The scene was soon popularized further by stars like Vassilis Tsitsanis. His song Συννεφιασμένη Κυριακή - "Synnefiasméni Kyriakí" became an anthem for the oppressed Greeks when it was composed in 1943 (during the Axis occupation of Greece during World War II), despite the fact that it was not recorded until 1948. He was followed by female singers like Marika Ninou, Ioanna Yiorgakopoulou, and Sotiria Bellou. In 1953, Manolis Chiotis added a fourth pair of strings to the bouzouki, which allowed it to be played as a guitar and set the stage for the future 'electrification' of rebetiko. This final era of rebetiko (mid 1940s–1953) also featured the emergence of (κέντρα διασκεδάσεως) as a means of popularizing music.By the late 1950s, rebetiko had declined; it only survived in the form of "archontorebetiko" (αρχοντορεμπέτικο "posh rebetiko"), a refined style of rebetiko that was far more accepted by the upper class than the traditional form of the genre. The mainstream popularity of archontorebetiko paved the way for éntekhno and laïkó. In the 1960s Manolis Chiotis popularized the eight-string bouzouki and set the stage for the future 'electrification' of rebetiko.