under Olivier Messiaen[26] and conducting under Eugene Bigot.[27] His time in Paris, 1954–1959, was his second period of musical writing and a time of intense artistic creation.
His symphonic works: a Piano concerto, his first suite, his first symphony, and his scores for the ballet: Greek Carnival, Le Feu aux Poudres, Les Amants de Teruel, received international acclaim. In 1957, he won the Gold Medal in the Moscow Music Festival; President of the Jury was Dmitri Shostakovitch. In 1959, after the successful performances of Theodorakis’s ballet Antigone at Covent Garden in London, the French composer Darius Milhaud proposed him for the American Copley Music Prize – an award of the “William and Noma Copley Foundation”,[28] which later changed its name to “Cassandra Foundation” – as the “Best European Composer of the Year”. His first international scores for the film Ill Met by Moonlight and Luna de Miel, directors: Michael Powell and Emeric Pressburger, were also very successful: The Honeymoon title song became part of the repertoire of The Beatles.
Notable works up to 1960
Chamber Music: Four String Quartets; Trio four piano, violin, cello; Little Suite for piano; Sonatina for piano; Sonatinas No.1 and No.2 for violin and piano;
Symphonic music: Assi-Gonia (symphonic movement; Piano Concerto “Helicon”; Symphony No.1 (Proti Simfonia); Suites n° 1, 2 et 3 for orchestre; La Vie et la Mort / Live and Death (for voice and strings); Œdipus Tyrannos (for strings; later for quartet and symphony orchestra); Piano Concerto;
Ballets: Greek Carnival; Le Feu aux Poudres; Les Amants de Teruel; Antigone;
Filmscores: The Barefoot Battalion (Greg Tallas); Ill Met by Moonlight and Honeymoon (Powell and Pressburger); Faces in the Dark (David Eady).
Back to Greek roots
Mikis Theodorakis shortly after his return to Greece, 1961.
In 1960, Theodorakis returned to Greece and his roots in genuine Greek music: With his song cycle Epitaphios he started the third period of his composing and contributed to a cultural revolution in his country.[29] His most significant and influential works are based Greek and world poetry – Epiphania (Giorgos Seferis), Little Kyklades (Odysseas Elytis), Axion Esti (Odysseas Elytis), Mauthausen (Iakovos Kambanellis), Romiossini (Yannis Ritsos), and Romancero Gitano (Federico García Lorca) – he attempted to give back to Greek music a dignity which in his perception it had lost. He developed his concept of “metasymphonic music” (symphonic compositions that go beyond the “classical” status and mix symphonic elements with popular songs, Western symphonic orchestra and Greek popular instruments).
He founded the Little Orchestra of Athens and the Musical Society of Piraeus, gave many, many concerts all around Greece and abroad… and he naturally became involved in the politics of his home country. After the assassination of Gregoris Lambrakis in May 1963 he founded the Lambrakis Democratic Youth (“Lambrakidès”) and was elected its president.[30] Under Theodorakis’s impetus, it started a vast cultural renaissance movement and became the greatest political organisation in Greece with more than 50.000 members.[31] Following the 1964 elections, Theodorakis became a member of the Greek Parliament, associated with the left-wing party EDA. Because of his political ideas, the composer was black-listed by the cultural establishment; at the time of his biggest artistic glory, a large number of his songs were censored-before-studio or were not allowed on the radio stations.[32]
During 1964, he wrote the music for the Michael Cacoyiannis film Zorba the Greek, whose main theme, since then, exists as a trademark for Greece. It is also known as ‘Syrtaki dance’; inspired from old Cretan traditional dances.
Main works of this period
Song cycles: Epitaphios (Yannis Ritsos); Archipelagos (Songs of the Islands), Politia A & B (Songs of the City), Epiphania (Giorgos Seferis, Nobel Prize 1963), Mikres Kyklades (Odysseas Elytis), Chrysoprasino Fyllo (Golden-green leaf), Mauthausen (Iakovos Kambanellis), Romiossini (Yannis Ritsos), Thalassina Feggaria (Moons of the Sea)
Oratorio: To Axion Esti[33] (Odysseas Elytis, Nobel Prize 1979), cf. Theodorakis on Axion Esti[34]
Music for the Stage: The Hostage (Brendan Behan); Ballad of the Dead Brother (Theodorakis); Omorphi Poli (Beautiful City); Maghiki Poli (Magical City); I Gitonia ton Angelon(The Angels’ Quarter, Iakovos Kambanellis)
Film scores: Phaedra (Jules Dassin), The Lovers of Teruel (Raymond Rouleau), Five Miles to Midnight (Anatole Litvak), Electra and Zorba the Greek (Michalis Cacoyannis), To Nisi tis Afroditis (Harilaos Papadopoulos)
During the dictatorship
Photo of Mikis Theodorakis
M. Theodorakis (1971)
On 21 April 1967 a right wing junta (the Regime of the Colonels) took power in a putsch. Theodorakis went underground and founded the “Patriotic Front” (PAM). On 1 June, the Colonels published “Army decree No 13”, which banned playing, and even listening to his music. Theodorakis himself was arrested on 21 August,[35] and jailed for five months. Following his release end of January 1968, he was banished in August to Zatouna with his wife Myrto and their two children, Margarita and Yorgos.[36] Later he was interned in the concentration camp of Oropos.[37] An international solidarity movement, headed by such personalities as Dmitri Shostakovich, Leonard Bernstein, Arthur Miller, and Harry Belafonte demanded to get Theodorakis freed. On request of the French politician Jean-Jacques Servan-Schreiber, Theodorakis was allowed to go into exile to Paris on 13 April 1970. Theodorakis’s flight left very secretly from an Onassis owned private airport outside Athens. Theodorakis arrived at Le Bourget Airport where he met Costa Gavras, Melina Mercouri and Jules Dassin. Theodorakis was immediately hospitalized because he suffered from lung tuberculosis.[38] Myrto Theodorakis, Mikis’s wife and two children joined him a week later in France. They arrived from Greece to France via Italy on a boat.[39]
Main works under the dictatorship
Song cycles: Ta Laïka (The Popular Songs, Manos Elefteriou);[40] O Ilios ke o Chronos (Sun and Time, Theodorakis); Songs for Andreas (Theodorakis); Arcadies I-X; Nichta Thanatou (Nights of Death, Manos Elefteriou);
Oratorios: Ephiphania Averoff Giorgos Seferis, State of Siege (Marina = Rena Hadjidakis), March of the Spirit (Angelos Sikelianos), Raven (Giorgos Seferis, after Edgar Allan Poe);
Film score: Z (Costa-Gavras).
Resistance in exile
While in exile, Theodorakis fought during four years for the overthrow of the colonels. He started his world tours and gave thousands of concerts on all continents as part of his struggle for the restoration of democracy in Greece.
Mikis Theodorakis at a concert in Caesarea, Israel, in the 1970s.
He met Pablo Neruda and Salvador Allende and promised them to compose his version of Neruda’s Canto General. He was received by Gamal Abdel Nasser and Tito, Yigal Allon and Yasser Arafat, while François Mitterrand,[41] Olof Palme and Willy Brandt became his friends. For millions of people, Theodorakis was the symbol of resistance against the Greek dictatorship.[42]
Main works written in exile
1. Song cycles: 18 lianotragouda tis pikris patridas (18 Short Songs of the Bitter Land, Yiannis Ritsos), Ballades (Manolis Anagnostakis), Tis exorias (Songs of the Exile)
2. Oratorio: Canto General (Pablo Neruda)
3. Film scores: The Trojan Women (M. Cacoyannis); State of Siege (Costa-Gavras); Serpico (Sidney Lumet)
Return to Greece
Theodorakis on a visit in East Germany, May 1989.
After the fall of the Colonels, Mikis Theodorakis returned to Greece on 24 July 1974 to continue his work and his concert tours, both in Greece and abroad.[43] At the same time he participated in public affairs. In 1978, through his article For a United Left Wing, he had “stirred up the Greek political life. His proposal for the unification of the three parties of the former United Left – which had grown out of the National Liberation Front (N.L.F.) – had been accepted by the Greek Communist Party which later proposed him as the candidate for mayor of Athens during the 1978 elections.” (Andreas Brandes)[44] He was later elected several times to the Greek Parliament (1981–1986 and 1989–1993) and for two years, from 1990 to 1992, he was a minister in the government of Constantine Mitsotakis. After his resignation as a member of Greek parliament, he was appointed General Musical Director of the Choir and the two Orchestras of the Hellenic State Radio (ERT),[disambiguation needed] which he reorganised and with which he undertook successful concert tours abroad.[45]
He is committed to heightening international awareness of human rights, of environmental issues, and of the need for peace and for this reason he initiated, together with the Turkish author, musician, singer, and filmmaker Zülfü Livaneli,[46] the Greek–Turkish Friendship Society.[47]
From 1981, Theodorakis had started the fourth period of his musical writing, during which he returned to the symphonic music, while still going on to compose song-cycles. His most significant works written in these years are his Second, Third, Fourth and Seventh Symphony, most of them being first performed in the former German Democratic Republic between 1982 and 1989. It was during this period that he received the Lenin Peace Prize. He composed his first opera Kostas Kariotakis (The Metamorphoses of Dionysus) and the ballet Zorba the Greek, premièred in the Arena of Verona during the Festival Verona 1988. During this period, he also wrote the five volumes of his autobiography: The Ways of the Archangel (Οι δρόμοι του αρχάγγελου).
In 1989, he started the fifth period, the last, of his musical writing: He composed three operas (lyric tragedies) Medea, first performed in Bilbao (1 October 1991), Elektra, first performed in Luxembourg (2 May 1995) and Antigone, first performed in Athens’ Megaron Moussikis (7 October 1999). This trilogy was complemented by his last opera Lysistrata, first performed in Athens (14 April 2002): a call for peace… With his operas, and with his song cycles from 1974 to 2006, Theodorakis ushered in the period of his Lyrical Life.
For a period of 10 years, Alexia Vassiliou teamed up with Mikis Theodorakis and his Popular Orchestra. During that time, and as a tribute to Theodorakis’s body of work, Vassiliou recorded a double album showcasing some of the composer’s most consummate musical creations, and in 1998, Sony BMG released the album entitled Alexia–Mikis Theodorakis.
Theodorakis is Doctor honoris causa of several universities, including Montreal, Thessaloniki, and Crete, and was nominated for the Nobel Prize for Peace in 2000.
Theodorakis holding hands with Turkish Prime Minister Recep Tayyip Erdoğan and Greek Prime Minister George Papandreou
Now he lives in retirement, reading, writing, publishing arrangements of his scores, texts about culture and politics. On occasions he still takes position: in 1999, opposing NATO’s Kosovo war and in 2003 against the Iraq War. In 2005, he was awarded the Sorano Friendship and Peace Award, the Russian International St.-Andrew-the-First-Called Prize, the insignia of Grand Officer of the Order of Merit of Luxembourg, and the IMC UNESCO International Music Prize, while already in 2002 he was honoured in Bonn with the Erich Wolfgang Korngold Prize for film music at the International Film Music Biennial in Bonn[48] (cf also: Homepage of the Art and Exhibition Hall Bonn).[49] In 2007, he received a Lifetime Achievement Award at the distribution of the World Soundtrack Awards in Ghent.[50]
A final set of songs entitled: Odysseia was composed by utilizing poetry written by Costas Kartelias for lyrics. Created in 2007, Theodorakis achieved the distinction of producing one of the largest works by any composer of any time.[51]
Main works after 1974
Song cycles: Ta Lyrika; Dionysos; Phaedra; Beatrice in Zero Street; Radar; Chairetismoi (Greetings); Mia Thalassa (A Sea Full of Music); Os archaios Anemos (Like an Ancient Wind); Lyrikotera (The More-Than-Lyric Songs); Lyrikotata (The Most Lyric Songs); Erimia (Solitude); Odysseia;
Music for the Stage: Orestia (dir.: Spyros Evangelatos); Antigone (dir.: Minos Volanakis); Medea (dir.: Spyros Evangelatos)
Film scores: Iphigenia (M. Cacoyannis), The Man with the Carnation (Nikos Tzimas)
Oratorios: Liturgia 2; Missa Greca (Thia Liturgia); Requiem;
Symphonic music and cantatas: Symphonies no 2, 3, 4, 7; According to the Sadducees; Canto Olympico; Guitar Rhapsody; Cello Rhapsody; Trumpet Rhapsody;
Operas: “The Metamorphosis of the Dionysus” (Kostas Karyotakis); Medea; Elektra; Antigone; Lysistrata.
Political views
Theodorakis has spoken out against the Iraq and Israel’s occupation of Gaza and the West Bank has condemned Greek Prime Minister George Papandreou for establishing closer relations with Israeli Prime Minister Benjamin Netanyahu, who was guilty, he said, of “war crimes in Lebanon and Gaza.”[52]
2010-2011: Calling for revolution
In December 1, 2010, Mikis Theodorakis founded “Spitha: People’s Independent Movement”, a non-political movement which calls people to gather and express their political ideas. The main goal of “Spitha” is to help Greece stay clear off its economic crisis.[53] On May 31, Mikis Theodorakis gave a speech attended by appropximately 10,000 Greeks in the center of Athens, criticising the Greek government for the loan debt it has taken from the International Monetary Fund.[54] It was also the first time in many decades that he called for revolution.[cit
CRIME DOES NOT PAY... PLUS, THE BUTLER DID IT! AND REMEMBER: WHAT DOESN'T KILL YOU, WILL -MOST LIKELY- TRY AGAIN... AND DON'T FORGET: TODAY IS A GOOD DAY FOR SOMEONE ELSE TO DIE.
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Insomniacs II 