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The song was first performed by the Michalis Patrinos rebetiko band in Athens, Greece in 1927. As with almost all early rebetika songs (a style that originated with the Greek refugees from Asia Minor), the song's actual composer was never identified, and its ownership rested with the band leader. The melody was most likely composed collaboratively by the group, as was often the case at the time; the initial lyrics were almost certainly by Patrinos himself. Patrinos, being a Smyrniot, pronounced the song's title [musurlu], approximately similar to the Turkish pronunciation, [mɯsɯrlɯ]. The Greek word Misirlou refers specifically to a Muslim Egyptian woman (as opposed to a Christian Egyptiotissa); thus this song refers to a cross-faith, cross-race, relationship, a risqué subject at its time. Initially, the song was composed as a Greek zeibekiko dance, at a slower tempo and a different key than the orientalized performances that most are familiar with today. This was the style of the first known recording by Michalis Patrinos in Greece, circa 1930 (which was circulated in the United States by Titos Dimitriadis' Orthophonic label); a second recording was made by Patrinos in New York, in 1931. In 1941, Nick Roubanis, a Greek-American music instructor released a jazz instrumental arrangement of the song, crediting himself as the composer. Since his claim was never legally challenged, he is still officially credited as the composer today worldwide, except in Greece where credit is variably given to either Rubanis or Patrinos. S. Russell, N. Wise and M. Leeds later wrote English lyrics to the song. Roubanis is also credited with fine tuning the key and the melody, giving it the oriental sound that the song is associated with today. The song was rearranged as a solo guitar piece by Dick Dale in the 1960s. It was Dale's version of the piece that introduced "Misirlou" to a wider audience in the United States. Dale was of partially Lebanese background, and often credited Armenian music as the inspiration for his guitar style, and perhaps for this reason the tune has at times been mistakenly described as a Lebanese or Armenian folk song. The song's oriental melody has been so popular for so long that many people, from Morocco to Iran, will sometimes claim it to be a folk song from their own country. The Beach Boys recorded a Dale-inspired "Misirlou" for the 1963 album Surfin' USA, forever making "Misirlou" a staple of American pop culture. Hundreds of recordings have been made to date, by performers as diverse as Agent Orange and Connie Francis. In 1994, Dale's version of "Misirlou" was heard on the soundtrack of the motion picture Pulp Fiction, thanks to a suggestion to Quentin Tarantino from his friend Boyd Rice. More recently, the song was selected by the Athens 2004 Organizing Committee as one of the most influential Greek songs of all time, and was heard on venues and the closing ceremony it was performed by Anna Vissi. In March 2005, Q magazine placed Dale's version at number 89 in its list of the 100 Greatest Guitar Tracks. In 2006, his version once again found popularity, this time as the basis of The Black Eyed Peas' single "Pump It."
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