Domna Samiou (Δόμνα Σαμίου)

Today, a new chapter begins in our ongoing story: it's time to honor our gifted sisters, the lesbian artists. As a gift to my faithful Greek friends, who visit in big numbers, even though English is not their mother language, the first week will be devoted to Greek lesbian artists. Then we'll visit the English-speaking ones (and one from France) for a few weeks, before returning to 21st century acts.

To start with, here's a short introduction to Greek music. Until the 60s and to a lesser extent until the mid 70s, Greek music was segregated: the rural areas listened to Demotiki (Δημοτική), which literally means community music. It's traditional music, its origins are buried deep in the sands of time and the influences are mostly Eastern. They were especially popular in country fairs, in marriage celebrations and during the carnival.

The working class in the urban areas would listen to Laiko (Λαϊκό)  which literally translates to music for the people. It too is mostly influenced by Eastern music, the difference being that these are contemporary songs and the subject matter is more suited to urban concerns. As for the middle and upper classes, they listened to Elafro (Ελαφρό) which means light (as in not heavy) and was mostly influenced by Western music, French, American, Italian, English, German, Spanish and South American. In the 60s there was a merge of Elafro and Laiko (unimaginatively called Elafrolaiko / Ελαφρολαϊκό) which would eventually take over as the prevalent genre. Also in the 60s, influenced by Elvis, the Beatles, etc we had Greek Pop music, sung either in Greek or in English. There was also Neo Kyma (Νέο Κύμα), translated as New Wave, which was mainly inspired by the French Nouvelle Vague. A bit later there came Greek Rock and much later there developed a vibrant scene of Greek Hip-Hop. Enough with the introduction and on with today's featured artist.

Domna Samiou was born in Kaisariani (Καισαριανή), a working-class suburb of Athens, in 1928 and died in 2012. Her parents were refugeees from Asia Minor: her mother came to Greece with the 1922 1.5 million refugee wave from Turkey. Her father, who was a prisoner of war in Turkey, was released and deported a bit later.

At 13 she joined Simon Carras' choir (Σίμων Καράς). Simon was a specialist in researching Greek traditional music and young Domna was greatly influenced by him. At 26 she was hired by the Greek National Radio corporation where she would meet, interview and record folk musicians from all over Greece. She would also start producing records and select music for plays and films. In 1963 she began visiting rural areas in Greece and record local songs.

During the rule of the dictators, in 1971, Domna quit the National Radio. She would surprisingly join forces with famous Greek rocker Dionysis Savvopoulos (Διονύσης Σαββόπουλος), yet the Rock audience took to her without trouble. She would sing her own traditional songs, but she also sang this duet with Savvopoulos, called What Shall I Do With Your Songs (Τι Να Τα Κάνω Τα Τραγούδια Σας):

These shows led to an invitation to sing in London's Bach Festival, where she would be a hit. World-famous vionist Yehudi Menuhin was particularly impressed and he joined her in this 1977 recording of So Long, Mother Of God (Έχε Γειά Παναγιά):

In 1974 she was signed to Columbia Records and started her successful recording career. Here she is singing a classic folk song called Tzivaeri (Τζιβαέρι):

In 1981 she founded a non-profit organization for the research and recording of obscure non-commercial traditional songs. One aspect of her research that was especially valuable, was the discovery of the traditional "naughty" songs. These songs were usually sung during Carnival or during fertility rites of the farmers that would date back to Ancient Greece. I've managed to find one of the "tamer" ones, tame enough to appear on broadcast TV, along with the traditional interpretive dance that would go with it. The song is called How Do They Grind Pepper (Πως Το Τρίβουν Το Πιπέρι):

Eventually she became known and respected in other countries as well, countries such as France and Sweden. She would tour around the world, in Europe Australia, North and South America, singing songs such as Little Sailor Boy (Αρμενάκι):

And this: John, Your Handkerchief (Γιάννη Μου Το Μαντήλι Σου):

Soemtimes she would sing acapella, demonstrating her vocal prowess. Here she is in 40 Brave Young Lads (40 Παλικάρια):

She would sometimes venture in Laiko song (Λαϊκό Τραγούδι) territory, as in this case, another fabulous acapella performance of a Laiko classic called A Moonless Night Has Befallen (Νύ person. She was also a good coversationalist uming, down-to-Earthquite accepted by almost everybody. den. She wouldinterpretiveχτωσε Χωρίς Φεγγάρι):

Domna was a no-fuss lesbian. Almost everybody knew it and it was quite accepted by everyone that mattered. I met her at a party once and she was an unassuming, down-to-earth person. She was also a good conversationalist with a great sense of humor.

She received a lot of awards during her lifetime. Perhaps the highest one of these was a medal in recognition of her contribution to Greek music, presented by the Greek President himself in 2005.

I think it's appropriate to end this with a lullaby from the home country of her parents. It's called Lullaby From Asia Minor (Μικρασιάτικο Νανούρισμα):