and the once forgotten were finding themselves performing, in some cases for the first time in 30 to 40 years. He followed up this work with an LP in 1980, (, Rebetiko (songs) of the occupation), which was a more gritty and meaty release, more faithful to the tone of the original rebetika as heard in the 1930s. However, again references to drugs were cut out, and only mentioned in passing. Unlike the previous double LP, this one contained some of the original musicians, Bayianteras and Genitsaris in particular making an appearance on the album. Modern times Today, rebetiko songs are still popular in Greece, both in contemporary interpretations which make no attempt to be other than contemporary in style, and in interpretations aspiring to emulate the old styles. The genre is a subject of growing international research, and its popularity outside Greece is now well-established. Some of the musicians and singers of the genre include Babis Tsertos, Babis Goles and Agathonas Iakovidis. In 2012, Vinicio Capossela released his music album . In the United States Greek emigration to the United States started in earnest towards the end of the 19th century. From then onwards, and in the years following the Asia Minor Disaster, until immigration became restricted in the mid-1920s, a great number of Greeks emigrated to the United States, bringing their musical traditions with them. American companies began recording Greek music performed by these immigrants as early as 1896. The first Greek-American recording enterprises made their appearance in 1919. From the latter years of the second decade of the century there exist a number of recordings that can be considered as rebetiko, a few years before such songs began to appear on recordings in Greece. The music industry in the United States came to play a particular role from the mid-1930s onwards in recording rebetiko lyrics which would not have passed the censors in Greece. This phenomenon came to repeat itself during the period of the Greek military junta of 1967–1974. A notable example of American recording studios permitting some 'bolder' lyrics can be found in the LP (, When They Smoke The Hookah) by Apostolos Nikolaidis, released in 1973. Releasing this album in Greece, with its overt references to various aspects of drug use, would have been impossible at that time. It is worth noting, however, that the censorship laws invoked in Greece by Metaxas were never