1. the imperialistic tyranny of the four-course bouzouki
   
2. the subsequent indigestible syrtaki-like fake music served in oily greek restaurants
   
3. occidental major scales and imported kitsch rythms
4. interminable fat tremolos running along the neck and swooning german old biddies.
   
   
   

The Radical Movement for Rebetiko Dechiotification and Bouzouki Detetrachordization unilaterally demands :

1. the uncompromising rehabilitation of the trichordo bouzouki
2. the closing of all restaurants dealing with breakable plates and electronic rythm machine
   
3. zeimpekika se dromos sampach kai tsiftetelia se dromos kartsigar (mono)
   
4. two-finger playing only, but with the soul, the guts and the balls (Markos-like)

1. Trichordo bouzouki provides a delicious open tuning (D-A-D), neither major, nor minor, allowing sweet oriental combinations. Four-course bouzouki (8 strings) is tuned D-A-F-C, like the 4 first strings of the poor occidental guitar. Tetrachordo bouzouki was obviously created to play greek rumba and turkish bolero.
   This is injurious to our ears.
   
   
2. Playing the trichordo bouzouki gives you the indescriptible pleasure to chisel the melody on the length of the neck while free sympathetic strings are still sounding. Trichordo is for warriors. On a tetrachordo, you play transversally to the neck with lazyness, like doing some knitting. Tetrachordo is for show-off.
   Whereas the trichordo bouzouki is a thin, light, smart and simple weapon, the tetrachordo is kitsch, pearly and sequined, with a broad and unesthetic neck. Tetrachordo players have tons of golden rings on their fat fingers.
   This is injurious to our eyes.
   
   
3. Trichordo is the rebels' instrument. It does not mind if you chop a taximi with 2 fingers only, you commit yourself. Tetrachordo was created by a postmodern devil, to get bouzouki players involved in a celerity challenge. Not to play Rebetiko.
   This is injurious to our morals.

1. Some say that Anastasios Stathopoulos, founder of the Epiphone company, created the first four-course bouzouki around 1900. If it is true, the new intrument had no success...
   
   
2. Other sources declare that a banjo player, named Stefanakis, had the bad idea to create the monster, after the Second World War.
   
   
3. However, all agree to accuse Manolis Chiotis to be the first having performed with a tetrachordo bouzouki. Furthermore, having electrified it.

1. a powerful and dangerous lobby of Rebetiko fundamentalists
   
   
2. a bit dadaistic
   
   
3. not very numerous :)
   

1. Autodafe : we scratch CDs by Chiotis with an awl. It makes a bad grinding noise to the ears, but still better than Mairi-Linta lyrical meowings. I personally caught my own disk by surprise and bent it until it burst into a sparkling cloud of silver needles.
   
   
2. Sacrifice : we cut the superfluous strings of the four-course bouzouki with strong swedish scissors (travel scissors for the tetrachordo baglamades). I personally had my first bouzouki (made in Italy (!) and tuned D-A-D-A :) have a frontal shock on a wooden corner. It was like smashing a watermelon with a sledgehammer, great pleasure.