1.
Greeks
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The Greeks or Hellenes are an ethnic group native to Greece, Cyprus, southern Albania, Turkey, Sicily, Egypt and, to a lesser extent, other countries surrounding the Mediterranean Sea. They also form a significant diaspora, with Greek communities established around the world, many of these regions coincided to a large extent with the borders of the Byzantine Empire of the late 11th century and the Eastern Mediterranean areas of ancient Greek colonization. The cultural centers of the Greeks have included Athens, Thessalonica, Alexandria, Smyrna, most ethnic Greeks live nowadays within the borders of the modern Greek state and Cyprus. The Greek genocide and population exchange between Greece and Turkey nearly ended the three millennia-old Greek presence in Asia Minor, other longstanding Greek populations can be found from southern Italy to the Caucasus and southern Russia and Ukraine and in the Greek diaspora communities in a number of other countries. Today, most Greeks are officially registered as members of the Greek Orthodox Church, the Greeks speak the Greek language, which forms its own unique branch within the Indo-European family of languages, the Hellenic. They are part of a group of ethnicities, described by Anthony D. Smith as an archetypal diaspora people. Both migrations occur at incisive periods, the Mycenaean at the transition to the Late Bronze Age, the Mycenaeans quickly penetrated the Aegean Sea and, by the 15th century BC, had reached Rhodes, Crete, Cyprus and the shores of Asia Minor. Around 1200 BC, the Dorians, another Greek-speaking people, followed from Epirus, the Dorian invasion was followed by a poorly attested period of migrations, appropriately called the Greek Dark Ages, but by 800 BC the landscape of Archaic and Classical Greece was discernible. The Greeks of classical antiquity idealized their Mycenaean ancestors and the Mycenaean period as an era of heroes, closeness of the gods. The Homeric Epics were especially and generally accepted as part of the Greek past, as part of the Mycenaean heritage that survived, the names of the gods and goddesses of Mycenaean Greece became major figures of the Olympian Pantheon of later antiquity. The ethnogenesis of the Greek nation is linked to the development of Pan-Hellenism in the 8th century BC, the works of Homer and Hesiod were written in the 8th century BC, becoming the basis of the national religion, ethos, history and mythology. The Oracle of Apollo at Delphi was established in this period, the classical period of Greek civilization covers a time spanning from the early 5th century BC to the death of Alexander the Great, in 323 BC. It is so named because it set the standards by which Greek civilization would be judged in later eras, the Peloponnesian War, the large scale civil war between the two most powerful Greek city-states Athens and Sparta and their allies, left both greatly weakened. Many Greeks settled in Hellenistic cities like Alexandria, Antioch and Seleucia, two thousand years later, there are still communities in Pakistan and Afghanistan, like the Kalash, who claim to be descended from Greek settlers. The Hellenistic civilization was the period of Greek civilization, the beginnings of which are usually placed at Alexanders death. This Hellenistic age, so called because it saw the partial Hellenization of many non-Greek cultures and this age saw the Greeks move towards larger cities and a reduction in the importance of the city-state. These larger cities were parts of the still larger Kingdoms of the Diadochi, Greeks, however, remained aware of their past, chiefly through the study of the works of Homer and the classical authors. An important factor in maintaining Greek identity was contact with barbarian peoples and this led to a strong desire among Greeks to organize the transmission of the Hellenic paideia to the next generation
2.
Bouzouki
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A mainstay of modern Greek music, the front of the body is flat and is usually heavily inlaid with mother-of-pearl. The instrument is played with a plectrum and has a metallic sound, reminiscent of a mandolin. There are two types of bouzouki. The trichordo has three pairs of strings, and the tetrachordo has four pairs of strings and it is in the same instrumental family as the mandolin and the lute. The type of the instrument used in Rembetika music was a three-stringed instrument, the Greek bouzouki is a plucked musical instrument of the lute family, called the thabouras or tambouras family. The tambouras has existed in ancient Greece as pandoura, and can be found in sizes, shapes, depths of body, lengths of neck. The bouzouki and the baglamas are the direct descendants, the Greek marble relief, known as the Mantineia Base, dating from 330-320 BC, shows a muse playing a variant of the pandoura. From Byzantine times it was called pandouras and then tambouras, on display in the National Historical Museum of Greece is the tambouras of a hero of the Greek revolution of 1821, General Makriyiannis. Other sizes have appeared and include the Greek instrument tzouras, an instrument smaller in size than standard bouzouki, following the 1919–1922 war in Asia Minor and the subsequent exchange of populations between Greece and Turkey, the ethnic Greeks fled to Greece. The early bouzoukia were mostly three-string, with three courses and were tuned in different ways, as to the scale one wanted to play, at the end of the 1950s, four-course bouzoukia started to gain popularity. The four-course bouzouki was made popular by Manolis Chiotis, who used a tuning akin to standard guitar tuning. However it allowed for greater virtuosity and helped elevate the bouzouki into a popular instrument capable of a wide range of musical expression. Recently the 3 course bouzouki has gained in popularity, the first recording with the 4-course instrument was made in 1956. This is the style of bouzouki, introduced around 1900. It has fixed frets and 6 strings in three pairs, in the lower-pitched course, the pair consists of a thick wound string and a thin string, tuned an octave apart. The conventional modern tuning of the bouzouki is D3 D4•A3 A3•D4 D4. This tuning was called the European tuning by Markos Vamvakaris, who mentioned several other tunings, or douzenia, the illustrated bouzouki was made by Karolos Tsakirian of Athens, and is a replica of a trichordo bouzouki made by his grandfather for Markos Vamvakaris. The absence of the heavy mother-of-pearl ornamentation often seen on modern bouzoukia is typical of bouzoukia of the period and it has tuners for eight strings, but has only six strings, the neck being too narrow for eight
3.
Rebetiko
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Rebetiko briefly can be described as the urban popular song of the Greeks, especially the poorest, from the late 19th century to the 1950s. The word rebetiko is a form derived from the Greek word rebetis. The word rebetis is today construed to mean a person who embodies aspects of character, dress, behavior, morals, the word is closely related, but not identical in meaning, to the word mangas, which means strong guy that needs correction. The earliest source of the word to date is to be found in a Greek-Latin dictionary published in Leyden, Holland in 1614 where the word ῥεμπιτός is defined as a wanderer, blind, misguided, etc. The melodies of most rebetiko songs are often considered to follow one or more dromoi (Greek for roads or routes. The names of the dromoi are derived in all but a few cases from the names of various Turkish modes, furthermore, rebetika has come to be played on instruments tuned in equal temperament, in direct conflict with the more complex pitch divisions of the makam system. During the later period of the rebetiko revival there has been a cultural entente between Greek and Turkish musicians, mostly of the younger generations. This portion of the repertoire was played almost exclusively on the instruments of Smyrneika/Ottoman café music, such as kanonaki, santouri, politikí lyra, tsimbalo. The scales used in music are the traditional western major and minor scales, such as a series of eastern makams. Some of them include rast, uşşâk, hijaz, saba, most rebetiko songs are based on traditional Greek or Anatolian dance rhythms. Most common are, Syrtos, a name for many Greek dances, Zeibekiko. There is one component within the tradition which is common to many musical styles within Eastern musical spheres. This is the freely improvised unmeasured prelude, within a given dromos/makam and this is known in Greek as taxim or taximi after the Arabic word usually transliterated as taqsim or taksim. The first rebetiko songs to be recorded, as mentioned above, were mostly in Ottoman/Smyrna style and it is a view of the studio of the Athens luthier Leonidas Gailas, whom the artist describes as Fabricatore di bossuchi. The drawing clearly shows a number of bouzouki-like instruments, despite this evidence, we still know nothing of the early history of instruments association with what came to be called rebetiko. This recording, reissued for the first time in 2013, reveals a folk melodic style never recorded before or since, the first recording to feature the instrument clearly in a recognisable somewhat more modern melodic role, was made in 1929, in New York. Three years later the first true bouzouki solo was recorded by Ioannis Halikias, also in New York, in Greece the bouzouki had been allowed into a studio for the very first time a few months previously, in October 1931. The amateur bouzouki player Konstandinos Kalamaras accompanied a professional Byzantine singer, Konstandinos Vorgias, and these recordings marked the real beginning of the bouzoukis recorded career in Greece, a career which continues unbroken to the present day
4.
Santur
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The santur is a hammered dulcimer of Mesopotamian origin. It is a trapezoid box zither with a body and ninety two steel strings. The strings, tuned to the pitch in groups of four, are struck with two wooden mallets called midhrab. The tuning of these sets of strings extends from the lower yakah up to jawab jawab husayni. The bridges are called dama because they look like pawns and it is also thought that the name is derived from Sant- Ur, meaning sound of Ur in Sumerian. It is native to Iraq, India, Pakistan, Turkey and it is the main instrument used in the classical Maqam al-iraqi tradition along with the Iraqi spike fiddle joza. The instrument was brought to Europe by the Arabs through North Africa and Spain during the Middle Ages, the Iraqi santur has, since its inception, been fully chromatic allowing for full maqam modulations. It uses 12 bridges of steel strings on both sides, and has three bridges, B half flat qaraar, E half flat and B half flat jawaab. The non-standard version of the Iraqi santur includes extra bridges so that no need to move those three bridges. However, playing it is a bit harder than playing the standard 12-bridge santur, for a video demonstration, see Wesam al-Azzawys video links in the sections below. The santur was invented in Mesopotamia and this instrument was traded and traveled to different parts of the middle east and each country customized and designed their own versions to adapt to their musical scales and tunings. The original santur was made with bark, stones and stringed with goat intestines. The Mesopotamian santur is also the father of the harp, the Chinese yangqin, the harpsichord, the qanun, the cimbalom, the Music of the Arabs, trans. Childrens Book of Music ISBN 978-0-7566-6734-4 Duchesne-Guillemin, Marcelle, sur la restitution de la musique hourrite. A Hurrian Musical Score from Ugarit, The Discovery of Mesopotamian Music, Sources from the Ancient Near East, the Origin of Music, A Theory of the Universal Development of Music. Revue dassyriologie et darchéologie orientale 64, no, the Discovery of an Ancient Mesopotamian Theory of Music. Proceedings of the American Philosophical Society 115, 131–49, the Cult Song with Music from Ancient Ugarit, Another Interpretation. Reallexikon der Assyriologie und vorderasiatischen Archäologie 8, edited by Dietz Otto Edzard, the New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell
5.
Great fire of Smyrna
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The Great Fire of Smyrna or the Catastrophe of Smyrna destroyed much of the port city of Smyrna in September 1922. Eyewitness reports state that the fire began on 13 September 1922, estimated Greek and Armenian deaths resulting from the fire range from 10,000 to 100,000. Approximately 50,000 to 400,000 Greek and Armenian refugees crammed the waterfront to escape from the fire and they were forced to remain there under harsh conditions for nearly two weeks. Turkish troops and irregulars had started committing massacres and atrocities against the Greek, the subsequent fire completely destroyed the Greek and Armenian quarters of the city, the Muslim and Jewish quarters escaped damage. Traditional Turkish sources hold that the Greeks and Armenians started the fire, testimonies from western eyewitnesses were printed in many western newspapers. The ratio of Christian population to Muslim population remains a matter of dispute, different sources claim either Greeks or Turks as constituting the majority in the city. According to Katherine Elizabeth Flemming, in 1919–1922 the Greeks in Smyrna numbered 150,000, forming just under half of the population, alongside Turks and Greeks, there were sizeable Armenian, Jewish, and Levantine communities in the city. According to Trudy Ring, before World War I the Greeks alone numbered 130,000 out of a population of 250,000, excluding Armenians and other Christians. According to the U. S. Ambassador to the Ottoman Empire at the time, Henry Morgenthau, most of the Greeks and Armenians were Christians. Moreover, according to scholars, prior to the war, the city was a center of more Greeks than lived in Athens. The Ottomans of that era referred to the city as Infidel Smyrna due to the numerous Greeks, military command was first assumed by Mürsel Pasha and then Nureddin Pasha, General of the Turkish First Army. At the outset, the Turkish occupation of the city was orderly, though the Armenian and Greek inhabitants viewed their entry with trepidation, they reasoned that the presence of the Allied fleet would discourage any violence against the Christian community. Refuge was sought wherever possible, including Paradise, where the American quarter was located, Victims of the massacres committed by the Turkish army and irregulars were also foreign citizens. The first fire broke out in the afternoon of 13 September. The blaze began in the Armenian quarter of the city, and spread due to the windy weather. When the latter asked the soldiers what they were doing, They replied impassively that they were orders to blow up. The citys fire brigade did its best to combat the fires, two firemen from the brigade, a Sgt. Tchorbadjis and Emmanuel Katsaros, would testify in court witnessing Turkish soldiers setting fire to the buildings
6.
Ios (island)
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Ios is a Greek island in the Cyclades group in the Aegean Sea. Ios is an island with cliffs down to the sea on most sides. It is about 18 kilometres long and 10 kilometres wide, with an area of 109.024 square kilometres, Ios is part of the Thira regional unit. Ios was the setting for the movie Ginger and Cinnamon, also, scenes from the film Big Blue were shot in Manganari. The Port of Ios is at the head of the Ormos harbor in the northwest, from there the bus or a 15-minute walk up the steep donkey path takes you to the village, known as Chora. Chora is a white and very picturesque cycladic village, full of stairs, today, the main path through this village is completely taken over by tourism in terms of restaurants, boutiques, bars and discothèques. Apart from the port and the village of Chora, Ios has only a few small settlements, since the 1990s, the island mayor Pousseos has worked on Ios development towards attracting different types of tourists. With the help of European Community funds some roads have been built, all of them paved, unfortunately, cultural events rarely take place up there. Excavations on Skarkos hill unearthed a prehistoric settlement, proving that Ios has been inhabited since the early Cycladic period. The architecture at Skarkos is preserved in places up to a height of almost three meters, with most of the buildings evidently having two storeys, stone-paved floors and a sewage system, numerous well-preserved pottery, tools and utensils made of metal, stone and bone were also discovered. Unfortunately, the Skarkos site remains largely unpublished, in 2008, Ios was among six European locations awarded the European Union Cultural Heritage prize for its exceptional conservation efforts at the archaeological site of Skarkos. During later times, Ios made rather few marks in history, there is no physical evidence connecting this with Homer however. There are signs of Mycenaean settlement, the north end of Ios has a ruined Venetian castle from the 15th century. The island is said to have 365 churches and chapels, like the days of the year, Ios was important enough in the Aegean insular Roman province of Insulae to become a suffragan of its capital Rhodess Metropolitan Archbishopric of Rhodes, but later faded and disappeared as a see. Its territory is now part of the Greek Orthodox Metropolis of Thera, Amorgos, the Latin diocese was nominally restored by the Roman Catholic Church as a titular bishopric in 1933. Today Mylopotas beach has been developed to an equivalent mass package tourism resort like Platys Gialos, Ios travel guide from Wikivoyage Skarkos 2001 Overview Municipality of Ios Independent Ios Greece travel website GigaCatolic with titular incumbent biography links
7.
Byzantine music
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Byzantine music, in a narrow sense, is the music of the Byzantine Empire. Originally it consisted of songs and hymns composed to Greek texts used for courtly ceremonials, during festivals, Byzantine music did not disappear after the fall of Constantinople. During the decline of the Ottoman Empire in the 19th century, the new self-declared patriarchates were independent nations defined by their religion. It was imitated by musicians of the 7th century to create Arab music as a synthesis of Byzantine and Persian music, the term Byzantine music is sometimes associated with the medieval sacred chant of Christian Churches following the Constantinopolitan Rite. The triodion created during the reform of Theodore was also translated into Slavonic which required also the adaption of melodic models to the prosody of the language. It is being discussed that in the Narthex of the Hagia Sophia an organ was placed for use in processions of the Emperor’s entourage. Nevertheless, both schools have in common a set of 4 octaves, each of them had a kyrios echos with the finalis on the degree V of the mode, and a plagios echos with the final note on the degree I. The Pythagorean sect and music as part of the four cyclical exercises which preceded the Latin quadrivium and science based on mathematics. Greek anachoretes of the early Middle Ages did still follow this education, according to him philosophy was divided into theory and practice, and the Pythagorean heritage was part of the former, while only the ethic effects of music were relevant in practice. The mathematic science harmonics was usually not mixed with the topics of a chant manual. Nevertheless, Byzantine music is modal and entirely dependent on the Ancient Greek concept of harmonics and its tonal system is based on a synthesis with ancient Greek models, but we have no sources left which explain us, how this synthesis was done. It seems that the fixed degrees became part of a new concept of the echos as melodic mode, after the echoi had been called by the ethnic names of the tropes. The bowed lyra is played in former Byzantine regions, where it is known as the Politiki lyra in Greece, the Calabrian lira in Southern Italy. The second instrument, the organ, originated in the Hellenistic world and was used in the Hippodrome in Constantinople during races, a pipe organ with great leaden pipes was sent by the emperor Constantine V to Pepin the Short King of the Franks in 757. Pepins son Charlemagne requested a similar organ for his chapel in Aachen in 812, the final Byzantine instrument, the aulos, was a double reeded woodwind like the modern oboe or Armenian duduk. Other forms include the plagiaulos, which resembled the flute, and the askaulos and these bagpipes, also known as Dankiyo, had been played even in Roman times. Dio Chrysostom wrote in the 1st century of a sovereign who could play a pipe with his mouth as well as by tucking a bladder beneath his armpit. The bagpipes continued to be played throughout the former realms down to the present
8.
Greek folk music
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Greek folk music includes a variety of Greek styles played by ethnic Greeks in Greece, Cyprus, Australia, the United States and elsewhere. Apart from the music found all-around Greece, there are distinct types of folk music. The Greek islands of Kárpathos, Khálki, Kássos and Crete form an arc where the Cretan lyra is the dominant instrument, kostas Mountakis is probably the most widely respected master of the lyra, which is often accompanied by the laouto which resembles a mandolin. Bagpipes are often played on Kárpathos, the Aegean islands of Greece are known for Nisiótika songs, Greek characteristics vary widely. Although the basis of the sound is characteristically secular-Byzantine, the isolation of the islands allowed the separate development of island-specific Greek music. Most of the songs are accompanied by lyra, clarinet, guitar. Modern stars include Yiannis Parios and the Konitopouloi, Mariza Koch is credited with reviving the field in the 1970s, Folk dances include the ballos, syrtos, sousta, chiotikos, kalymniotikos, stavrotos, lerikos, kamara, mihanikos, trata, panagia and ikariotikos. In the Aegean Cyclades, the violin is more popular than Cretan lyra, Folk dances in Cyclades include lerikos, syrtos, syrtos Serifou, syrtos Naxou, syrtos Kythnou, Amorgos dance and ballos. One of the most famous singers of music is Domna Samiou. In Dodacanese there are prominent elements of Cretan music, dodecanese folk dances include the trata, ballos, syrtos, kremasti, issos, syrtos Rodou, mihanikos and kalymnikos, with origin from the island of Kalymnos. In central Greece many folk songs make references to the klephts, the musical tradition of the region is also influenced by the Arvanites. In Epirus, folk songs are pentatonic and polyphonic, sung by male and female singers. Distinctive songs include mirolóyia, vocals with skáros accompaniment and tis távlas, Folk dances from the Peloponnese include the kalamatianos, kariatidon, monodiplos, tsakonikos, syrtos, Ai Georgis, maniatikos and diplos horos. In the songs there are references to the klephts. In Mani there is also the tradition of the μοιρολόγια mirolóyia, the Ionian Islands were never under Ottoman control and their songs and kantádhes are based a lot on the western European style. Greek kantádhes are performed by three male singers accompanied by mandolin or guitar and these romantic songs developed mainly in Kefalonia in the early 19th century but spread throughout Greece after the liberation of Greece. An Athenian form of kantádhes arose, accompanied by violin, clarinet, however the style is accepted as uniquely Heptanesean. The island of Zakynthos has a musical history with influences also from Crete
9.
University of Chicago Press
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The University of Chicago Press is the largest and one of the oldest university presses in the United States. One of its quasi-independent projects is the BiblioVault, a repository for scholarly books. The Press building is located just south of the Midway Plaisance on the University of Chicago campus, the University of Chicago Press was founded in 1891, making it one of the oldest continuously operating university presses in the United States. Its first published book was Robert F. Harpers Assyrian and Babylonian Letters Belonging to the Kouyunjik Collections of the British Museum, for its first three years, the Press was an entity discrete from the university, it was operated by the Boston publishing house D. C. Heath in conjunction with the Chicago printer R. R. Donnelley and this arrangement proved unworkable, however, and in 1894 the university officially assumed responsibility for the Press. In 1902, as part of the university, the Press started working on the Decennial Publications, composed of articles and monographs by scholars and administrators on the state of the university and its facultys research, the Decennial Publications was a radical reorganization of the Press. This allowed the Press, by 1905, to begin publishing books by scholars not of the University of Chicago. A manuscript editing and proofreading department was added to the staff of printers and typesetters, leading, in 1906. By 1931, the Press was an established, leading academic publisher, leading books of that era include Dr. Edgar J. Goodspeeds The New Testament, An American Translation and its successor, Goodspeed and J. M. In 1956, the Press first published books under its imprint. Of the Presss best-known books, most date from the 1950s, including translations of the Complete Greek Tragedies and Richmond Lattimores The Iliad of Homer. That decade also saw the first edition of A Greek-English Lexicon of the New Testament and Other Early Christian Literature, in 1966, Morris Philipson began his thirty-four-year tenure as director of the University of Chicago Press. As the Presss scholarly volume expanded, the Press also advanced as a trade publisher. In 1992, Norman Macleans books A River Runs Through It and Young Men and Fire were national best sellers, in 1982, Philipson was the first director of an academic press to win the Publisher Citation, one of PENs most prestigious awards. Paula Barker Duffy served as director of the Press from 2000 to 2007, under her administration, the Press expanded its distribution operations and created the Chicago Digital Distribution Center and BiblioVault. The Press also launched an electronic work, The Chicago Manual of Style Online. Garrett P. Kiely became the 15th director of the University of Chicago Press on September 1,2007, the Press publishes over 50 new trade titles per year, across many subject areas. It also publishes regional titles, such as The Encyclopedia of Chicago, the Press has recently expanded its digital offerings to include most newly published books as well as key backlist titles
10.
4th of August Regime
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The 4th of August Regime, commonly also known as the Metaxas Regime, was an authoritarian regime under the leadership of General Ioannis Metaxas that ruled the Kingdom of Greece from 1936 to 1941. It took its name from a self-coup carried out by Metaxas, with the support of King George II, lacking a popular base, after Metaxas death in January 1941 the regime hinged entirely on the King. Metaxas imposed his regime primarily to fight the turbulent social situation prevalent in Greece in the 1930s, the king re-established the monarchy in the country, but the parliament, split into incompatible factions, was unable to shape a clear political majority so that the government could govern. In one of his first speeches, Metaxas announced, I have decided to all the power I need for saving Greece from the catastrophes which threaten her. Thus the Metaxas dictatorship was born, and the period of time which would follow was named after the day Metaxas rose to absolute power, the new regime was backed by small extreme political parties, and by conservatives expecting a crackdown on the communists. The roots of Metaxas New State were sought in Greeces classical history, Metaxas thought Hellenic nationalism would galvanize the heathen values of ancient Greece, specifically those of Sparta, along with the Christian values of the Medieval empire of Byzantium. Ancient Macedonia was also glorified as the first political unifier of the Hellenes, as its main symbol, the youth organization of the regime chose the labrys/pelekys, the symbol of ancient Minoan Crete. The traditional Greek values of Country, Loyalty, Family and Religion, Metaxas considered António Salazars Estado Novo of Portugal his main inspiration and surrounded himself with elements from this and other dictatorial regimes of the time. Thus his main slogan was also New State and the 4th of August regime used its own military-like uniforms, greetings, songs and rituals. The Metaxas regime sought to comprehensively change Greece, and therefore instituted controls on Greek society, politics, language, in each of these, the Metaxas government resembled more closely the policies that Spain would adopt later on than those of their contemporaries Nazi Germany or Fascist Italy. Metaxas policies such as the censorship of the media, the banning of political parties, as its far-right contemporaries Italy and Germany, the Greek State also had its political police force, the Asfaleia, based upon the Gestapo. The objective of Asfaleia was to secure public order, the regime also repressed the rebetiko music due to the uncompromising lyrics and favoured the traditional Greek folk music. Hashish dens, baglamas and bouzouki were banned, or at least playing in the eastern-style manner, soon after its inception the regime severely repressed the communists and leftists. About 15,000 people were arrested and jailed, or exiled for political reasons, Metaxas regime forced the Communist party underground, and also attempted to dismantle the old system of loyalties of the Royalist and Venizelist parties. Those major forces however remained, as they had for the preceding decades, while Metaxas regime did play up a supposed communist threat in order to justify its repression, the regime is not known to have committed political murders and did not instate the death penalty. Dissidents were, rather, usually banished to tiny islands in the Aegean sea, for example, the liberal leader George Papandreou was exiled to Andros. The Greek Communist Party, meanwhile, which had already been outlawed, remained intact, legal restrictions against it were ended in 1974 during metapolitefsi. Metaxas, educated in German Empire and admirer of the German culture, in order to keep and maintain the values of the regime in future years, Metaxas gave birth to the Ethniki Organosi Neolaias
