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Laïko orlaïkó (Greek:λαϊκό [τραγούδι],romanized: laïkó[tragoúdi],pronounced[lai̯ˈkotraˈɣuði];lit. "[song] of the people", "popular [song]";pl.λαϊκά [τραγούδια],laïká[tragoúdia]) is aGreekfolk-pop music genre. Also referred to as "folk song" or "urban folk music" (αστική λαϊκή μουσική,astikí laïkí mousikí) in its plural form, Laïkó changed forms over the decades after the commercialization ofRebetiko music.
Until the 1930s the Greekdiscography was dominated by two musicalgenres: theGreek folk music (δημοτικά,dimotiká) and theelafró tragoudi (ελαφρό τραγούδι, lit. "light[weight] song"). The latter was represented byensembles of singers/musicians or solo artists likeAttik andNikos Gounaris. It was the Greek version of the international popular music of the era. In the 1930s the firstrebetiko recordings had a massive impact on Greek music. AsMarkos Vamvakaris stated, "we were the first to recordlaïká (popular) songs". In the years to follow this type of music, the first form of what is now calledlaïkó tragoúdi, became the mainstreamGreek music.
Classic laïkó, as it is known today, was the mainstream popular music of Greece during mainly the 1960s and 1970s. Laïkó evolved from the traditional Greek music of theancient and themedieval Greek era and was established until thepresent day.[1][2] Laïkó was dominated by singers such asNikos Xanthopoulos and composers such asMimis Plessas. Among the most significant songwriters and lyricists of this period areGeorge Zambetas and the big names of theRebetiko era that were still in business, likeVassilis Tsitsanis andManolis Chiotis. Many artists combined the traditions oféntekhno and laïkó with considerable success, such as the composersStavros Xarchakos andMimis Plessas. Legendary figures associated with Laiko (specifically Zeimpekiko) areDimitris Mitropanos,Stratos Dionysiou andStelios Kazantzidis.
Contemporary laïkó (σύγχρονο λαϊκό,sýnchrono laïkó,Greek pronunciation:[ˈsiŋxronolaiˈko]), also calledmodern laïkó or sometimeslaïko-pop, can be called in Greece the mainstream music genre, with variations in plural form ascontemporary laïká. Along with moderna laïkó, it is currently Greece's mainstream music genre. The maincultural Greek dances andrhythms of today's Greek music culturelaïká areNisiotika,Syrta,Antikristos,Rebetika,Hasapiko,Zeibekiko,Kalamatianos,Kangeli andSyrtaki.
The more cheerful version of laïkó, calledelafró laïkó, was often used in musicals during theGolden Age of Greek cinema. The Greek Peiraiotes superstarTolis Voskopoulos gave the after-modern version ofGreek laïko (ελληνικό λαϊκό) listenings. Many artists have combined the traditions of éntekhno and laïkó with considerable success, such as the composersMimis Plessas andStavros Xarchakos.
Contemporary laïká emerged as a style in the early 1980s. An indispensable part of the contemporary laïká culture is thepísta (πίστα, pl.πίστες; "dance floor/venue"). Night clubs at which the DJs play only contemporary laïká where colloquially known on the 1990s and 2000s asellinádika (ελληνάδικα). Modern laïkó is mainstream Greek laïkó music mixed in with modern Western influences, from such international mainstream genres aspop music anddance. Renowned songwriters or lyricists of contemporary laïká after 1990 include Alekos Chrysovergis,Nikos Karvelas,Phoebus, Nikos Terzis, Spyros Giatras,Giorgos Theofanous.
In effect, there is no single name for contemporary laïká in the Greek language, but it is often formally referred to asσύγχρονο λαϊκό, a term which ishowever also used for denoting newly composed songs in the tradition of "proper" laïkó; whenambiguity arises,σύγχρονο ("contemporary")λαϊκό or disparaginglyλαϊκο-πόπ (laïko-pop, "folk-pop", alsoin the sense of "westernized") is used for the former, whileγνήσιο (gnísio, "proper, genuine,true") or evenκαθαρόαιμο (katharóaimo, "pureblood")λαϊκό is used for the latter. The choice of contrasting the notions of "westernized" and "genuine" may often be based onideological andaesthetic grounds. Laïko interacted more westernized sounds in the late of 2000s.[3] The termmodern laïká comes from the phraseμοντέρνα λαϊκά (τραγούδια), "modern songs of the people".
Despite its immense popularity, the genre of contemporary laïká (especiallylaïko-pop) has come under scrutiny for "featuring musical clichés, average singing voices and slogan-like lyrics" and for "being a hybrid, neither laïkó, nor pop".[4]
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