The first rebetika songs were born in Piraeus, Athens, in 1834 and they were called “mourmourika”, standing for the murmured songs in English. Due to the politic conditions of that time and the Bavarian Reign in Greece, the bourgeois class was introduced to Polka and other foreign dances and rhythms, while the labour class was singing the mourmourika, expressing its sevdah and its fears and political theories. At the beginning of 1900's rebetika became the songs of the poor and the folk song of the poorest districts in all major cities.
So let's minister to the hearts of mothers. Let's become less concerned with asking “does she work?” and more concerned with asking “how can we help her mother?” Let's become less preoccupied with a mother’s physical proximity to the home and more concerned with her spiritual proximity to God. May the church be a place where mothers are ministered to and equipped regardless of their employment status. May it be a place where all women are welcomed and supported, and where the only role we exalt is that of Christ as Lord.
Thus, she demonstrates the way that political interests to keep the wages of the poor low create a climate in which it is politically convenient to buy into the idea of culture of poverty (Stack 1974). In sociology and anthropology, the concept created a backlash, pushing scholars to look to structures rather than "blaming-the-victim" (Bourgois, 2001). Since the late '90s, the culture of poverty has witnessed a resurgence in the social sciences, although most scholars now reject the notion of a monolithic and unchanging culture of poverty. Newer research