Olivia Vasilopoulos begins an exciting new chapter at her 24 as the newly crowned Miss Universe Greece 2026, preparing to represent Greece on the international stage at Miss Universe 2026 in Puerto Rico. Born in Sydney to Greek parents and raised in Hong Kong, Olivia grew up surrounded by different cultures, languages and perspectives. Her family’s journey of migration, perseverance and determination has deeply influenced the woman she has become, while her Greek roots remain an essential part of her identity. With family connections to Mytilene, Argos and Patras, she carries a strong sense of cultural pride alongside a distinctly global outlook. Olivia studied Political Science and Chinese in Melbourne and speaks five foreign languages in addition to Greek. Her international modeling career has taken her across continents, while her experience in public policy has given her another perspective on leadership, communication and social responsibility.

When you look back at the beginning of your modeling career, what inspired you to enter the fashion industry and how has your journey shaped the woman you are today?

My journey into modeling began with a genuine love for fashion, beauty and self-expression. From a young age, I was fascinated by the way fashion can tell a story and give someone the confidence to express who they truly are.

As I began taking my first steps into the industry, I quickly realized that modeling is about much more than appearance. It requires discipline, dedication, resilience and the ability to constantly grow and adapt, not merely to fashion developments but also the social changes that fashion absorbs and reflects. The industry can be demanding, fast moving and dynamic. Every experience has shaped me into the woman I am today and has taught me resilience, including to believe in myself and back my own dreams.

But above all, I want everything I do to have a purpose and resonate with personal meaning also. I want to use the opportunities I receive to help people, protect our planet and ecosystem and stand beside vulnerable and disadvantaged groups – giving voice to those who may not be well positioned to advocate for themselves. For me, success has meaning only when it can be shared and can make a positive difference in the lives of others.

Modeling is often seen as a glamorous profession, but it also requires discipline, resilience and hard work. What have been the biggest challenges you have faced and what have they taught you about yourself?

The modeling industry can be demanding and sometimes unpredictable. One of the biggest lessons I have learned is that rejection is not failure. It is part of the journey and an opportunity to become stronger. Some of the greatest rejections I have experienced have redirected my steps, this has frequently led to an opportunity that I may not have otherwise found. I have learnt to trust the process and believe in my ability to learn from and be reshaped by setbacks. This has been a very positive experience that has prepared me for life in all its dimensions.  

The industry has also taught me about the importance of hard work, consistency and discipline. I have learned that success does not happen overnight, it can take years to come to the kind of fruition one might imagine or hope for. It involves courage in being prepared to face the setbacks needed to keep moving forward, even when things do not happen exactly as you imagined.

These experiences have also made me more aware of the importance of empathy and compassion. I believe that whatever position we achieve in life, we should never forget the people, animals, and causes that need our voice and support. An empty success that resonates only in the most shallow sense, holds no appeal for me.

How important has your family’s support been throughout your journey? In what ways have their encouragement, values and advice helped you pursue your ambitions?

My family has been incredibly important to me. They have always encouraged me to pursue my dreams while reminding me to remain grounded and true to myself.

Their love and support have been unconditional and have given me the confidence to take risks, explore new opportunities and believe that I can achieve everything I set my mind to.

They have also taught me values that I consider essential: compassion, respect, responsibility and the importance of being selfless and helping others. I want these values to remain at the heart of everything I do.

You have also pursued your studies in Australia, an experience that must have offered a different perspective on life. What motivated you to study in Melbourne and how did it influence your personal growth and independence?

Studying in Australia was a very important chapter of my life. Living in Melbourne allowed me to experience a completely different culture and environment, while also becoming more independent and responsible for my own decisions.

Being away from home taught me how to adapt, communicate with people from different backgrounds and see the world from a broader perspective. It helped me mature both personally and professionally and gave me a stronger sense of who I am and what I want for my future.

After my studies, I undertook a year long internship with then Leader of the Opposition, Minister Bill Shorten. It was a wonderful opportunity to directly engage with the kind of social impact that is so meaningful to me. I learnt so much about the kind of dedication, thoughtfulness and sheer hard work that was needed to drive meaningful change and impact.

My studies and work experience also taught me that knowledge is a powerful tool. I want to continue using everything I learn to create opportunities not only for myself, but also to contribute to causes that matter — from supporting people and vulnerable communities to protecting animals and our environment.

How do you balance your academic background with the demands of modeling and do you believe education has given you a different perspective on beauty, success and the opportunities available to you?

Balancing education and modeling requires a great deal of organization, discipline and commitment. I believe that education and more importantly, access to quality education, is one of the most powerful tools a person and community can have because it drives knowledge, confidence and the ability to think critically and independently – it is powerfully life transforming. 

For me, true beauty goes far beyond physical appearance. Beauty without intelligence, character, kindness, confidence and the way you use your voice is shallow and meaningless.

Education has taught me that success is not simply about being seen; it is about having something meaningful to say when you are given the opportunity to be heard — and, even more importantly, using that voice to help others.

Every young woman has dreams that go beyond her professional achievements. What are the dreams you hold closest to your heart, both personally and professionally and what would you love to accomplish in the years ahead?

One of my biggest dreams is to build a life that has meaning and purpose beyond my own achievements.

I want to use my voice, my visibility, my platform and every opportunity I receive to help people and make a positive difference in the world. I care deeply about vulnerable and disadvantaged groups, access to quality healthcare and education and the protection of our planet in all its dimensions (land, sea and air).

I believe that we all have a responsibility to leave the world a little better than we found it. Whether that means supporting a person in need, raising awareness for an important cause, protecting an animal, or encouraging people to care more about our environment, I want my actions to have a positive impact and feel that when I had the chance, I did all that I could to help.

I would also love to continue representing Greece internationally, while promoting our culture, our heritage and the values that make our country unique.

Winning Miss Universe Greece 2026 is a significant milestone. What did this achievement mean to you personally and how has it changed your outlook on your career, your responsibilities and the opportunities ahead?

Winning the Miss Universe Greece 2026 title would be an extraordinary honor and a tremendous responsibility.

For me, the crown would not simply represent beauty. It would represent a platform — an opportunity to speak, to inspire and to represent Greece with dignity, confidence and authenticity on an international stage. I am Greek, but have also had an upbringing that translates the Greek Diaspora having grown up between Greece, Australia and Hong Kong. I have also spent a great deal of time in America and wider Asia. In combining this background with my political science academic background, my work experience in community causes, my post graduate qualification in languages and culture and my years of experience in environmental advocacy, I hope to represent a modern Greece beyond tourism cliches. Much of this also involves embracing and advocating for the return of the Parthenon marbles and other antiquities, as well as highlighting all the wonderful dimensions of Greek culture, life and contribution to the world stage that extend far beyond those that may currently be understood internationally.  

Most importantly, I would want to use that platform for something far greater than myself. I would want my voice to reach people who may not always have the opportunity to be heard, to support vulnerable groups, promote equal access to essential services, advocate for animal welfare, promote environmental awareness and inspire young people to believe that they too can make a difference. These are all areas of community life that I have tried to promote using my platform. I am excited at the prospect of being able to amplify and highlight that voice both domestically in Greece and internationally. 

I would see the title as the beginning of a new chapter — one in which beauty is connected with purpose, responsibility, compassion and action.

In an industry where appearance and public perception often receive so much attention, how do you stay authentic and protect your confidence, individuality and sense of self?

I believe authenticity is one of the most powerful forms of beauty. Trends change, standards change and opinions change, but knowing who you are remains your greatest strength and North Star. 

I try to remind myself that I do not need to become someone else to be worthy of success. I want people to see not only the woman in front of the camera, but also the person behind it — with her values, dreams, imperfections, and ambitions.  At the end of the day, it is about being able to look into the mirror and like what you see and know about yourself.  That transcends the outer exterior in every way that is meaningful. 

Confidence does not mean believing that you are perfect. No-one is, or should aspire to be.  It means accepting yourself, knowing your worth and continuing to grow toward the best version of yourself.

And I believe that true confidence also comes with responsibility. If you are given a voice and a platform, you should use them to lift others up, not simply to promote yours

Looking ahead, what are your plans for the next chapter of your career and life? Do you see yourself exploring international modeling opportunities, working with major fashion houses, or expanding into other fields?

I would love to continue developing my career internationally and have the opportunity to work with major fashion houses and leading names in the industry.

At the same time, I do not want to limit myself to modeling. I am interested in exploring opportunities in media, communication, entrepreneurship and projects that allow me to make a positive impact on our wider community. I view these areas as very complimentary and symbiotic.

I want to create initiatives and participate in actions that support people in need, vulnerable groups, animal welfare and the protection of our planet.

Ultimately, I want to build a career that combines creativity, purpose, compassion and meaningful representation. My work with the European Parliament in promoting Greek culture (the first project of its kind), in conjunction with Greek icon and Member of the European Parliament, Elena Kountoura, is a great example – in this ground breaking project, I have sought to highlight the impact that climate change has on vulnerable geographies such as Greece and to highlight the need for advancing sustainable fashion, environmental protection and addressing social inequality with urgency. New law has been passed in Europe to drive sustainable practices (The EU Waste Framework Directive).  I hope to highlight the need for early adoption in all member nations while illustrating the devastating effects that climate change has on Greece and other vulnerable communities around the world. It is exactly this kind of intersection of fashion, art and public policy that I find most meaningful and important.  

If you could send a message to the little girl you once were, before the modeling career, the international experiences and the achievements, what would you tell her about believing in herself, overcoming obstacles and daring to dream big?

I would tell my younger self: Believe in yourself and trust the process – you will win some and lose some, but what is meant for you will find you and it will all be ok.

Do not be afraid of failure and never allow someone else’s opinion to define your worth. Everything happens at its own time and every experience — even those most difficult and painful — teach a valuable lesson. Sometimes, the lesson is simply that life can throw its worst at you and you can not only survive it, but also find purpose and direction from it. I am still in my twenties, but I have experienced my share of life’s tragedies and loss at a very early stage in life – losing my much loved brother to a rare and deadly cancer at age 19 while I was still a teenager myself. It is easy to speak of loss from a theoretical distance – I know what it is to experience real darkness and crushing loss. I hope to provide some inspiration to others undergoing challenging times that they can find the light and purpose again. What emerges can be greater understanding, compassion and consideration for others. I don’t take anything for granted because I know life can turn on chance at any time. That perspective and my wider experience has taught not to take anything for granted and to always be grateful for those opportunities that do come along.    

I would also tell my younger self to dream fearlessly, to remain kind and never to forget that the greatest success is not simply what you achieve for yourself, but what you are able to give back to the world and those that you love and care about around you. 

Finally, what does it mean to you to represent Greece on the Miss Universe stage?

Representing Greece on the Miss Universe stage would be one of the greatest honors of my life.

Greece is a country with an extraordinary history, culture, beauty and spirit. To stand on an international stage carrying the Greek flag would mean carrying with me the stories, values and dreams of an entire nation.

I would want to represent Greece with elegance, strength, intelligence and authenticity — and to show the world that a Greek woman can be both deeply connected to her heritage, thoroughly modern, multifaceted and international and completely open to the future.

But I would also want to represent something universal: compassion, respect and the belief that each of us can contribute to a better world and make a positive difference.

For me, the crown would never be the destination. It would be a responsibility and a platform from which I could make Greece heard, seen and remembered — while using my voice to help people, protect animals, care for our planet and stand beside everyone who needs support.

The post Olivia Vasilopoulos Begins Her Journey Of Beauty, Ambition And Dreams appeared first on Licence Magazine.

There are nights that begin with a line-up, and then there are nights that evolve into something much bigger than that.

On Saturday, September 19, Full Circle returned to Playground 260 for an evening that started with movement, electronic music, collective experience and ended by bringing SUCO, Maarkk, Man With The Speaker, Avangart Tabldot and WhoMadeWho together on the same stage.

The night did not start at the decks.

It began with focus on the body.

Before the dancefloor even filled, the audience took part in SUCO, an experiential practice that approaches meditation through movement, breathing, shaking and dance.

With headphones and a guided experience led by a facilitator, SUCO created a different way to enter the night: not by observing, but by participating. Movement became a tool for expression, while music became a way to connect with the body, emotions and the people around us.

It was a first statement of what was to come.

The musical baton was then passed to Full Circle residents MAARKK and MAN WITH THE SPEAKER, who gradually opened up the dancefloor and built the musical momentum of the night.

MAARKK, co-founder of Full Circle with many years of experience in the electronic music scene, moves between groovy basslines, melodic elements and breakbeat rhythms, while MAN WITH THE SPEAKER is known for his genre-blending sets and his ability to read the energy of every space.

From there, the journey began.

For the third time, Avangart Tabldot joined Full Circle with their distinctive groove.

The Turkish trio of Ata, Aytek and Semih has established a unique position within the international electronic scene in recent years, with releases on labels including Innervisions, VOD, TAU, Madorasindahouse and Siamese, as well as through their own Crib Records.

At Playground 260, their set carried exactly that energy: groove, movement and constant evolution. At the same time, they presented music from their recent discography, with their new release Love.Exe having come out just a few days before their appearance in Athens.

The dancefloor had now transformed into a single body.

And then came the moment for WhoMadeWho.

The Danish group has long crossed the boundaries between live band, electronic music and club culture, creating a sound that combines electronic production, rock, jazz and songwriting.

At Playground 260, WhoMadeWho’s hybrid DJ set was presented by Tomas Høffding and Tomas Barfod, two of the group’s core members.

Their performance became the climax of the night. With a set that moved between their distinctive sonic universe and the energy of the dancefloor, the two Tomas brought their own interpretation of the WhoMadeWho experience to the evening.

It was not simply another big name on the line-up.

It was the moment when everything that had come before — SUCO’s movement, the residents’ opening sets and Avangart Tabldot’s groove — came together on one shared dancefloor.

And like every circle, the night had to return to its beginning.

After WhoMadeWho, MAARKK and MAN WITH THE SPEAKER returned to the decks for the closing set, keeping Playground 260 alive until the very end.

From SUCO’s guided movement to the final beat, the night followed a clear journey:

body → emotion → music → connection → dancefloor

This was Full Circle-Join The Circle at Playground 260.

Not simply an event.

An experience that began individually and ended collectively.

The post Full Circle At Playground 260 appeared first on Licence Magazine.

Sophie Zanninou is one of the most beloved and enduring artists of the Greek performing arts, with more than fifty years of uninterrupted presence in theatre, film, television and music. With a career filled with remarkable collaborations, unforgettable roles and experiences alongside some of Greece’s greatest artists and creators, she continues to serve her craft with the same passion and dedication. In the interview that follows, she reflects on the defining moments of her journey, the dreams left unfulfilled, the changes in the entertainment industry and the values that have shaped both her life and career.

You have a career spanning decades in theater, song and television. If you could turn back time, is there a moment in your career you would live the same way?

There are many such moments, because I was lucky to work with great artists such as Thanassis Veggos, Kostas Chatzihristos, Nikos Stavridis, Nikos Perakis, Harry Klin, Antonis Kafetzopoulos, Nikos Kalogeropoulos, Georgia Vassiliadou, Maria Georgiadou, Smaragda Karidi, Alekos Syssovitis, Chryssoula Diavati and many more.

As for television, I worked with Nikos Sergianopoulos, Mirka Papakonstantinou, Jessie Papoutsi and Penelope Pitsouli.

Also in the theater with Giannis Zouganelis, Eleni Kastani, Antonis Loudaros, Zeta Douka, Penelope Anastassopoulou. With all the old directors such as Alekos Sakellarios, Orestis Laskos, Kostas Karayiannis, Leo Bartlett. I sang with Giorgos Marinos, Marinella, Giorgos Gerolymatos, Harry Klin, the Tzavara brothers, Dakis, Thanasis Bratzioti, Giannis Zouganelis and many others.

You were fortunate to collaborate with distinguished artists of the Greek theater and cinema. Who taught you the most important lesson and which memory from those years do you still keep alive?

I especially remember collaborations with maestros such as Giorgos Katsaros, Mimis Plessas, Giorgos Pagiatis, Giorgos Theodosiadis, Giorgos Chatzinassios. The most important lesson I learned from them is respect.

Is there a great Greek actor or artist you never had the chance to meet or work with and would have loved to?

I had an unfulfilled collaboration with Manos Hadjidakis. When the iconic Athens Tower, the country’s first 26-story skyscraper, was being built, businessman Dimitris Antonakis envisioned an ultra-luxurious roof garden at its top and entrusted Manos Hadjidakis. Discussions took place; the concept was locked. With exhaustive rehearsals completed, the act reached the final rehearsal. Unfortunately, there was never a premiere.

How do you think the theater and entertainment field has changed from the time you started until today? Are these changes mostly positive or negative?

There are changes and there aren’t. Everyone says that back then there were those stunning and great actors. Yet, because I work with many very young actors, I must tell you I have seen exceptional talents, girls and boys, whom I have admired and applauded. We have equally great actors as in the old days and time will prove me right, because we truly have very good actors. Things change anyway; the tools are different, and old performances had their magic, but new ones with new tools, such as lights, sound, etc., also create a magical result.

Right now you are involved in new artistic works and collaborations. What excites you most about each new professional step?

That I must portray and adopt a new character like the one I did in the Grand Hotel TV series, which I had never done before and there is always a tremendous charm and a strong challenge in everything new. Now, in the Your Face Sounds Familiar TV show, I was teaching acting and it was a major challenge because we did 120 disguises, i.e., the artists impersonated 120 different characters, different singers and that was a great charm, a great challenge and we pulled it off. That was a great joy for the EXCEPTIONAL participants and me!!! Wonderful, talented singers and actors, each better than the other.

Family has played a significant role in your life and in shaping your personality. What values have you tried to pass on to your own family?

What I took from my own family is honesty, courage, hard work and love.

As a mother and a woman with a lot of life experience, what do you consider the most important advice you would give today to young people?

Usually, I don’t advise people because every person is unique; every character is unique; what may suit me may not suit another person. Just go with honesty in everything you do because that gives truth and you see the real image of any situation. Always proceed with honesty, open-mindedness and open-heartedness, without a second thought and you will nail it. Whenever people go with malice and cunning, they are ruined. Whatever you do, do it with sincerity, courage and love. The universe will compensate you. There is a cosmic balance, as if everything we do is recorded: the good and the bad. What we sow is what we reap; that is the only sure thing.

Having worked with many generations of artists, how do you see the new generation of actors and singers? Do you notice the same passion that existed before?

Of course I see it, but I also see another thing: the older generation was usually experiential; there were no acting schools, and there were not many stimuli; now all the young actors, singers, and dancers receive a great education, and this is a great asset for an artistic career.

What qualities should a young artist have to endure in the field and build a career with longevity rather than just a momentary success?

Money and fame should come second. Colleagues and the quality of the work should be priorities, as should the love of making artistic work.

If Sophia Zanninou could leave a message to the people who have followed her all these years, what would it be?

I love them from the bottom of my heart because without those who love me, I wouldn’t exist. I thank them from my heart for honoring me with their love.

The post Sophie Zanninou Has An Uninterrupted Presence In The Performing Arts appeared first on Licence Magazine.

Darina Al Joundi is a Lebanese-born actress and writer whose work spans theatre, film and television in Arabic, French and English. She began performing as a child in Beirut and later emigrated to France, where she built a stage career and co-wrote the acclaimed one-woman show Le jour où Nina Simone a cessé de chanter, which explores exile, trauma and citizenship. Her performance at the 2012 Avignon Festival drew high-profile attention and helped accelerate her naturalization as a French citizen. Al Joundi has appeared in international films and series—including Our River…Our Sky and The Man Who Sold His Skin—and frequently speaks on women’s rights and refugee experiences. Her work is noted for mixing personal testimony with political themes.

Can you share some moments of your childhood and how your family and environment influenced you to develop a more global view?

I had a father who was a writer, journalist and a philosophy and Arabic language teacher and a mother who was one of the first radio speakers in the Middle East. Thanks to my father and his friends and the life he used to have, we were always surrounded by poets, writers and journalists. There were always parties at the house. Also, wine was always floating in the music. So, I had a childhood full of knowledge, books, happiness, friends, and very interesting discussions for a child like me. My father used to give me books to read from a very young age. He offered me the chance to watch movies and to listen to music. He had a lot of influence on my evolution in the arts, culture and knowledge.

Of course, I started acting at the age of eight on Lebanese TV. So, since my childhood, I was a working child as an actress and that very much influenced my childhood. I didn’t have a childhood that resembled others. I had to go to the shooting twice a week while going to school and then there was this atmosphere at home that made our lives full of joy, culture, music and happiness.

What motivated you to transition from Lebanon to France and pursue a career in acting there?

I’ve always been an actress in my life. And the things that I was doing in the Arabic world weren’t sufficient for me. On an artistic level, on a very high-quality level of work. And I wanted more; I wanted something else. I started wanting to leave and work in Europe at a very young age. I left Lebanon for Europe at the end of the 90s. Then went back when my father died in 2001. This is where I had my traumatic experience with the rest of my family, my mother and my sisters. And the minute I had the chance to leave, I left. And I started my new career here. I came for more freedom, more freedom to express myself, more freedom to live daily. I was looking for more professional, personal and intellectual freedom in my life.

How did your one-woman show Le jour où Nina Simone a cessé de chanter reflect your personal struggle to obtain French citizenship?

Well, it wasn’t “Le jour où Nina Simone a cessé de chanter”, which means the day Nina Simone stopped singing, that gave me the French nationality. It was my second play that’s called “Ma Marseillaise,” in English “Marseillaise my way”. This is the play that gave me the nationality. This is a play that talks about my struggle to obtain my papers and my French nationality. One week before the opening of the play, I had the refusal of my papers in France. So, I added this information to my play by the end of the play. And a critic from Le Monde newspaper, the biggest theatre critic in France, came and watched the play. And she wrote an article about the play, saying, “Mariane doesn’t recognize her sisters anymore. Mariane is the symbol of the French Republic”. The same day, the French Interior Minister, who was Emmanuel Valls, called me at the theatre and told me that the problem I had was a very administrative problem. They had to change the law. And he announced to me that he would change the law so I could have the French nationality and represent the Republic in the world as an artist. 

As someone who has spoken at the French Ministry of Women’s Rights, how do you see the intersection of art and activism in promoting gender equality?

Well, I think about how to do it in our work. Each one has to talk about their own convictions. It touches more the author side of my work because, as an actress, I do not always have the choice. Even though I do get a lot of proposals for acting, sometimes they are a bit similar to my way of living and activism. But it’s more on the author’s side because this is where I can express my opinions. But I think it’s only about being sincere and that each one of us talks and expresses their opinions, their experiences. And this is the only way that we can move forward.

You are known for your stage performances, but you also have a notable filmography. Do you prefer theater or cinema and why?

I’m known as a stage performer in Europe and I’m also known abroad. Even though I started when I was eight on TV, I don’t have a preference, actually. Each one of radio, cinema, TV and theater, each one of these ways of expression has its own challenge. Actually, what’s luxurious is time and the place where we have more time than any other kind of work. The theater is the place where we have more time, so we have the time to build the character and then to perform. The day of the premiere is the day when we really start working and it continues working until we stop performing the play. It can be for years and each time you make it better. Things get better, silence gets better. The film is a challenge; it’s very difficult because sometimes we start with the first scene and the next day we do the last scene and three weeks later we go back to the first scene to continue it from another decor set. So all these have to be in an intimate situation, but you are surrounded by hundreds of people. You cannot control anything in the cinema or on TV. Plus, on film, the good thing is that we have a bit more time than on TV. The luxury is time. So, theater can give you this luxury that TV and film don’t give you and it makes it harder to continue being on the same level as the character all the time. So, each part of this way of expression is either theater, film, TV or radio. Radio is another level of expression, another level of work. Each one of them has its own challenges, its own difficulties and its own magic. The magic and the passion are everywhere for me. I love all. I cannot do one and not do the others. I have to jump from one to another, like do TV and then do a film and then do a play, which I do all the time and that makes me really happy and more passionate about my work.

The preference between film, TV and theatre, there’s one thing I would like to add: theatre permits us to condense all the work that we do in months to be able to do it in minutes for the movies or for TV, which means, as actors, we learn the most important thing is to be present in the moment. And theatre is an excellent professor for it and the technique that we use in theatre permits us to use the same technique, but in a very short time, to be able to do the same for a film or for a TV show.

Among your roles in productions like Homeland, Tyrant and The Romanoffs, which character challenged you the most as an actress?

Well, among all these projects, there’s also the New Look; there’s Athena, a film on Netflix by Romain Gavras. There are a lot of films or shows that I did that are really challenging for me. Actually, the last project I did for French TV, which was called “Kabul”, was a big challenge because I had to learn a language that I didn’t know, Dari, one of the Afghan dialects. And we didn’t have a lot of time. It’s a project like in the US; they would do it in six months. We did it in three. A big production for France, but not really for the US as a TV production. But it was very challenging and also the most beautiful experience of shooting in my life. It was a very beautiful experience, an adventure with the crew, with the screenplay, with the directors, and with the other actors. This was a very challenging but very beautiful experience. “Kabul” was for France2FrenchTV.

Your father, Assem Al Joundi, was a prominent author and politician. How did his legacy shape your own path in the arts?

My father was a poet, journalist, writer and militant activist for freedom. He shaped my life not only during my childhood, but also during my adolescence and all parts of my life. His way of thinking, his way of doing things, he was one of a kind; he used to say what he thought and do what he said. He was a real free person and he did it with his own daughters, not just talking about it. I remember our house was always full of his friends, writers, politicians, poets and journalists. There was always music, words and books in my childhood and my youth. And just the way that we used to debate, to discuss, to talk, to drink together, to have fun together. Yes, he showed me how to love life.

And he showed me that to be free, you have to be mainly independent financially and that we have to be responsible towards our freedom and to assume all our actions and their consequences. Then you have the right to be free.

When preparing for roles, especially in emotionally intense works, what is your approach to embodying complex characters?

My approach to the roles that I do is actually very simple and very difficult. It’s just being there in the moment, not before, not after and just live the instance, the second that you are living in. That’s the most difficult and the easiest thing at the same time. It’s a process that you put in your body and your head and your soul. But for me, it’s this: it’s being able to be present in the moment. This is it.

How do you navigate your dual identity as a Lebanese-born actress who is now a French citizen in your work?

There’s no duality for me and there’s no me born a Lebanese actress and being a French citizen. It’s always me. It’s me, the same person. The way I live now resembles my way of being more than the way I used to live before; I’m still the same person. I just have more space, more freedom to express myself, to work, and more chances.

Are there any upcoming projects or collaborations that excite you, either in theater or cinema?

Well, the most exciting upcoming project for me is that I’m trying to adapt my second novel, which is called “Prisoner of the Levant”. It’s about the life of May Ziadeh and I’m hoping that by the end of next year, I will be in preparation for shooting my first long feature film and that’s the most exciting project I’ve been working on for five years now, so I hope I’ll be able to do it.

The post Darina Al Joundi Reaches High-Quality Work Level appeared first on Licence Magazine.

Yiannis Vardis is a Greek singer and songwriter known for blending contemporary laiko and entehno elements with a melodic, emotional style. Born in Athens in 1974, he began writing songs at a young age and studied piano, which helped shape his musical identity. He first appeared on record through work connected to his father, Antonis Vardis, before releasing his own material and gaining strong popularity with younger audiences. Over the years, he has built a steady career with albums, singles and live performances that highlight his warm voice and personal lyrics. His music often centers on love, loss and reflection, making him a familiar name in modern Greek popular music. His new song is “Den To Perimena” (“I Didn’t Expect It”), music by Kyriakos Papadopoulos, lyrics by Vassilis Giannopoulos and released by Panik Platinum.

Listen to the new song

What was your original inspiration for pursuing a career in singing and how did you start your career?

It wasn’t really a matter of inspiration—it was a matter of love. I have loved music since I was a child. Growing up, I didn’t know exactly what I wanted to do within music. At some point, I realized that I could sing anything I heard—I could reproduce it with my voice. So, I went to my father and asked him to audition me, listen to my voice, give me his opinion and tell me if I was good enough. If he believed in me, I wanted him to take me by his side and teach me how to be a singer.

What moment do you consider the turning point in your musical journey?

I think the turning point was my father’s “yes.” After that came my first participation in the song “Tha Se Perimeno” (“I Will Wait for You”), and then the first song I recorded on my own, Isos (“Maybe”). That song was incredibly important to me and marked a significant moment in my career.

You’ve collaborated with many artists. Is there one collaboration that stands out and why?

I’ve had wonderful collaborations and each one has been different. Working with George Dalaras was truly unique. Just being by his side is a unique experience—you learn so much from him. Collaborating with Katsimiha Brothers and my father was a lifelong dream. My collaboration with Vasilis Karras was equally important. They have all been incredibly valuable experiences.

What genre of music has influenced you the most in your development as a singer?

From a young age, I listened to many different genres of music. The one that attracted me the most was rock, especially rock ballads. As I got older, I also started listening to heavy metal bands. But no matter the genre, I was always searching for beautiful melodies.

What process do you follow when creating a new song or choosing your repertoire?

There’s no specific process. The important thing is finding a great song. Thankfully, my father left me many wonderful unreleased songs and the truth is that it’s not always easy—when you have so many great songs to choose from, picking just one can be difficult. Very often, our choices are influenced by our state of mind and emotions at that particular time and that plays a significant role.

How do you see the evolution of the Greek music industry today compared to previous years?

I don’t think things are in a good place for Greek music today. There are still talented composers and some very good singers. However, I believe many composers have had to compromise to remain relevant because, unfortunately, radio has lowered its standards considerably. It’s become difficult to hear truly great songs on major stations that follow very specific airplay formats.

As I mentioned, there are good singers, but very few who truly give you what we call heart. Also, I believe there’s a major creative gap in our industry when it comes to genuinely great songs.

Have you faced difficulties during your career and how did you overcome them?

Of course I have. I’ve experienced shut microphones, issues over billing on the marquee and disagreements over performance time—who goes on stage first, or whether someone has to cut twenty seconds from their set so the headliner isn’t inconvenienced. Unfortunately, these things happen in our profession, no matter who you are.

Because I didn’t like that environment, I chose to step away from the big stages and large music venues. Instead, I decided to create my own projects, surrounded by people I choose and who choose to work with me. In short, I left those venues because I was looking for a healthier working environment.

What’s the most valuable lesson you’ve learned from working with other artists?

Collaborations in our profession are like they are in any other job or in society in general. You meet wonderful people and also you meet the others. Through work, you learn to be careful. You gain experience that helps you surround yourself with the right people and the best collaborators possible.

This profession teaches you to be patient, to stay focused on your goals and to trust your own abilities.

Are there any artists or lyricists you’d like to collaborate with in the future?

There are outstanding composers I’ve already worked with and would love to collaborate with again, such as Kyriakos Papadopoulos, Dimitris Kontopoulos, Giorgos Moukidis, Vasilis Gavriilidis, Vasilis Giannopoulos and Olga Vlachopoulou.

There are also lyricists I haven’t had the chance to work with yet, such as Nikos Gritsis and Nikos Moraitis.

And of course, there are artists I’ve never collaborated with but deeply admire. Ever since I was a child, I’ve loved and admired Orfeas Peridis. To my ears and to my soul, his music is healing, if I may put it that way.

And I won’t hide the fact that I would love to collaborate with my father again—even if only on a recording. Whenever we’re creating music together, it’s something profoundly liberating for me.

What message would you like to give to young people who dream of a music career?

I’m not sure I want to give advice, but I would certainly like to make a wish.

I wish for a better future for Greek music—a future filled with beautiful songs, meaningful lyrics and beautiful voices. A future without AI, but with heart and soul.

The post Yiannis Vardis Has Loved Music Since He Was A Child appeared first on Licence Magazine.

Following the remarkable success of last year’s event, Full Circle returns to Army Park (Parko Stratou) in Goudi on June 27, 2026, welcoming two of the most influential names in the global electronic music scene, &ME and Rampa. The longstanding collaboration between Full Circle and Keinemusik continues to evolve, further strengthening Greece’s position on the international electronic music map.

This shared journey began in September 2023 at Anassa City Events, with the first Keinemusik showcase in Athens. More than 4,000 music lovers gathered to experience a night that would become a landmark moment for the city’s contemporary electronic music scene. Through that event, the Athenian audience was introduced firsthand to the unique aesthetic and musical identity of the legendary collective, laying the foundations for a special ongoing partnership.

The next chapter unfolded in the heart of Athens as part of the This is Athens – City Festival. &ME performed at Agion Asomaton Square in Thissio before an audience of more than 12,000 people in an open-air event that brought the philosophy of Full Circle and Keinemusik directly into the city center. This close interaction with the public in one of Athens’ most iconic public spaces created a unique connection among residents, visitors and contemporary music culture.

The culmination of this journey came on June 21, 2025, when Army Park was transformed into a multidimensional cultural destination. With &ME and Adam Port behind the decks, Full Circle attracted thousands of visitors from Greece and abroad, showcasing Athens as a leading destination on the international electronic music circuit. More than 11,000 international visitors traveled to attend the event, which was under the auspices of the Greek National Tourism Organization and highlighted the powerful connection between music, tourism and contemporary culture.

In 2026, Full Circle returns to continue this ever-evolving story. On June 27, &ME and Rampa, two of Keinemusik’s most iconic members, will take over Army Park for a night expected to become another milestone for the city. This year’s edition further establishes Full Circle as an institution that goes beyond the boundaries of a music event, shaping a new cultural experience for Athens.

Before the two German artists take the stage, Charmeine and Vudu, two of the most exciting rising names in international electronic music, will set the tone for the evening.

Originally from Ukraine and now based in Istanbul, Charmeine began her journey in 2020 and quickly gained recognition for her distinctive approach to dance music. Today, she is considered one of the most promising emerging artists in the scene, with performances at major festivals such as Caprices, Sónar and ADE.

Vudu, from Amman, Jordan, returns to Athens for their biggest performance in the city to date. Roo and Fairplay, the creators behind the project, are among the driving forces of the electronic music scene in the Middle East, with notable releases and pioneering events that have played a key role in the development of their country’s music culture.

Full Circle is more than just a party brand. It is a platform that redefines Athens’ relationship with contemporary music culture, creating a vibrant dialogue between the city, its artists and its audience.

Sylvia Ralli (MedAthens) curates Full Circle’s hospitality, wellness and international networking framework, enriching the visitor experience beyond the musical dimension. With extensive experience in building international collaborations, she designs curated experiences, wellness initiatives and premium hospitality programs that connect people and ideas. Her vision is for Greece to function as a living ecosystem of culture, relationships and modern hospitality with a meaningful global impact.

Join the Circle.

Tickets for Concert: https://my.weezevent.com/full-circle-with-&ME-and-Rampa

Tickets for Retreat: https://www.tickettailor.com/events/fullcircleretreat/2211853

Instagram: https://www.instagram.com/fullcircle.ofc/

Info: tickets@fillthecircle.com

The post Full Circle Returns Τo Army Park With &ME And Rampa, Under The Auspices And Support Of The Greek National Tourism Organization (GNTO) appeared first on Licence Magazine.

Haris Arvanitidis, a journalist and the Director of News and Current Affairs at ERT3 public television (Hellenic Broadcasting Corporation-ERT SA.), has built a distinguished and enduring career in journalism and media communication. With many years of professional experience, he has established himself as a respected voice in Greek broadcasting, contributing significantly to objective reporting, public information and television journalism. Through his role at ERT3, he has demonstrated leadership, integrity and dedication to high-quality news coverage, earning the trust and appreciation of audiences and colleagues alike. His successful presence in the media landscape reflects not only professional consistency and credibility but also a deep commitment to informing society with accuracy, responsibility and journalistic ethics throughout his remarkable and influential career in Greece.

After three decades at the heart of journalism, if you had to keep only one image or one voice that encapsulates what ‘ERT3’ means to you, what would it be and why?

The image I carry with me is not from a studio or an official office, but from a report from a remote borderland in Greece, where people’s only connection to the rest of the country was the ERT3 frequency.

I would choose the moment when a citizen in a remote area of the Greek countryside approached us not to “appear on television,” but to say to us: “You will listen to us.” For me, that phrase captures the entire essence of ERT3, because the third public television channel is not simply a station based in Thessaloniki, but a regional channel with national reach headquartered in Thessaloniki; it is the “echo” of every corner of Greece.

That “you will listen to us” transforms journalism from a profession into a mission. It means that we are a refuge of credibility and the connecting link of society. From 1996 until today, it is this expectation from citizens that keeps me alert. Whether I am in front of the camera or in an executive role, the goal remains the same: to justify the trust of that person who sees ERT3 as their own voice.

You began at ERT3 during the era of analog television and today you lead its news division in the age of ERTFLIX and artificial intelligence. What has remained non-negotiably the same in the way you approach a news story?

What has remained non-negotiable is the ethical prioritization of the “human factor” behind every story. In the analog era, we struggled with editing equipment, Beta tapes and bulky machines. Today, we struggle with algorithms and the internet speed.

However, the essence of journalistic responsibility has not changed at all. Whether you record it in a notebook or process it with artificial intelligence, the news must be the truth and nothing but the truth. The journalist’s “filter” remains the only weapon against fake news.

At ERT (Hellenic Broadcasting Corporation), and naturally at ERT3, we were taught the “sacred duty” not to view the viewer as a “ratings unit,” but as a fellow citizen. That relationship of trust remains the same, whether someone watches us through a traditional antenna in their village, on demand from their mobile phone, or via the ERTFLIX platform.

Technology gave us speed, but journalism gives us meaning. Saying what happened is now easy. Explaining why it happened and how it affects the life of the person next to us remains the difficult and irreplaceable core of our work. The tools of our profession have changed, but the compass remains the same: journalism in the service of society, not sensationalism.

What do you consider the most important milestones in your career so far?

I did not simply begin a job; I began a lifelong relationship when I crossed the threshold of ERT3. That was the first major milestone in my career. At a time when television was changing rapidly, I chose to build my professional foundations first in reporting, learning the art of turning events into news before algorithms came to dominate newsrooms.

As a news and program presenter, I learned how, as a “mediator,” to transform the screen’s monologue into dialogue, placing the news in the foreground and making the interviewee the protagonist rather than an extra.

My transition to the “helm” of ERT3 News is perhaps the most demanding milestone, because it is the moment when the field journalist is called upon to become the architect of a strategy. My mission now is not to deliver the news, but to ensure that the entire ERT3 television, radio and internet mechanisms function as a unified, reliable “information ecosystem” for the benefit of the Greek citizen.

Assuming the role of ERT’s National Coordinator in the European Association of Regional Television Stations, CIRCOM Regional, is another important milestone, because it relates to outward-looking development and international recognition. I do not simply represent ERT; through ERT and with CIRCOM Regional as a vehicle, I seek to place Greek regional journalism on the European map, exchanging expertise and ensuring that the Greek voice is heard on equal terms.

How did you experience the transition from presenter to Director of News at ERT3?

As a presenter, your responsibility ends when the red camera light goes off. As a director, the light never goes off. Your success is no longer judged by how well you delivered the script or conducted an interview, but by whether your colleague’s report has the support it needs to stand out.

On set, you feel the safety of the team watching over you. In the director’s office, you are called upon to make decisions that are not always pleasing to everyone. You must learn to “hear” the silence or the “noise” in the corridors as carefully as you once listened to instructions through your earpiece.

ERT3 has a unique identity: it is the voice of the regions. The transition meant I had to stop thinking “what will we air today?” and start planning “where do we want ERT3 to be?” It is the difference between reading a map and charting a new route.

What is the greatest challenge facing ERT’s news division today?

The greatest challenge is not competition with private channels, but the battle against “digital noise” and the need for ERT to remain the “calm adult in the room.”

In a world where news “lives” for 30 seconds in a TikTok scroll, ERT is called upon to survive without surrendering to clickbait. The challenge is to make what is “important” just as “appealing” as what is merely “catchy,” without losing credibility.

The challenge is to transfer the prestige of journalism into the on-demand environment. How to transform a news bulletin or a program into an interactive experience that young people will choose to watch on their mobile phones between a series and a video game.

How do you manage internal tensions and disagreements within the journalistic team, especially those that occasionally become public?

Disagreements in journalism are often creative and concern the prioritization of a story or the perspective of a report. The challenge is not to let disagreement over the “issue” become a personal conflict.

I treat the newsroom like a living laboratory. Tensions are the “heat” of production. Without heat, the product is cold and lifeless. The secret is to maintain open channels so that pressure is released in meetings and not in hallways or on social media.

When disagreements become public, it usually happens because someone felt they were not heard internally. When the team sees that decisions are based on documented operational criteria and not on “closed offices,” resistance diminishes.

In difficult moments, I remind the team that our true judge is not the director or the colleague in the next office, but the citizen.

When the journalist’s ego gives way to the public servant’s duty, tensions diminish. However, internal tensions are the price of a pluralistic organization. My job is not to eliminate them, but to turn them into “fuel” for better journalism.

How important is your family’s support in the demanding daily life of a journalist?

For a journalist, family support is not simply a “safety net”; it is the only point of contact with normality when everything around you moves at the speed of breaking news.

Family is the people who force you to take the earpiece out of your ear and stop seeing the world as “content” or “reporting.” They remind you that behind news headlines, there are real lives, beginning with your own.

In journalism, it is not only you who works irregular hours; the whole household works alongside you. The family is the one that “pays” the price for your absence during holidays, birthdays, or critical moments because “something serious happened.” Their support is not mere encouragement, but a constant sacrifice of their own time on the altar of your mission.

At the end of a day full of tension, conflict, or pressure, family is the only place where you do not need to be “the presenter” or “the director.” There, you are simply the parent, the partner, the child. That emotional release allows you to return to the office the next day without being consumed by burnout. It is the only audience that does not judge you by ratings or credibility, but by your presence, even if that presence is physically limited but emotionally absolute.

Is there a family value or experience that has shaped the way you work and approach events?

I grew up in a family where, at the dinner table, the opinion of the youngest person carried the same weight as the eldest’s, provided an argument supported it. This translated into my work as “democratic listening.” Whether I speak with a politician or a citizen on the street, my approach is the same: I am not interested in titles, but in the truth of the moment.

One basic principle I inherited from my family is that “lies require memory, while truth requires nothing.” In journalism, this taught me not to fear silence or admitting a mistake. If you approach events with the same honesty with which you would discuss them with your father or mother, then the news acquires human weight, not merely informational value.

My family history, with ancestors who were Asia Minor refugees, is intertwined with displacement and the struggle for a new beginning. This instilled in me respect for the “ordinary person” struggling with history itself. That is why, in events, I never look only at the numbers, but at how the major decision affects the small household.

In essence, I do not see news as a professional duty, but as a promise I made to my own people, to my grandfather and grandmother: that I would never become part of the problem, but part of the explanation.

What is your view on the role of public television in modern Greek society?

In an era when information is abundant but truth is rare or difficult to distinguish, ERT must be the place where citizens turn to “clear” their perspective. Its role is not to be the first to say something, but the first to say it credibly. That is the difference between “noise” and “meaning.”

Through platforms such as ERTFLIX, public television becomes the guardian of our collective memory. It does not simply provide content; it provides identity. It is the connecting link for Greeks abroad, in the regions, and in urban centers, creating a shared cultural code that commercial private media often overlook.

Public television has the luxury, which is simultaneously an obligation, of not chasing ratings at any cost. This makes it the only institution able to invest in cultural refinement, from an expensive drama series to a documentary about climate change.

How do you ensure objectivity and pluralism in the news bulletins you oversee?

I do not view a news bulletin as a mere sequence of facts, but as a structure in which every viewpoint must have its own “weight.” For me, pluralism is not simply giving everyone the microphone for a few seconds, but allowing arguments to clash on equal terms. If a story has two sides, the bulletin must reflect both, without distorting the lens.

At the BBC, they apply the principle of “reverential impartiality.” The journalist’s role is not to tell viewers what to think, but to provide them with the raw materials to build their own opinion. Objectivity is achieved when the journalist removes the adjective and keeps only the verb and the noun.

In the daily editorial meetings at ERT3, I encourage the team to question the “obvious” hierarchy of stories. If we all agree on something, then someone is not thinking hard enough. Pluralism begins in the newsroom itself; if we do not hear all the voices of our colleagues, how can we expect to hear all the voices of society?

In essence, objectivity is the “refusal of convenience.” It is the decision not to follow the current of social media or loud voices, but to remain the calm observer who respects the intelligence of the citizen.

What is your personal vision for the future of journalism in Greece?

My personal vision for journalism in Greece is the transition from the era of “speed” to the era of “trust.” I imagine journalism that is not “noise” in the citizens’ ears, but a reliable map to help them navigate reality.

In a world racing to beat the next second, my vision is journalism that dares to stop and explain “why.” I want to see Greek journalism invest in investigations that take months, rather than in stories that die within minutes. Truth needs time to mature.

With the advance of Artificial Intelligence, my vision is for journalists to cease being simple transmitters of information and become guarantors of authenticity. They must be the ones who distinguish deepfakes from human testimony, offering the one thing an algorithm cannot produce: empathy and moral judgment.

I envision journalism that will once again make Greek citizens feel safe when they begin a sentence with the phrase: “I heard it on the news.”

Credits:
Photo by: Nikos Papadopoulos – Gogas
Outfits: Lucio Costa Papadopoulos, Monte Napoleone, Edward Jeans
Makeup Artist: Evi Patsi
Coordinating: Irini Lioumi

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