Back By Popular Demand: AN EVENING OF REMBETIKA… AN ENCORE PERFORMANCE

A Concert to Benefit The St. Athanasius Greek Orthodox Church

Arlington, MA Sunday, November 11, 2012

Robbins Memorial Town Hall, Arlington, MA

November 11, 2012

Dearest Supporters of the Rembetiko Encore Concert:

Greetings and Blessings to All!

It is a holy statement of faith that I have the honour of welcoming you to this wonderful evening of traditional Rembetika songs, in encore performance. We are encouraged by the fact that we can celebrate together in fellowship, by honouring our Veterans on this holy day, and, in anticipation of the great American holiday of Thanksgiving. We are deeply grateful to every one of you for your loving support of this effort which will benefit the countless ministries of our Parish and Community, with a strong emphasis on our Youth-related, Educational, Philanthropic, and Spiritual Programs. We are especially thankful to Almighty God for the professional musicians who will entertain us this evening, as well as the members of the organizing committee who have worked tirelessly for the success of this great effort:

Alexa Zevitas, Bessie Theodoulou, Damianos Stefanides, Eleanora Profis, Hope Orfanos, Peggy Mitropoulos, Nancy Leotsakos, S. Nicholas Kriketos, Vivian Karafotias, Merope Kapetanakis, Tasos Georgacopoulos, Lena Galanopoulos, Cassandra Chamallas.

We ask that you enjoy the celebration with all your heart and soul!

Gratefully,

Me Agape,

Fr. Nicholas M. Kastanas, Parish Priest/Ieratikos Proistamenos

4 Appleton Street • Arlington, MA 02476 • Church 781.646.0705 Fr. Kastanas emergency voicemail pager 781.673.2002 • fax 781.641.4700

www.saintathanasius.org

November 11, 2012 Dear Friends of the St. Athanasius the Great Parish, We would like to welcome you to this memorable musical concert, “An Evening of Rembetika” – An Encore Performance. We hope that you will enjoy the unique and creative musical repertoire presented by a cast of talented, accomplished musicians from a number of bands from the greater Boston area. We express our gratitude to the musicians who stepped up with enthusiasm to perform for us this evening. We thank the organizing committee who has worked tirelessly and with great zeal for the success of this concert. We are grateful to Fr. Nicholas Kastanas who is always there for his guidance and support not only for this concert, but always – for all our undertakings. Lastly and most importantly, our appreciation goes out to all of you – the donors, sponsors, supporters, and friends, who at the end of the day, made this all a reality! Your presence reflects the love and support of our St. Athanasius Parish and its ministries. With gratitude, Merope Kapetanakis Bessie Theodoulou Co-Chairman Parish Council President

Co-Chairman

4 Appleton Street • Arlington, MA 02476 • Church 781.646.0705 Fr. Kastanas emergency voicemail pager 781.673.2002 • fax 781.641.4700

www.saintathanasius.org

BACK BY POPULAR DEMAND: AN EVENING OF REMBETIKA… AN ENCORE PERFORMANCE

Sunday, November 11, 2012 Robbins Memorial Town Hall, Arlington, Massachusetts

WINE RECEPTION

OPENING REMARKS Rev. Fr. Nicholas M. Kastanas

Bessie Theodoulou, Co-Chairman, Parish Council President Merope Kapetanakis, Co-Chairman

MUSICAL PROGRAM

Μινόρε της Αυγής > Μ’Εχεις Μαγεμένο Minore tis Avgis > M’exeis Magemeno (1940) S. Peristeris, D. Gkogkos Σάπιο Σανίδι Πάτησα / Sapio Sanidi Patisa (1951) G. Klouvatos Πες το Ναι και δεν θα Χάσεις / Pes to Nai Kai Den Tha Xaseis (1940) K. Skarveles Στα Τρίκαλα Στα Δυο Στενά (Σακαφλιάς) / Ο Sakaflias (1939) V. Tsitsanis Ανεμόσκαλα θα Δέσω / Anemoskala tha Deso (1975) S. Vamvakaris, D. Gkoutis Το Φτωχομπούζουκο / To Ftoxompouzouko (1953) M. Chiotis Ήσουνα Ξυπόλητη / Hsouna Ksipoliti (1930) Traditional Χατζηκυριάκειο / Xatzikyriakeio (1938) D. Gkogkos Το 1912 / To 1912 (1936) M. Vamvakaris Κάφτονε Σταύρο Κάφτονε/ Kaftone Stavro Kaftone (1935) M. Vamvakaris Τα Ζηλιάρικά σου Μάτια / Ta Ziliarika Sou Matia (1940) M. Vamvakaris Μανταλένα / Mantalena (1926) Traditional Της Μαστούρας ο Σκοπός / Tis Mastouras o Skopos (1946) V. Tsitsanis Βασανίζομαι / Vasanizomai (1953) Y. Papaioannou Σβήσε το Φως Να Κοιμηθούμε / Svise to Fos Na Kimithoume (1948) Y. Papaioannou

… INTERMISSION …

Αερόπλανο θα Πάρω / Aeroplano Tha Paro (1953) P. Tountas Μη Μου Ξαναφύγεις Πια / Mi Mou Xanafygeis Pia (1950) V. Tsitsanis Το Βαπόρι Απ’ο την Περσία / To Vapori Ap’tin Persia (1976) V. Tsitsanis Της Γερακίνας Γιος / Tis Gerakinas Gios (1975) V. Tsitsanis, K. Virvos Στρώσε μου να Κοιμηθώ / Strose Mou Na Koimitho (1950) V. Tsitsanis, E. Papayianopoulou Χαρικλάκι / Chariklaki (1933) P. Tountas Το Παράπονο του Ξενιτεμένου / To Parapono Tou Xenitemenou (1950) V. Tsitsanis Το Πιτσιρικάκι / To Pitsirikaki (1961) A. Nikolesko, G. Rovertakis Ο Μάγκας του Βοτανικού / O Mangas tou Votanikou (1933) S. Peristeris Στον Τεκέ του Περδικάκη / Ston Teke tou Perdikaki (1935) K. Tzovenos Οι Μπαγλαμάδες / Oi Mpaglamades (1919) Traditional Με Παρέσυρε το Ρέμα / Me Paresyre to Rema (1961) V. Tsitsanis Τη Ζούλα μου Ανακάλυψαν / Ti Zoula mou Anakalypsan (1983) P. Skourtelis Το Τραγούδι της Αγάπης / To Tragoudi Tis Agapis (1940) D. Gkogkos, D. Armpatzoglou Βαγγελιώ δεν Είσαι Εντάξει >Τα Διαλέχτα Παιδιά (1940>1951) Vaggelio Den Eisai Entaxi > Ta Dialexta Paidia Y. Papaioannou> V. Tsitsanis

CLOSING REMARKS

Rev. Fr. Nicholas M. Kastanas

ABOUT THE PERFORMERS

All of the musicians at today’s event come from varied musical backgrounds and have been performing music with their own ensembles for many years. They have come together once again for tonight’s performance, each of them contributing their unique talent and sound. The result of the collaboration is a spectacular concert of authentic rembetika pieces, performed true to their roots.

Malcolm Barsamian oud Anthony Geannaris percussion Stelios Karaminas guitar, vocals Charlie Makredes bouzouki, vocals George Makredes guitar, vocals Joanne Makredes vocals Phil Papadopoulos bouzouki, vocals Anthony Pentikis bouzouki, vocals Jim Speros guitar, vocals Damien Stefanidis vocals Sandy Theodorou accordion

Malcolm Barsamian Mal’s musical career began when he was four years old playing with his father Leo at an

Armenian Picnic. Mal comes from a family of Oud players starting from his grandfather, his great -uncle, his uncle and of course his father. He has gone on to become a sought-after player of the oud and dumbeg as well as instruments such as clarinet, guitar, and saxophone in the Armenian and Greek communities for over thirty years. Mal is a graduate of the New England Conservatory of Music with a Bachelor’s and Master’s degree in Classical Guitar Performance. Mal is well known as a clarinetist in the Armenian field. Anthony Geannaris

Anthony was born and raised in Arlington, MA. He has been playing Greek music his entire

life. He was inspired by his father, who was a drummer in various Greek bands in the Boston area from the 50’s through the 70’s. Anthony followed in his father’s footsteps and chose the drums as his main

instrument. From the age of 13 he also started to play the bouzuki, and studied the instrument seriously for several years. At the same time, he taught himself to play the guitar as well, by listening to a lot of rock and roll music. He played drums in the high school jazz band, and always played Greek music at home. In his teens he started making friends that played Greek music, so by the time he graduated high school he started playing as a fill in drummer for the band PANORAMA, and soon from there he regularly freelanced as a drummer in the Boston area. He played in the band NIXTOPULIA for 15 years, and currently plays with multiple Greek bands and musicians in the Boston area. He has a love for all types of Greek music, but especially for rembetika, as he has three grandparents born in ASIA MINOR. He enjoys playing baglama as part of a rembetika ensemble, and plays electric guitar as a member of the house band on the weekly local TV show, THE STEVE KATSOS SHOW, performing all original material, a mix of rock fused with a little jazz, Greek, and funk.

Stelios Karaminas Stelios started playing guitar in the 70’s as a young boy. In the 80’s and 90’s he played professionally in night clubs in

Athens and toured all around Greece with composer Dimitri Lagio and singer Antoni Kalogianni. Stelios came to Boston in 1989 and studied arranging at Berklee College of Music, then returned to Greece and worked as a musician, music copyist, private instructor, jingles writer, arranger and composer. In 1997, he performed next to Marinella at the Megaro Mousikis in Athens and in 1998 toured with Marinella all around Greece. In the end of ’98 returned to Boston where he joined the band Orfeas and for the last 5 years has also been performing with the Greek Music Ensemble. Charlie Makredes

Charlie is a self-taught musician. He began by playing hand drums in 1960 at the age of 7 years old, and later

began playing his Dad’s bouzouki in 1965 at the age of 12. In 1967, the trio Ta Helidonia was formed, and in 1971 he began playing with his brothers George and Nick in The Makredes Ensemble, which still performs to this day! He has appeared with many different groups, and has a very deep love for Greek Music, especially Rembetika, which he performed on his solo CD. His daughter, Joanne, and granchild Charlie Finocchiaro represent the passion he has for the music and has inspired in them. George Makredes

Playing guitar for over fifty years, George has had the pleasure of performing and celebrating generations of

weddings, christenings, dances, and many special occasions. His passion

for rembetiko comes from his grandparents, who emigrated here from Asia Minor, in 1910, bringing with them the songs and lyrics of their beloved homeland. Additionally, George has composed Greek and American music. His ‘Christmas Spirit’ CD has financially benefited St. Athanasius Church over the years, including parishes across the country, and was recognized as a finalist in the UK Songwriter’s Competition. Joanne Makredes

Joanne is a vocalist from Melrose, Massachusetts. Her informal training in the Greek musical tradition began as a child with daily

impromptu sing-alongs at the kitchen table with her father, Charlie Makredes, on bouzouki. From him she discovered Greek scales, rhythms, and a great passion for music. In college, at the University of Massachusetts Amherst, she sang and competed with her a cappella group, The Vocal Suspects and volunteered as a vocal coach at Berkshire Hills Music Academy for musically gifted students with academic special needs. Today, Joanne is a singer/songwriter of American folk and rock music and an eighth grade teacher of English Language Arts, supervising students in after school musical programs. Phil Papadopoulos

Phil was born in northern Greece and immigrated to the Boston area at the age of 13 with his very first bouzouki and a small assortment of self-

taught songs. In 1977 and at the age of 16 he was recruited by Ta Dilina and played throughout and beyond New England for many years. He stepped out of the music scene for some time in the mid-90s but has returned to the band of his youth with renewed energy and passion to entertain. He treasures the strong bonds formed over the years with many talented musicians of the

Boston area and feels privileged to share the stage with them for this special event. Anthony Pentikis

Anthony was born in Somerville, MA, and developed a passion for Greek music as a young boy picking up his first bouzouki

when he was just 8 years old. A self taught musician, Anthony took to the stage professionally at the age of 12. By the time he was 14 years old, Anthony began playing weddings and parties throughout the Boston area. In the 1970’s, he founded The Glendopetha with local musicians who entertained audiences in New England and across the country. Thoughout a music career that has spanned more than three decades, Anthony has entertained the likes of Anthony Quinn, President and First Lady Gerald and Betty Ford and had even played “Take Me Out To The Ball Game” on the bouzouki before thousands of Mets fans at Shea stadium. Anthony was invited to play with tenor Mario Frangules. Today, Anthony plays with the band Orfeas. Anthony resides in Lynn, Massachusetts with his wife, Sophia and daughters, Joanna and Christina. Jim Speros

Jim is a self-taught musician who started playing the guitar at age twelve. His interest in Greek music began at the

young age of ten when he started listening to his grandfather’s Greek records and the local Greek radio program every Sunday morning. Jim’s passion for music and the guitar were heavily influenced by his late father, James Speros, who was a jazz guitarist. Jim is one of the founding members of the Greek music group, Ta Dilina, which was started in 1975. Jim and his current band partner, Phil Papadopoulos, have been playing music together for over 30 years. Jim currently resides in Belmont, Massachusetts with his wife, Elaine, son Peter, daughter Anna, and son -in-law, George Taoultsides. Jim

dedicates his performance to the hard-working members of the Greek Community that have paved the way to preserve our culture in America and allow our churches to exist as they do today for current and future generations of Greek Americans.

Damien Stefanidis

Damien is the lead vocalist and sound engineer of orfeas. He was born in Katerini Pierias, in Makedonia

Greece. Music and singing have been his passion from a very young age. While in high school in Greece he joined his first band Νέα Γενιά (Next Generation), which had started as a school band performing at local parties, and moved on to touring and performing at concerts in northern Greece. During that time he has also performed in various night clubs in Katerini. In 1984 he moved to the US and attended the University of Massachusetts, majoring in Electrical Engineering. In 1985 he co-founded the Greek band Avgerinos, a very popular and successful group entertaining the New England area for over 14 years. He is one of the founders of the orfeas band (www.orfeas.com) and is a perfectionist where sound is concerned. His engineering background and passion for music enable him to strike a delicate balance between the technical and musical aspects of each performance ensuring a pleasant and unforgettable evening for all. Sandy (Matoula) Theodorou

Sandy was born in Pireas, Greece, and has lived in Massachusetts for most of her life. She plays accordion and laouto with the Boston-based Greek bands,

Rebetoparea (Rebetika) and Meraki (Paradosiaka). She is mother to a wonderful daughter and works professionally as a School Psychologist.

Excerpted from The Guardian, Sunday 18 April 2004

“So Good, They Made it Illegal” In the hash dens and brothels of Athens, a sound was born that would captivate Greece for half a century. James Sclavunos of the Bad Seeds salutes rebetiko.

Everyone knows bouzouki music: it's the sound of cliched touristic Greek entertainment, heard on debauched, ouzo-soaked nights in tavernas across the world. Few, however, know about this music's ancestor. Its name is rebetiko: a hairy, uncouth, underground sound that arose from the hash dens, cabarets, brothels and prisons of fin-de-siècle Greece.

Rebetiko (or rembetiko) music captivated Greece from the turn of the century until the early 1950s. It was prolifically recorded at the time, but is virtually unknown outside of its native land. A sort of outlaw blues, rebetiko typically dealt with themes of exile, loss of family, wandering the streets after dark, taking drugs and drinking to excess, unrequited love, imprisonment and death.

The word rebetiko is derived from a Turkish root: rebet, meaning rebellious or disobedient. The songs revolve around the lifestyles of so-called "kousavakidhes" or "manghes" - wideboys, members of the Greek underworld. The archetypal manghe of the early days was a classic anti-establishment gadabout. Held in deep suspicion due to their abstruse gutter slang, gambling, drug habits and seedy

demeanour - all the fun stuff - manghes would often be found sporting flamboyant gangster threads and packing some sort of weapon. Being a manghe implied attitude, style and a way of life.

The disreputable originators of rebetiko music had sung simple, bittersweet tunes about the circumscribed world they knew all too well: prison and the "tekes" (slang for hash dens). These locales were also where rebetiko music was most likely to be heard. For respectable Greek society, rebetes and manghes alike were sordid and a threat to the morals of the nation.

Songs were banned due to their anti-authoritarian subject matter. Persecution of the disaffected rebetes became the number one priority of the Greek police; rebetiko musicians found themselves constantly in an adversarial position, much like 1920s jazz men or the early gangsta rappers in the US. Police raided the tekes, smashed instruments and arrested rebetes at will.

Jobless veterans of the Greek war for independence account for most of the feckless ranks of the rebetes movement. The roots of this reach back to the fall of Constantinople, the last stand of Hellenic predominance in the region. Now known as Istanbul, the one-time seat of the Byzantine empire had become the new Ottoman capital. In 1821 the Greeks rebelled against their Turkish rulers, and nine years later the war was won. A more or less independent Greek nation (albeit with a Bavarian king by the name of Otto) was born.

The region was beset by violence and cultural clashes well into the 20th century. Three years of campaigns in Asia Minor left the Greek front in a shambles in 1922, ending in swift retreat. Indigenous Greeks, left behind by their would-be liberators, faced a vengeful pogrom. Seeking refuge, they poured into the predominantly

Christian port city of Smyrna. In September of that year, Turkish troops razed the city. The desperate Greeks were forced into the sea, where most drowned.

A million and a half refugees were exchanged for the entire indigenous Muslim population of Greece. Refugees poured into the urban centres of Greece, particularly Athens and the port of Piraeus. Assimilation into this new land - one meant to be their own - was slow and fraught with difficulty. The uprooted aliens found themselves on the fringes of society and in the same economic boat as down-and-out rebetes.

Gradually, the worlds of the rebetiko underworld and the wave of immigrants from Asia Minor began to merge; refugees became intimate with the rebetes and manghes, frequenting their tekes and getting high. Among these refugees were some of the most accomplished exponents of a Turkish style of music called smyrnaika.

A typical ensemble from this time consisted of a two-stringed violin, oud and santouri (a stringed instrument played with two light hammers like a dulcimer) - but, surprisingly, no bouzouki. In the cafes, boisterous audiences added their own percussion, using anything handy - spoons, ouzo glasses, their own feet. Likewise, impromptu dancing (the bulk of rebetiko music is dance music) was considered de rigueur.

Dick Dale's speed-freak surf guitar instrumental Miserlou (used in the opening frames of Tarantino's Pulp Fiction) was originally written by Nikos Roubanis in the 1930s and recorded in the US. Catering to the tango fad of the time, it's taken at a slow, greasy pace with lush orchestration. While indulging the same middle-eastern influences that were changing the structures and instrumentation of rebetiko, this music had nothing to do with the music of the streets.

The decade following the exotic smyrnaic period, however, saw a revival of the old local "gangster" style rebetiko known as koutsavakiko. Markos Vamvakaris is generally credited with radically reinventing the sound of the rebetiko ensemble in this period with his kompania - the classic configuration of two bouzoukis, a baglamas and a guitar.

The bouzouki (from the Turkish "bozouk", meaning broken) is a member of the family of long-necked lutes. Like its age-old counterpart, the pandouris (one of 3,400 instruments ethnomusicologists believe existed in ancient Greece), the bouzouki has a pear-shaped sound-box and is picked or strummed with a plectrum. From its earliest introduction, the bouzouki was the main instrument in the kompania, usually accompanied by the baglamas, its smaller counterpart.

Easily carried or hidden, the baglamas was the instrument of choice for vagabonds and the incarcerated. Music was strictly prohibited in prison, so inmates assembled their baglamas out of whatever unlikely materials they could sneak into their cells. Guitar was introduced into these small ensembles later, often providing a moving bassline similar to country music's "walking bass".

Arrangements were starker in the new style. Vocals, usually male, were hoarse and rough, a sort of blues moan. A song would usually be introduced with a brief "taximi" - a loose instrumental flourish improvised on the bouzouki, which set a mood before launching into the more steady meter of the song proper.

As rebetiko matured, poverty in Greece worsened. The Nazi occupation, followed immediately by civil war, unravelled the nation's social fabric and almost everyone in Greece, regardless of class background, was near poverty level. Rebetiko singers once again lent expression to the wretchedness of the downtrodden, only this time on a national scale. The popular, or laiko, period from 1942-1952 saw rebetiko

begin to shed its underworld associations and slowly be acknowledged as the national "living" music of Greece.

By 1946, rebetiko had begun to plateau. One of its most beloved artists, Vassilis Tsitsanis, had almost singlehandedly rid the music of its seedy connotations. "I did not try to give a political tone to my songs," he said. "Simply situations, sad or happy moments, pain, poverty, unhappiness and the trials of the unfortunate are the subject of my songs that struck a chord with people."

Rising acceptance of the genre, however, also signalled waning authenticity. And increased commercialisation imposed new ground rules. Larger venues such as ballrooms were needed to accommodate the growing audience. To suit changing tastes and venue conditions, Manolis Chiotis modified the bouzouki, adding a fourth string and utilising electric amplification, thus ending 5,000 years of tradition (resented to this day by purists).

The recording industry had a further effect. From 1960 onwards, the allure of commercial success compromised the music and lyrics until rebetiko's downfall was irreversible. As the economy got back on its feet, the lower class began to diminish to the point where true rebetes and genuine rebetiko music ceased to exist.

But then, just as real rebetiko was vanishing, a pair of Greek composers reinvented it for the world. Manos Hadjidakis introduced the sound of the bouzouki to an international audience in his theme to the film Never on Sunday. Now that the decadent bouzouki had seduced the ears of foreigners, mainstream Greece could no longer afford to hold it in disdain. Hadjidakis was the first to put this tawdry music from the past on an intellectual pedestal, running contrary to the status quo and political policy of the time.

At around the same time, Mikis Theodorakis (later famous for his soundtracks to Zorba the Greek, Z and Serpico) was struggling to survive a military concentration camp on the island of Makronissos. Where Hadjidakis strove to polish laiko for the Greek upper classes, Theodorakis admired and identified with struggling lower-class musicians, asserting: "There was no need for the laiko song to be introduced to us, nor to the people."

Hadjidakis and Theodorakis adopted and adapted traditional rebetiko rhythms and instrumentation to create some very sophisticated modern compositions and pop songs. The catchy melodies they wrote made the bouzouki internationally synonymous with the music of Greece. But by Hadjidakis's own admission, their music was not true rebetiko: "Rebetiko only existed when it was illegal, played in inaccessible hiding places, somewhere on the fringe." With those two composers, the authentic rebetiko tradition ends. Every few years a new generation of earnest young Greeks rediscover this music, but for the non-Greek speaking world, the lyrics to these songs remain as inscrutable as ever, the music as difficult to obtain.

SPONSORS

GREAT BENEFACTOR Irene Paleologos – In Loving Memory of Paraskevas C. Paleologos

BENEFACTOR Dunkin Donuts - Mrs. & Mrs. George Alepedis & Family

George & Bernice Coumounduros Mr. & Mrs. George Demeter & Family

The Kapetanakis Family, Costa, Merope, Corina, and Franco & Irina DiMaio Mr. & Mrs. Harry Katis

PATRON Mel & Tanya Dalaklis

Mr. & Mrs. Theofanis Orfanos & Family Anonymous

SPONSOR Dunkin Donuts, Arlington - Dean & Stephen Alepede & Families

Nicholas Faggas - Faggas Funeral Home Barbara & Leonard Henson

Mr. & Mrs. Christos Hrissanthou Nicholas & Vivian Karafotias & Family Vassiliki Lascarides & William Manley Saint Barbara’s Philoptochos Society

Anonymous

FRIEND Mr. & Mrs. George Antonopoulos

& Family Mr. & Mrs. George Athanasiadis

Nicholas & Aphrodite Darris Mr. & Mrs. M. Ilias Fanis

Mr. & Mrs. Thomas Fassas Vasilios Kotsiopoulos

Mrs. Katherine Kriketos & Family George & Leona Makredes

In Loving Memory of Nicholas S., Kalliope & Soterios Kriketos

Gloria Moskos Charlie Pappas

Personal Care Chiropractic Massage - Dr. Nicholas Stamoulos

Mrs. Eleanor Profis & Family Mr. & Mrs. James Speros

Toni Stamatos - In Memory of Paul J. Stamatos

Paul & Bessie Theodoulou Homer & Georgia Ypsilantis

Mrs. Demetra Zacharakis

SUPPORTER Despina & Anastasia Fetfatsidis

Steven & Annamaria Georgopoulos Georgia Haramis

Gardens by Karen – Karen Kapelos Stephanie & Atha Karasoulos Demetrios & Christina Katos

Mrs. Katherine Xenos Anonymous

DONOR James & Janice Argeros

HONORARY CHAIRMAN Rev. Fr. Nicholas M. Kastanas

CO-CHAIRMAN

Merope Kapetanakis

CO-CHAIRMAN

Bessie Theodoulou

PARISH COUNCIL PRESIDENT

Bessie Theodoulou

COMMITTEE Cassandra Chamallas Helen Galanopoulos

Tasos Georgacopoulos Vivian Karafotias

S. Nicholas Kriketos Nancy Leotsakos

Peggy Mitropoulos Hope Orfanos Eleanor Profis

Damien Stefanidis Alexa Zevitas

We also wish to express our heartfelt gratitude to the individuals and businesses whose generosity of time, services and goods helped make

this evening a wonderful success!

AKG Distributors Brattle Square Florist

Katherine, Nicole & Alexis Colovos Grecian Echoes – Ted Demetriades

Greek Voice of America - Peter Cakridas Rev. Fr. Nicholas M. Kastanas

Despina Makredes Tessie Mitropoulos

Sophia’s Pantry Wilson Farms