Kazantzidis, also gave him some of his old ones to reinterpret. Kazantzidis, thus, sung and popularized such rebetika classics as "" (Clouded Sunday), "" and "". These songs, and many others, previously unknown to the wider public, suddenly became cherished and sought-after. At about the same time many of the old time performers—both singers and bouzouki players—abandoned the musical scene of Greece. Some of them died prematurely (Haskil, Ninou), others emigrated to the US (Binis, Evgenikos, Tzouanakos, Kaplanis), while some quit music life for other work (Pagioumtzis, Genitsaris). This, of course, created a void which had to be filled with new blood. In the beginning the new recruits—like for example Dalia, Grey and Kazantzidis—stayed within the bounds of classical rebetica. Soon, however, their youthful enthusiasm and different experiences found expression in new stylistic venues which eventually changed the old idiom. This combined situation contributed, during the 1950s, to the almost total eclipse of rebetiko by other popular styles. By the late 1950s, rebetiko had declined; it only survived in the form of (, 'posh rebetiko' or 'bourgeois rebetiko'), a refined style of rebetiko that was far more accepted by the upper class than the traditional form of the genre. In fact, somewhat confusingly, from at least the 1950s, during which period rebetiko songs were not usually referred to as a separate musical category, but more specifically on the basis of lyrics, the term (), or , () covered a broad range of Greek popular music, including songs with the bouzouki, and songs that today would without doubt be classified as rebetiko. The term in its turn derives from the word () which translates best as 'the people'. The revival The first phase of the rebetiko revival can perhaps be said to have begun around 1960. In that year the singer Grigoris Bithikotsis recorded a number of songs by Markos Vamvakaris, and Vamvakaris himself made his first recording since 1954. During the same period, writers such as Elias Petropoulos began researching and publishing their earliest attempts to write on rebetiko as a subject in itself. The bouzouki, unquestioned as the basic musical instrument of rebetiko music, now began to make inroads into other areas of Greek music, not least due to the virtuosity of Manolis Chiotis. From 1960 onwards prominent Greek composers such as Mikis Theodorakis and Manos Hatzidakis employed bouzouki virtuosi such as Manolis Chiotis, Giorgos Zambetas, and Thanassis Polyhandriotis