Bust inscribed Sappho of Eressos, Roman copy of a Greek original of the 5th century BC.

Sappho ( /ˈsæfoʊ/; Attic Greek Σαπφώ [sapːʰɔː], Aeolic Greek Ψάπφω [psapːʰɔː]) was an Ancient Greek poet, born on the island of Lesbos. Later Greeks included her in the list of nine lyric poets. Her birth was sometime between 630 and 612 BC, and it is said that she died around 570 BC, but little is known for certain about her life. The bulk of her poetry, which was well-known and greatly admired throughout antiquity, has been lost, but her immense reputation has endured through surviving fragments.

Life[link]

Roman bust of Sappho, copied from a lost Hellenistic original in Istanbul Archaeological Museum

The only contemporary source for Sappho's life is her own poetry, and scholars are skeptical of reading it biographically. Later biographical accounts are also unreliable.^[1]

Chronology[link]

Strabo indicates that Sappho was the contemporary of Alcaeus of Mytilene (born ca. 620 BC) and Pittacus (ca. 645 - 570 BC), and according to Athenaeus, she was the contemporary of Alyattes of Lydia (ca. 610 - 560 BC). The Suda, a 10th century Byzantine encyclopædia, dates her to the 42nd Olympiad (612/608 BC), meaning either that she was born then or that this was her floruit. The versions of Eusebius state that she was famous by the first or second year of the 45th or 46th Olympiad (between 600 and 594 BC). Taken together, these references make it likely that she was born ca. 620 BC, or a little earlier.

Judging from the Parian Marble, she was exiled from Lesbos to Sicily sometime between 604 and 594 BC. If Fragment 98 of her poetry is accepted as biographical evidence and as a reference to her daughter (see below), it may indicate that she had already had a daughter by the time she was exiled. If Fragment 58 is accepted as autobiographical, it indicates that she lived into old age. If her connection to Rhodopis (see below) is accepted as historical, it indicates that she lived into the mid-6th century BC.^[2][3]

Family[link]

An Oxyrhynchus papyrus from around AD 200^[4] and the Suda agree that Sappho had a mother called Cleïs and a daughter by the same name. The papyrus line reads "She [Sappho] had a daughter Cleis named after her mother." (Duban 1983, 121) Two preserved fragments of Sappho's poetry refer to a Cleïs. In Fragment 98, Sappho addresses Cleïs, saying that she has no way of obtaining a decorated headband for her. Fragment 132 reads in full: "I have a beautiful child [pais] who looks like golden flowers, my darling Cleis, for whom I would not (take) all Lydia or lovely..."^[5] These fragments have often been interpreted as referring to Sappho's daughter, or as confirming that Sappho had a daughter with this name. But even if a biographic reading of the verses is accepted, this is not certain. Cleïs is referred to in Fragment 132 with the Greek word pais, which can as easily indicate a slave or any young person as an offspring. It is possible that these verses or others like them were misunderstood by ancient writers, leading to the biographical tradition which has come down to us.^[6]

Fragment 102 has its speaker address a "sweet mother", sometimes taken as an indication that Sappho began to write poetry while her mother was still alive.^[7] The name of Sappho's father is widely given as Scamandronymus,^[8] but he is not referred to in any of the surviving fragments. In his Heroides, Ovid has Sappho lament that, "Six birthdays of mine had passed when the bones of my parent, gathered from the pyre, drank before their time my tears." Ovid may have based this on a poem by Sappho no longer extant.^[9]

Sappho was reported to have three brothers: Erigyius (or Eurygius), Larichus and Charaxus. The Oxyrhynchus papyrus indicates that Charaxus was the eldest, but that Sappho was more fond of the young Larichus.^[10] According to Athenaeus, Sappho often praised Larichus for pouring wine in the town hall of Mytilene, an office held by boys of the best families.^[11] This indication that Sappho was born into an aristocratic family is consistent with the sometimes rarefied environments that her verses record.

A story recorded by Herodotus, and later by Strabo, Athenaeus, Ovid and the Suda, tells of a relation between Charaxus and the Egyptian courtesan Rhodopis. Herodotus, the oldest source of the story, reports that Charaxus ransomed Rhodopis for a large sum and that after he returned to Mitylene, Sappho scolded him in verse.^[12] Strabo, writing some 400 years later, adds that Charaxus was trading with Lesbian wine and that Sappho called Rhodopis Doricha. Athenaeus, another 200 years later, calls the courtesan Doricha and maintains that Herodotus had her confused with Rhodopis, another woman altogether.^[9] He also cites an epigram by Posidippus (3rd c. BC) that refers to Doricha and Sappho. Based on this story, scholars have speculated that references to a Doricha may have been found in Sappho's poems. None of the extant fragments have this name in full but Fragments 7 and 15 are often restored to include it.^[13] Joel Lidov has criticized this restoration, arguing that the Doricha story is not helpful in restoring any fragment by Sappho and that its origins lie in the work of Cratinus or another of Herodotus' comic contemporaries.^[14]

The Suda is alone in claiming that Sappho was married to a "very wealthy man called Cercylas, who traded from Andros"^[15] and that he was Cleïs' father. This tradition may have been invented by the comic poets as a witticism, as the name of the purported husband means "Penis, from Men's Island."^[16]

Sappho on an Attic red-figure vase by the Brygos Painter, ca. 470 BC.

Exile[link]

Sappho's lifetime witnessed a period of political turbulence on Lesbos and saw the rise of Pittacus. According to the Parian Marble, Sappho was exiled to Sicily sometime between 604 and 594 and Cicero records that a statue of her stood in the town-hall of Syracuse. Unlike the works of her fellow poet, Alcaeus, Sappho's surviving poetry has very few allusions to political conditions. The principal exception is Fragment 98, which mentions exile and indicates that Sappho was lacking some of her customary luxuries. Her political sympathies may have lain with the party of Alcaeus.^[17] Though there is no explicit record of this, it is usually assumed that Sappho returned from exile at some point and that she spent most of her life in Lesbos.

Phaon legend[link]

A tradition going back at least to Menander (Fr. 258 K) suggested that Sappho killed herself by jumping off the Leucadian cliffs for love of Phaon, a ferryman. This is regarded as unhistorical by modern scholars, perhaps invented by the comic poets or originating from a misreading of a first-person reference in a non-biographical poem.^[18] The legend may have resulted in part from a desire to assert Sappho as heterosexual.^[19]

Sexuality and community[link]

Sappho reading to her companions on an Attic vase of c. 435 BC.

Sappho's poetry centers on passion and love for various personages and both genders. The word lesbian derives from the name of the island of her birth, Lesbos, while her name is also the origin of the word sapphic; neither word was applied to female homosexuality until the nineteenth century.^[20][21] The narrators of many of her poems speak of infatuations and love (sometimes requited, sometimes not) for various females, but descriptions of physical acts between women are few and subject to debate.^[22][23] Whether these poems are meant to be autobiographical is not known, although elements of other parts of Sappho's life do make appearances in her work, and it would be compatible with her style to have these intimate encounters expressed poetically, as well. Her homoerotica should be placed in the context of the seventh century (BC). The poems of Alcaeus and later Pindar record similar romantic bonds between the members of a given circle.^[24]

Sappho's contemporary Alcaeus described her thus: "Violet-haired, pure, honey-smiling Sappho" (ἰόπλοκ᾽ ἄγνα μελλιχόμειδε Σάπφοι, fr. 384). The third-century philosopher Maximus of Tyre wrote that Sappho was "small and dark" and that her relationships to her female friends were similar to those of Socrates:

What else could one call the love of the Lesbian woman than the Socratic art of love? For they seem to me to have practised love after their own fashion, she the love of women, he of men. For they said they loved many, and were captivated by all things beautiful. What Alcibiades and Charmides and Phaedrus were to him, Gyrinna and Atthis and Anactoria were to her ...^[25]

During the Victorian era, it became fashionable to describe Sappho as the headmistress of a girls' finishing school. As Page DuBois (among many other experts) points out, this attempt at making Sappho understandable and palatable to the genteel classes of Great Britain was based more on conservative sensibilities than evidence. There are no references to teaching, students, academies, or tutors in any of Sappho's scant collection of surviving works. Burnett follows others, like C. M. Bowra, in suggesting that Sappho's circle was somewhat akin to the Spartan agelai or the religious sacred band, the thiasos, but Burnett nuances her argument by noting that Sappho's circle was distinct from these contemporary examples because "membership in the circle seems to have been voluntary, irregular and to some degree international."^[26] The notion that Sappho was in charge of some sort of academy persists nonetheless.

Works[link]

Alexandrian edition of Sappho's poetry[link]

The Library of Alexandria collected Sappho's poetry into nine books, mostly based on their meter:

• Book I, poems composed in the Sapphic stanza, 330 stanzas in all (Fragments 1–42);
• Book II, poems composed in glyconic lines with dactylic expansion (Frr. 43–52);
• Book III, poems in Greater Asclepiad distichs (Frr. 53–57);
• Book IV, poems in distichs of a somewhat similar meter (Frr. 58–91);
• Book V, probably consisting of poems in various three-line stanzas (Frr. 92–101);
• Book VI (contents unknown);
• Book VII (only two surviving lines in the same meter, Fr. 102);
• Book VIII (see Fr. 103);
• Book IX, epithalamia in other meters, including dactylic hexameter (Frr. 104–117).

Not every surviving fragment can be assigned to a book (Frr. 118–213 are unassigned), and other meters are represented in the fragments.

Surviving poetry[link]

Sappho's recently discovered poem on old age (lines 9–20), assigned to Book IV based on its meter. 3rd cent. BC papyrus (P.Köln XI 429), from an exhibit of the Altes Museum

The surviving proportion of the nine-volume corpus of poetry read in antiquity is small but still constitutes a poetic corpus of major importance. There is a single complete poem, Fragment 1, the Hymn to Aphrodite,^[27] quoted in its entirety as a model of the "polished and exuberant" style of composition by Dionysius of Halicarnassus, with admiration of its consummate artistry:^[28]

Here the euphonious effect and the grace of the language arise from the coherence and smoothness of the junctures. The words nestle close to one another and are woven together according to certain affinities and natural attractions of the letters.

Other major fragments include three virtually-complete poems (in the standard numeration, fragments 16, 31, and the recently supplemented 58).

Recent discoveries[link]

The most recent addition to the corpus is a virtually-complete poem on old age (fr. 58). The line-ends were first published in 1922 from an Oxyrhynchus papyrus, no. 1787 (fragment 1: see the third pair of images on this page), but little could be made of them, since the indications of poem-end (placed at the beginnings of the lines) were lost, and scholars could only guess where one poem ended and another began. Most of the rest of the poem has recently (2004) been published from a 3rd century BC papyrus in the Cologne University collection (P.Köln XI 429). The latest reconstruction, by M. L. West, appeared in the Zeitschrift für Papyrologie und Epigraphik 151 (2005), 1-9, and in the Times Literary Supplement on 21 June 2005 (English translation and discussion). The poem refers to the plight of Tithonus, with whom the goddess Eos fell in love and requested he become immortal, but forgot to ensure that he stay forever young. The Greek text has been reproduced with helpful notes for students of the language.^[29]

Qualities of Sappho's poetry[link]

David Campbell has briefly summarized some of the most arresting qualities of Sappho's poetry:

Clarity of language and simplicity of thought are everywhere evident in our fragments; wit and rhetoric, so common in English love-poetry and not quite absent from Catullus' love poems, are nowhere to be found. Her images are sharp—the sparrows that draw Aphrodite's chariot, the full moon in a starry sky, the solitary red apple at the tree-top—and she sometimes lingers over them to elaborate them for their own sake. She quotes the direct words of conversations real or imaginary and so gains immediacy. When the subject is the turbulence of her emotions, she displays a cool control in their expression. Above all, her words are chosen for their sheer melody: the skill with which she placed her vowels and consonants, admired by Dionysius of Halicarnassus, is evidenced by almost any stanza; the music to which she sang them has gone, but the spoken sounds may still enchant.^[30]

Sappho's Poetry and Greek Myth[link]

Out of over 200 remaining remnants of Sappho’s poetry, Fragment 16 and Fragment 44 in particular are considered lyric retellings of Homer epics, as Sappho was known to be very familiar with Homer’s poems.^[31] Both fragments make direct allusions to scenes in Homer’s Iliad, while Sappho also expands them with her own narrative illustrations. Fragment 16, for instance, serves to characterise Helen, a key figure of Homer's, while Fragment 44 glorifies domestic joy by depicting the events leading to the wedding of Hector and Andromache.

The political atmosphere of the Lesbos during Sappho's time paralleled that of Homer’s Troy, as the cities of Lesbos were constantly plagued with threats from Lydia. Whereas Homer focused depicting beauty through the glory of militarism, however, Sappho focused primarily on the portrayal of beauty through love. As oratory poets, both Homer and Sappho used their work to celebrate and memorialise events for posterity.^[32] The exigence of their verses was therefore to preserve information as well as to entertain.

Both discovered during the 1895 Oxyrhynchus excavation, Sappho’s Fragments 16 and 44 are translations from extant 2nd and 3rd century B.C. papyrus scrolls, which made them transcribed records of the lyrics Sappho sung while accompanying herself on a cithara. Her work is known to have been canonized during the 3rd century B.C., at which time papyrus copies were held in the House of the Muses, the library in Alexandria. Like the myths woven into her work, a myth surrounds the loss of Sappho’s complete oeuvre as well. The story still circulates that Sappho’s poems were lost due to the repeated attacks on the library in Alexandria by a horde of barbarians.^[33]

Legacy[link]

Reputation in antiquity[link]

In antiquity, Sappho was commonly regarded as one of the greatest lyric poets.^[34] The Milan Papyrus, recovered from a dismantled mummy casing and published in 2001, has revealed the high esteem in which the poet Posidippus of Pella, an important composer of epigrams (3rd century BC), held Sappho's "divine songs".^[35]

An epigram in the Anthologia Palatina (9.506) ascribed to Plato states:

Some say the Muses are nine: how careless!

Look, there's Sappho too, from Lesbos, the tenth.

Claudius Aelianus wrote in Miscellany (Ποικίλη ἱστορία) that Plato called Sappho wise. A story is recounted in the Florilegium (3.29.58) of Stobaeus:

Solon of Athens heard his nephew sing a song of Sappho's over the wine and, since he liked the song so much, he asked the boy to teach it to him. When someone asked him why, he said: "So that I may learn it, then die."

A few centuries later, Horace wrote in his Odes that Sappho's lyrics are worthy of sacred admiration. One of Sappho's poems (fragment 31) was famously translated by the 1st century BC Roman poet Catullus in his "Ille mi par esse deo videtur" ("He seems to me to be equal to a god") (Catullus 51).

Loss and preservation of Sappho's works[link]

Although Sappho's work endured well into Roman times, with changing interests, styles, and aesthetics her work was copied less and less, especially after the academies stopped requiring her study. Part of the reason for her disappearance from the standard canon was the predominance of Attic and Homeric Greek as the languages required to be studied. Sappho's Aeolic Greek dialect is a difficult one, and by Roman times it was arcane and ancient as well, posed considerable obstacles to her continued popularity. Still, the greatest poets and thinkers of ancient Rome continued to emulate her or compare other writers to her, and it is through these comparisons and descriptions that we have received much of her extant poetry.

Once the major academies of the Byzantine Empire dropped her works from their standard curricula, very few copies of her works were made by scribes, and the 12th century Byzantine scholar Tzetzes speaks of her works as lost.^[36]

Modern legends, with origins that are difficult to trace, describe Sappho's literary legacy as being the victim of purposeful obliteration by scandalized church leaders, often by means of book-burning.^[37] There is no known historical evidence for these accounts.^[37] Indeed, Gregory of Nazianzus, who, along with Pope Gregory VII, features as the villain in many of these stories, was a reader and admirer of Sappho's poetry. For example, modern scholars have noted the echoes of Sappho fr. 2 in his poem On Human Nature, which copies from Sappho the quasi-sacred grove (alsos), the wind-shaken branches, and the striking word for "deep sleep" (kōma).^[38]

It appears likely that Sappho's poetry was largely lost through action of the same indiscriminate forces of cultural change that have left us such paltry remains of all nine canonical Greek lyric poets, of whom only Pindar (whose works alone survive in a manuscript tradition) and Bacchylides (our knowledge of whom we owe to a single dramatic papyrus find) have fared much better.

Sources of the surviving fragments[link]

Although the manuscript tradition broke off, some of Sappho's poetry has been discovered in Egyptian papyri fragments from an earlier period, such as those found in the ancient rubbish heaps of Oxyrhynchus, where a major find brought many new but tattered verses to light, providing a major new source.^[39] One substantial fragment is preserved on a potsherd. The rest of what we know of Sappho comes through citations in other ancient writers, often made to illustrate grammar, vocabulary, or meter.

Modern translations[link]

Sappho and Alcaeus, Lawrence Alma-Tadema, 1881

From the time of the European Renaissance, the interest in Sappho's writing has grown. Since few people are able to understand ancient languages, each age has translated Sappho in its own idiomatic way. Poetry, such as Sappho's, written in quantitative verse, is difficult to reproduce in English which uses stress-based meters and rhyme compared to Ancient Greek's solely length-based meters. As a result, many early translators used rhyme and worked Sappho's ideas into English poetic forms. Still, the Sapphic stanza, strongly associated with Sappho's poetry in the original, has become well known and influential among modern poets as well.

In 1904 Canadian poet Bliss Carman published Sappho: One Hundred Lyrics, which was not just a translation of the fragments but an imaginative reconstruction of the lost poems. While of little to no scholarly value, Carman's translations brought Sappho's work to the attention of a wide readership.^[40]

In the 1960s, Mary Barnard reintroduced Sappho to the reading public with a new approach to translation that eschewed the use of rhyming stanzas and traditional forms. Subsequent translators have tended to work in a similar manner. In 2002, classicist and poet Anne Carson produced If Not, Winter, an exhaustive translation of Sappho's fragments. Her line-by-line translations, complete with brackets where the ancient papyrus sources break off, are meant to capture both the original's lyricism and its present fragmentary nature. Translations of Sappho have also been produced by Willis Barnstone, Jim Powell, and Stanley Lombardo.

See also[link]

• Ancient Greek literature
• Papyrus Oxyrhynchus 7 - fragment of Sappho's poem

Notes[link]

References[link]

• Barnard, Mary (transl.), Sappho: A New Translation, University of California Press; Reissue edition (June 1986) ISBN 0-520-22312-8
• Campbell, D. A. (ed.) (1982). Greek Lyric 1: Sappho and Alcaeus (Loeb Classical Library No. 142). Harvard University Press, Cambridge, Mass.. ISBN 0-674-99157-5  Contains complete Greek text of all poems and fragments (except for some very fragmentary papyri), plus all testimonia (references to Sappho by ancient authors), that were known as of the book's publication date, with literal English prose translations.
• Carson, Anne (transl.), If Not, Winter: Fragments of Sappho, Knopf (2002) ISBN 0-375-41067-8; also Virago Press, UK, ISBN 1-84408-081-1 (A modern bilingual edition for general readers as well as students of ancient Greek languages; N.Y. Times review)
• DuBois, Page, Sappho Is Burning, University of Chicago Press (1995) ISBN 0-226-16755-0
• Lidov, Joel, "Sappho, Herodotus and the Hetaira", in Classical Philology, July 2002, pp. 203–237.
• Lobel, E. and D. L. Page (eds.), Poetarum Lesbiorum fragmenta, Oxford, Clarendon Press, (1955).
• Page, D. L., Sappho and Alcaeus, Oxford, Clarendon Press, (1955).
• Reynolds, M. The Sappho Companion, New York, Palgrave (2002).
• Yatromanolakis, Dimitrios, Sappho in the Making: The Early Reception, Cambridge, Mass., Harvard University Press, 2007.

External links[link]

Wikisource has original works written by or about: Sappho

Wikiquote has a collection of quotations related to: Sappho

Wikimedia Commons has media related to: Sappho

• Texts and translations
  • The Divine Sappho (Greek texts and several translations, with essays and criticism)
  • aoidoi.org (Greek texts with commentary by William Annis)
  • The Poems of Sappho, trans. E.M. Cox (1925 translation with Greek text and transliteration)
  • The sound of Sappho? (MP3 audio of five fragments in Greek)
• Greek and Roman love poetry, BBC Radio 4, In Our Time, 26 April 2007
• SORGLL: Sappho 1; read by Stephen Daitz
• Sappho and the World of Lesbian Poetry, by William Harris, Prof. Em. of Classics, Middlebury College
• Reading Sappho, by Ellen Greene, UC Press

Tina Louise
Louise with Gene Barry from the television show Burke's Law, 1964.
Born	Tina Blacker (1934-02-11) February 11, 1934 (age 78) New York City, New York, U.S.
Occupation	Actress
Years active	1955–2004
Spouse	Les Crane (m. 1966–1974) «start: (1966)–end+1: (1975)»"Marriage: Les Crane to Tina Louise" Location: (linkback:http://en-wiki.pop.wn.com/index.php/Tina_Louise)

Tina Louise (born February 11, 1934) is an American actress, singer, and author. She is best known for her role as the "movie star" Ginger Grant on the television situation comedy Gilligan's Island (1964-1967).

Early life[link]

Tatiana (Tina) Josivovna Chernova Blacker was born in New York City to a Jewish family.^[1] She was raised by her mother, Betty Horn Myers (1916-2011), a fashion model. Her father, Joseph Blacker, was a candy store owner in Brooklyn^[1][2] and later an accountant.^[3] The name "Louise" was supposedly added during her senior year in high school when she mentioned to her drama teacher that she was the only girl in the class without a middle name. He immediately picked the name "Louise" and it stuck.^[4] She attended Miami University in Oxford, Ohio. At the age of 17, Louise began studying acting, singing and dancing. During her early acting years, she was offered modeling jobs and appeared on the cover of several pinup magazines such as Adam, Sir! and Modern Man. Her later pictorials for Playboy (May 1958, April 1959) were arranged by Columbia Pictures studio in an effort to further promote the young actress. Her acting debut came in 1952 in the Bette Davis musical revue Two's Company, followed by roles in other Broadway productions, such as John Murray Anderson's Almanac, The Fifth Season, and Will Success Spoil Rock Hunter? She also appeared in such early live television dramas as Studio One, Producers' Showcase, and Appointment with Adventure.

In 1957, she and Julie Newmar appeared on Broadway in the hit musical Li'l Abner. Her album It's Time for Tina was also released that year, with songs such as "Embraceable You" and "I'm in the Mood for Love".

[edit] Hollywood and Gilligan's Island

Louise made her Hollywood film debut in 1958 in God's Little Acre. That same year the National Art Council named her the "World's Most Beautiful Red Head."^[5] She became an in-demand leading lady for major stars like Robert Taylor, Richard Widmark and Robert Ryan, often playing somber roles quite unlike the glamorous pinup photographs and Playboy pictorials she had become famous for in the late 1950s. She turned down roles in Li'l Abner and Operation Petticoat^[6] taking roles on Broadway and in Italian cinema and Hollywood. Among her more notable Italian film credits was the historical epic Garibaldi (1960), directed by Roberto Rossellini, that concerned Garibaldi's efforts to unify the Italian states in 1860. When Louise returned to the United States, she began studying with Lee Strasberg and eventually became a member of the Actors Studio. She appeared in the 1964 beach party film For Those Who Think Young, with Bob Denver, prior to the development of Gilligan's Island.

In 1964, she left the Broadway musical Fade Out – Fade In to portray movie star Ginger Grant on the situation comedy Gilligan's Island, after the part was turned down by Jayne Mansfield. However, she was unhappy with the role and worried that it would typecast her. The role did make Louise a pop icon of the era, and in 2005 an episode of TV Land Top Ten ranked her as second only to Heather Locklear as the greatest of television's all-time sex symbols.

After the series ended in 1967, Louise continued to work in film and made numerous guest appearances in various television series. She appeared in the Matt Helm spy spoof The Wrecking Crew (1969) with Dean Martin. Louise played a doomed suburban housewife in the original The Stepford Wives (1975), and both the film and her performance were well received.

She attempted to shed her comedic image by essaying grittier roles, including a guest appearance as a pathetic heroin addict in a 1974 Kojak episode, as well as a co-starring role as an evil Southern prison guard in the 1976 ABC TV Movie Nightmare in Badham County. Her other television films of the period included Look What's Happened to Rosemary's Baby (1976), SST: Death Flight (1977), Friendships, Secrets and Lies (1979), and in the prime-time soap opera Dallas, during the 1978-79 seasons. as J.R.'s secretary, Julie Gray, a semi-regular character. Later on, she replaced Joanna Pflug as wealthy Taylor Chapin on the syndicated soap Rituals and had guest stints on the soaps Santa Barbara and All My Children.

The question "Ginger or Mary Ann?" is regarded to be a classic pop-psychological question when given to American men of a certain age as an insight into their characters, or at least their desires as regarding certain female stereotypes.

Later work[link]

Despite successes on her own, she declined to participate in any of three reunion television films for Gilligan's Island and the role of Ginger was recast with Judith Baldwin and Constance Forslund. Although she did not appear in these television movies, she made brief walk-on appearances on a few talk shows and specials for Gilligan's Island reunions, including Good Morning America (1982), The Late Show (1988) and the 2004 TV Land award show with the other surviving cast members. In the 1990s, she was reunited with costars Bob Denver, Dawn Wells, and Russell Johnson in an episode of Roseanne. She did not reunite with them for the television film Surviving Gilligan's Island: The Incredible True Story of the Longest Three-Hour Tour in History (2001), co-produced by Wells. She was portrayed by Kristen Dalton in the television film.^[7] Her relations with series star Denver were rumored to be strained, but in 2005, she wrote a brief, affectionate memorial to him in the year-end "farewell" issue of Entertainment Weekly.^[8]

In 1985, Louise played the second and final Taylor Chapin on the syndicated soap opera Rituals. Later film roles included a co-starring appearance in the Robert Altman comedy O.C. and Stiggs (1987) as well as the independently made satire Johnny Suede (1992) starring Brad Pitt. She appeared in Married... with Children as Miss Beck in episode "Kelly Bounces Back" (1990).

From 1966 to 1974, Louise was married to radio and TV announcer/interviewer Les Crane, with whom she has one daughter, Caprice Crane (born 1974), who became an MTV producer and a novelist. Crane's first novel, Stupid and Contagious, was published in 2006, and was warmly dedicated to her mother. Louise now resides in New York City. She is a member of the Academy of Motion Picture Arts and Sciences and a lifetime member of the Actors Studio. As a literacy and academic advocate, she became a volunteer teacher at Learning Leaders, a non-profit organization dedicated to providing tutoring to New York City school children. It has been her passion to help young students gain not only literary skills, but also confidence, self-determination and proof of their own potential. She has written two books: Sunday: A Memoir (1997) and When I Grow Up (2007). The latter is a children's book that inspires children to believe they can become whatever they choose through creative and humorous comparisons of animal kingdom achievements. She published a second children's book titled What Does A Bee Do?^[9]

[edit] It's Time For Tina LP

Louise made four record albums, two for Concert Hall, and two for Urania Records (1958 and 1959 respectively).^[10] By far the most sought-after of these is the 1957 album It's Time For Tina (Concert Hall 1521). With arrangements by Jim Timmens and Buddy Weed's Orchestra, 12 tracks include "Tonight Is The Night" and "I'm in the Mood for Love". Coleman Hawkins is featured on tenor sax. A version of this album is planned by UK label Harkit Records.^[11]

Filmography[link]

• God's Little Acre (1958)
• The Trap (1959)
• The Hangman (1959)
• Day of the Outlaw (1959)
• Saffo, venere di Lesbo (1960)
• Siege of Syracuse (1960)
• Viva L'Italia!/Garibaldi (1961)
• Armored Command (1961)
• For Those Who Think Young (1964)
• The Seventh Floor (1967)
• The Wrecking Crew (1969)
• How to Commit Marriage (1969)
• The Good Guys and the Bad Guys (1969)
• The Happy Ending (1969)
• Love It or Leave It (1971) (documentary)
• Film Portrait (1973) (documentary)
• The Stepford Wives (1975)
• The Kentucky Fried Movie (1977)
• Mean Dog Blues (1978)
• Dog Day (1984)
• Hell Riders (1984)
• Evils of the Night (1985)
• The Pool (1987)
• O.C. and Stiggs (1987)
• Dixie Lanes (1988)
• Johnny Suede (1991)
• Welcome to Woop Woop (1997)
• Little Pieces (2000)
• Growing Down in Brooklyn (2000)
• West from North Goes South (2004)

Television[link]

• Jan Murray Time (1955)
• The Phil Silvers Show (1957)
• Fanfare for a Death Scene (1964)
• Gilligan's Island (1964–1967) – Ginger Grant
• Love, American Style (Late 1960s)
• Bonanza (1967) – Mary Burns
• Ironside (1968) - Candy
• It Takes a Thief (1968) – Anna Martine
• But I Don't Want to Get Married! (1970)
• Kojak (1974 episode – "Die Before They Wake")
• Death Scream (1975)
• Look What's Happened to Rosemary's Baby (1976)
• Nightmare in Badham County (1976)
• SST: Death Flight (1977)
• Dallas (1978–1979, cast as Julie Grey)
• Friendships, Secrets and Lies (1979)
• Fantasy Island (1979)
• Rituals (1984–1985) – Taylor Chapin Field von Platen
• Santa Barbara (cast member in 1986)
• Married... with Children (1990)
• All My Children (cast member in 1994)

References in popular culture[link]

• Tina Louise is one of two celebrities included among the many women's names listed in The B52s 1979 song, "52 Girls" (the other is Jacqueline Onassis)
• A song on The Dirtbombs' album If You Don't Already Have a Look is named "Tina Louise" (#26 on Disc one)
• An Asian Fusion restaurant in Carlstadt, New Jersey is named "Tina Louise"^[12]

Quote[link]

• Tina Louise is quoted to have said, "The best movie you'll ever be in is your own life because that's what matters in the end."^[13]

References[link]

External links[link]

• Tina Louise at the Internet Movie Database
• Tina Louise at the Internet Broadway Database
• Tina Louise at the TCM Movie Database
• Tina Louise at AllRovi
• Tina Louise on Twitter

This biographical article needs additional citations for verification. Please help by adding reliable sources. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately, especially if potentially libelous or harmful. (January 2011)

Bettany Hughes (born 1968) is an English popular historian, author and broadcaster. Her speciality is classical history.

Background[link]

Bettany Hughes is daughter of actor Peter Hughes and sister of cricketer and journalist Simon Hughes. Bettany Hughes was educated at the private Notting Hill & Ealing High School in Ealing, and won a scholarship to study Ancient and Modern History at St Hilda's College, University of Oxford where she received an upper second degree.

She has taught at Bristol, Manchester, Oxford and Cambridge universities and is a currently a Research Fellow of King's College London and an Honorary Fellow of Cardiff University. Her first book Helen of Troy: Goddess, Princess, Whore has been translated into ten languages. Her second book The Hemlock Cup: Socrates, Athens and the Search for the Good Life was Book of The Week on BBC Radio 4.^[1] The Hemlock Cup has been well received by critics and was chosen as a Book of the Year in several publications.^[2][3] In 2010 Hughes was awarded the Naomi Sargent Prize for Broadcast Excellence and was given a Special Award for services to Hellenic Culture and Heritage.^{[citation needed]} She has also been awarded the 2012 Norton Medlicott Award for services to History.^[4] She has written and presented documentary films and series for National Geographic, BBC, Discovery, PBS, The History Channel and Channel 4.

She has been invited to universities in the US, Australia, Germany, Turkey and Holland to speak on subjects such as Helen of Troy, the origins of female 'Sophia' and concepts of Time in the Islamic world. In 2010 she gave the Hellenic Institute's Tenth Annual lecture 'Ta Erotika: The Things of Love',^[5] and in 2011 was invited to give the BBC Huw Wheldon Memorial Lecture, which she used to argue that history on television is thriving and enjoying a new golden age.^[6] She was also asked to chair the 2011 Orange prize for Fiction,^[7] the UK's only annual book award for fiction written by a woman.

She is a long-standing patron and supporter of educational and campaigning charity The Iris Project, which has been promoting and teaching Latin and Greek in state schools since 2006.^[8] She is an honorary patron of Classics For All, a national campaign to get classical languages and the study of classical civilisations back into state schools in the UK launched in 2010. She is also an advisor to the Foundation for Science, Technology and Civilisation which fosters large-scale collaborative projects between East and West.

Her husband is Adrian Evans, Pageant Master for the Elizabeth II Diamond Jubilee, the producer of Archaos in the UK and the director of the South Bank Thames Festival. The couple have two children.

Works[link]

Television[link]

• Breaking the Seal (2000). BBC/OU
• Mysteries of the Ancients (2002).
• The Spartans (2002) - produced by Lion TV, three 60-minute episodes.
• Ancient Discoveries (2003) - produced by the History Channel.
• Seven Ages of Britain (2003) — a social history from the Ice Age to the Industrial Revolution.
• The Minotaur's Island (2003) - produced by Lion TV.
• The Minoans (2004) - produced by Lion TV.
• Helen of Troy (2005) — produced by Lion TV.
• When The Moors Ruled In Europe (2005).
• Athens: the Dawn of Democracy (2007). Former title Athens: the Truth about Democracy.
• Engineering Ancient Egypt (2008).
• The Roman Invasion of Britain (2009).
• The Bible: A History - (2010) Channel 4: one episode (4 of 7) titled Daughters of Eve.
• Time Team (2010) Channel 4: season 17, episode 1
• Atlantis: the Evidence (2010): A Timewatch special about the lost continent being the volcanic island of Santorini
• Alexandria, City of Dreams, More 4, 2010
• The Day Jesus Died, BBC One, 2010
• Countrywise, ITV, 2009–2011
• Forgiveness, BBC One, 2011
• The Seven Wonders of the Buddhist World, BBC Two, 2011
• The Story of the East, Channel 4, 2011
• Nefertiti - The True Face, Discovery Channel, forthcoming
• Divine Women, BBC, 2012

Radio[link]

• There's Something About Eleanor of Aquitaine - BBC Radio 3, 2004
• Amongst the Medici - 3 parts, BBC Radio 4, February–March 2006.
• The Face That Launched A Thousand Ships - BBC Radio 3, 2006
• Sisters of Aphrodite - BBC Radio 3, 2007
• Byzantium Unearthed - 3 parts, BBC Radio 4, October 2008
• Call Yourself a Feminist - 3 parts, BBC Radio 4, 2009
• Great Lives - Sappho episode 2 of series 22, BBC Radio 4, 10 August 2010
• In Search of the Aryans Sunday Special - BBC Radio 3, 2010
• Banishing Eve - 3 parts, BBC Radio 4, 2010

Books[link]

• Helen of Troy: Goddess, Princess, Whore, 2005. ISBN 0-224-07177-7.
• The Hemlock Cup: Socrates, Athens and the Search for the Good Life, 2010. ISBN 0-224-07178-5

Academic Publications[link]

• "Terrible, Excruciating, Wrong-Headed And Ineffectual": The Perils and Pleasures of Presenting Antiquity to a Television Audience - Dunstan Lowe, Kim Shahabudin (ed.), Classics for All: Reworking Antiquity in Mass Culture. Newcastle upon Tyne: Cambridge Scholars Publishing
• "Helen of Troy: Goddess, Princess, Whore - European Cultural Centre of Delphi, XIII International Meeting On Ancient Drama 2007, The Women in Ancient Drama, Symposium Proceedings

References[link]

External links[link]

• Bettany Hughes Official Website
• Bettany Hughes at the Internet Movie Database

Carleen Anderson (born 10 May 1957) is an American soul singer, who has had success in the United Kingdom. She is the daughter of the singer Vicki Anderson and stepdaughter of Bobby Byrd, and is most well known as the lead singer in the Young Disciples as well as for her own solo career.^[2]

Early career[link]

Anderson was raised by her paternal grandparents, David Sr. and Alberta Anderson, in Houston, Texas, during the civil rights movement in the 1960s. Pastor Anderson’s Pentecostal church was located in the Fifth Ward political district of North Houston, populated by working class African-Americans, many of whom were migrant sharecroppers, and their descendants, from Louisiana. By the time Anderson was 3 years old, she was singing solos in front of the congregation. By the age of 7, Anderson was playing piano by ear, directing the church choir and writing church songs every week for the choir to sing before her grandfather would deliver his Sunday sermons. The gospel music atmosphere was enhanced by Anderson having the benefit of her Aunt Betty Faye Anderson, soprano soloist for the Chicago Symphony Orchestra. Her Uncle, David Anderson Jr., and his daughters, Pamela and Jhelisa, along with their mother, Yvonne, had a very successful family gospel singing group that travelled the southern US states. Anderson’s birth father, Dr. Reuben Anderson Sr., is pastor of the Tower of Faith Evangelistic Church of God in Christ, in Compton California. Her mother is soul singer, Vicki Anderson who featured with James Brown during the 1960s and 1970s. Vicki Anderson (birth name, Myra Barnes) married Bobby Byrd (soul singer and childhood friend of James Brown) who formed a group with James Brown in the late 1950s called The Flames, which was later named, James Brown & The Famous Flames. After a brief marriage, Anderson gave birth to a son, Bobby Anderson, in 1979. After the divorce, Anderson lived as a single mother in Los Angeles where she received several scholarships to study classical and jazz music performance, as well as music education, at Los Angeles City College (LACC) and the University of Southern California (USC). Anderson also studied Creative Literature at the University of California in Los Angeles (UCLA). During her studies, Anderson worked as a student tutor for extra income to support herself and her child. Anderson’s goal at the time was to become a music school teacher, but her plans were thwarted when President Ronald Reagan took music out of the curriculum in the government-sponsored schools. With only one semester left before completing her music degree, circumstances caused Anderson to take office-clerk jobs to make ends meet. In a 2005 Echoes magazine interview, Anderson says that a career in music performance was not at all on her agenda at that time.

The following summer, after her Godfather, James Brown, was incarcerated in 1988, several artists from the James Brown Show toured worldwide as ‘Bobby Byrd and the JB All Stars’. It was the summer of 1989, and Anderson was asked to join the tour as the opening act. She saw this as an opportunity to have a ‘working’ holiday in Europe with her son. With her brothers Bartlett Anderson on keyboards and Tony Byrd on drums, they continued touring with the collective until 1990. Whilst on the road, Anderson was the understudy for Vicki Anderson, Marva Whitney, Lyn Collins and Martha High, with additional tutelage by Maceo Parker, Pee Wee Ellis and Fred Wesley.

Anderson met Marco Nelson and Femi Williams, who later formed the Young Disciples, on this tour with Bobby Byrd and the JB All Stars. Her first London performance of Denise William’s Free at the then Town and Country Club (now, the Kentish Town Forum, also known as the HMV Forum) so impressed the UK natives that DJ/bassist/music producer Marco Nelson and DJ/music producer Femi Williams suggested Anderson move to England to start a singing career. This was the first time Anderson even considered such a path, and it took some convincing. She was swayed when told she could get steady work as a session singer and a songwriter. Ultimately, Anderson was motivated by the positive impact she felt raising her son in the UK would have on his life, as she could sense the violent turbulence brewing in her son’s birth town of Los Angeles, where they had lived for 10 years. In a 1998 Pride magazine interview, Anderson describes how she received much resistance from family members regarding to her relocating to the UK. However, the Rodney King riots that exploded soon after Anderson’s expatriation were proof, as far as she was concerned, that her decision to move was the right thing to do.

Upon relocating with her son to the UK in the summer of 1990, Marco Nelson and Femi Williams introduced Anderson to the stirring UK underground music scene, which (for lack of a better name) was called Acid Jazz. Anderson sang lead and background vocals on a variety of music products in that season, including collaborations with Paul Weller, Bryan Ferry, Galliano, Guru and Courtney Pine, as well as recording under the assumed name of Mardou Fox for several ‘white label’ releases for record producer, Eddie Pillar. Also in 1990, Gilles Peterson and Sir Norman Jay (both top UK-based internationally acclaimed DJs) were elected by the Talkin’ Loud record label to recruit new music acts. Peterson, Jay, Nelson and Williams already had a bond as fellow DJs, resulting in Peterson and Jay signing the Young Disciples. Marco Nelson’s alliance with Paul Weller, gave the Young Disciples the advantage of recording in Weller’s Marble Arch-located Solid Bond studio, where they recorded their album, Road to Freedom. The single release, Apparently Nothing, gained critical and commercial acclaim. Nelson and Williams focused on the production aspects of the music, shunning the promotional tasks required for marketing the project, which meant Anderson was courted by several record companies to pursue a solo career. This friction divided the musical group. With her priority as a single mother to provide a secure future for her son, Anderson felt her best option was as a solo artist. In a October 2011 Jazz FM radio interview with BBC presenter, Jumoke Fashola, Anderson states that a solo music performance career, up until that time, had been the furthest thing from her mind.

Solo career[link]

Through her association with the Young Disciples, Anderson met Ashley Newton, the then Circa label head, who later joined the Virgin Records music company. Amidst the variety of record companies vying to sign Anderson at the time, it was this previous meeting with Ashley Newton that led Anderson to sign with Virgin Records. Her first album was preceded by the marketing EP Dusky Sappho in 1993. The album True Spirit, released in 1994, had pop chart success with single releases Mama Said and Nervous Breakdown. Anderson wrote most of the songs on the album with some songs co-written with producer, Ian Green. Another single lifted from the album that charted well was Let It Last, co-written with Mark Nevin of Fairground Attraction. The album was nominated for a Best International Newcomer BRIT Award, in 1995. Anderson sang on the Red Hot Organization’s compilation album, Stolen Moments: Red Hot + Cool, released in 1994 to promote awareness of the HIV epidemic in the African-American community. The album included numerous stellar artists and was heralded as “Album of the Year” by Time magazine.

Anderson’s second solo album, Blessed Burden, released in 1998, was co-produced by Paul Weller. Anderson again wrote most of the songs with some co-written with Weller and a few covers. Weller supported Anderson in her creative extension, but the Virgin record company executives became disenchanted by the new direction of Anderson’s live music recordings, as they were in such direct contrast to the sampling and drum looping production techniques acquired from Anderson’s Young Disciple days, which were used as a format for her True Spirit album. Subsequently, Virgin dropped Anderson after the Blessed Burden album.

During the recording of this album, Anderson forged alliances with the Brand New Heavies. After being dismissed from Virgin, Anderson accepted the offer from the Brand New Heavies to stand in for their lead singers, N’Dea Davenport and Siedah Garrett, to promote the Brand New Heavies ‘best of’ album, Trunk Funk, from January 1999 to September 2000 on a worldwide tour.

Independent years[link]

Whilst touring with the Brand New Heavies, Anderson formed a friendship with saxophonist, Ben Castle, son of the famed trumpeter, Roy Castle. Castle encouraged Anderson to continue her solo career via the independent route and provided the means for her to release her first independent album, Alberta's Granddaughter, in 2002, for which Anderson received a variety of favorable press reviews. The one single release from that album, a cover of Noel Gallagher’s Don’t Look Back in Anger, was a highly praised featured performance on her 2004-2005 tours with Courtney Pine’s British Council sponsored European events.

In 2003, Ben Castle suggested the production skills of Mark Edwards and the engineering expertise of Colin Walker, alongside filmmaker, Tim Johnson and Andy Hutch, to record Anderson’s performance at the Glee Club in Birmingham, England. Live CD/DVD gaining critical media acclaim from magazines Mojo, Blues & Soul, as well as from the BBC.

These acknowledgements led EMI to release a ‘best of’ Carleen Anderson CD, entitled, Up To Now: The Best Of, in 2004, which included a variety of popular and rare performances across the length of Anderson’s career.

In 2005, UK based, Dome Records, released Anderson’s Soul Providence CD, also co-produced by the Ben Castle, Mark Edwards and Colin Walker team. Soul Providence was composed entirely of Anderson’s self-penned songs, save for one, a cover of Leon Ware’s Wanna Be Where You Are. Anderson recorded this song first made famous by the Jackson Five in 1971 as a duet with Paul Weller. Another duet on Soul Providence is with Jocelyn Brown. Soul Providence was praised by Blues & Soul magazine, as Anderson’s best body of work since her Young Disciples days.

In 2006, Anderson sang at the Stables, the music forum established by Sir John Dankworth and Dame Cleo Laine. In the introduction for Anderson to sing with Sir John Dankworth and his band, Dame Cleo Laine’s enthusiasm sparked the interest of the Ronnie Scott’s promoter who was in the audience. Since then, Anderson continues to have sold out audiences at Ronnie Scott’s with residencies over several nights. A Live at Ronnie’s recording was made in 2010, but the release was delayed due to the tragic loss of the Ronnie Scott’s house drummer, Chris Dagley, who was on the performance and died in a motor accident a few months after the recording. As the club and the band recover from the shock of their much loved and valued band member, they plan to release the Live at Ronnie’s CD, in 2012.

Anderson’s vocal music also appears in the 2006 film, The Fall.

From 2002 to 2007, Anderson taught vocal music at the Brighton Institute of Modern Music, where she was also Head of the Vocal Department. This association, led to the connection with theatre promoter, Julian Boast, who arranged for Anderson to sing for and meet HRH Queen Elizabeth at the Royal Theatre, Brighton, in 2007. In her 2010 interview on Paris TV show, One Shot Not, Anderson speaks of her initial plans to be a music teacher, without any consideration of ever having a career in music performance.

Currently, Anderson is writing for her next studio album, scheduled for release in 2012, as well as preparing for a tour with her Soul Trio, with Anderson on keyboards and vocals, with a selection of highly regarded bass players and drummers.

Anderson’s is managed by Jim Lawn at Clas Management. Anderson’s music company is Dusky Sappho Music.

Discography[link]

With Young Disciples[link]

• Road to Freedom (Talkin' Loud, 1991)

Solo recordings[link]

• True Spirit (Circa/Virgin, 1994) UK #12^[3]
• True Spirit - Remixes (Circa/Virgin, 1995)
• Blessed Burden (Circa/Virgin, 1998) UK #51^[3]
• Alberta's Granddaughter (Dusky Sappho Music, 2002)
• Up To Now: The Best Of (Virgin, 2004)
• Soul Providence (Dome, 2005)
• Live at Ronnie Scott's (TBC, 2011)
• New Studio Album (TBC, 2012)

Solo singles[link]

• "Nervous Breakdown" (1994) UK #27
• "Mama Said" (1994) UK #26
• "True Spirit" (1994) UK #24
• "Let It Last" (1995) UK #16
• "Maybe I'm Amazed" (1998) UK #24
• "Woman in Me" (1998) UK #74^[3]

Under the alias Mardou Fox[link]

• Subterraneans feat. Mardou Fox "Taurus Woman" (1993)
• Numbers "Ballad of Mardou Fox", "Traffic", "Mardous Lament", "Jack Summerset" (2001)

Collaborations[link]

• Duet with Omar "Who Changes the Seasons" (1992)
• Guru's Jazzmatazz, Vol. 1 "Sights in the City" (1993)
• Incognito "Trouble don't always last" (1994) (with Ramsey Lewis)
• Duet with Lewis Taylor "18 With a Bullet" (1998)
• The Brand New Heavies "Saturday Nite", "Apparently Nothing", "Try My Love", "Swinging Big Tom"
• The London Community Gospel Choir "Whenever You Call" (2001)
• Agent K. "Ride Away Getaway" (2002)
• Andy Hamill "Falling" (2003) (with Tony Woods)
• Full Flava's album Colour of My Soul, Carlen performs lead vocals on "Stories" and "You Are (My Destiny)" (2003)
• The London Community Gospel Choir "I Surrender All" (2003)
• Courtney Pine "When The World Turns Blue" (2003)
• Mamayo "The Game" "Born to Love" (2005)
• Hope Collective "Give and Let Live" (2005)
• Duet with Paul Weller "Wanna Be Where You Are" (2005)
• Duet with Jocelyn Brown "Parting the Waters" (2005)
• Incognito "Show Me Love" (2005)
• Incognito "Summer in the City", "Tin Man", "That's the Way of the World" (2006)
• Full Flava album Music Is Our Way Of Life, Carleen performs lead vocals on a cover of Jean Carn's Was That All It Was. (2007)

References[link]

External links[link]

Savina Yannatou (Σαβίνα Γιαννάτου)
Savina Yannatou, April 2009
Background information
Occupations	Vocalist, Composer
Instruments	Vocals, Guitar
Website	http://www.savinayannatou.com

Savina Yannatou (Greek: Σαβίνα Γιαννάτου / Savína Yannátou) is a renowned Greek singer.

After taking classical guitar lessons and participating in the children's choir of Yannis Nousias for some years,^[1] she studied singing with Gogo Georgilopoulou and Spiros Sakkas in Athens, and later attended postgraduate studies at the Guildhall School of Music and Drama in London. In 1979 she began working as a professional and two years later participated in the recording of the critically acclaimed album "Εδώ Λιλιπούπολη" ("Lilipoupolis here"); following that, her career took off and has since released numerous albums, collaborating with many Greek composers. In the mid-1990s, she joined forces with select jazz / traditional musicians forming a band known as Primavera en Salonico, which started by interpreting Sephardic and Mediterranean songs, but later expanded to music from various areas of the world. Gradually, she has extended her vocal techniques to include throat singing, glossolalia and ululations among others.

Besides that, her repertoire consists mainly of Greek music, although she has been a founding member of an Early music ensemble (Εργαστήρι Παλιάς Μουσικής), and has always displayed a keen interest in exploring free jazz and avant-garde music. Said explorations have led her to on- and off-stage collaborations and sessions with international musicians such as Barry Guy, Peter Kowald, Floros Floridis, Günther Pitscheider, Gerald Preinfalk of the band BPM, Ken Vandermark, Sussan Deyhim, Damo Suzuki of the krautrock group Can, and Kiya Tabassian of the Ensemble Constantinople.^[2]

Yannatou is also a songwriter ("Dreams of the mermaid. Is king Alexander alive?", "Rosa das Rosas", "Musique Des Chambres"), as well as a composer for theater, dance theater and video art.^[3] She occasionally participates in select workshops, teaching vocal improvisations to actors and musicians.^[4][5] Currently she's an ECM artist.^[6]

Discography and participations[link]

Releases (solo/group/compilations^{[n 1]}):

Compositions for performances[link]

Theatre[link]

Dance theatre[link]

Notes[link]

References[link]

External links[link]

• Official Site
• Upcoming Concerts from Songkick
• Interview for rootsworld.com