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Singer, diva, fashion icon, trailblazer, dancer: the five sides of Tina Turner – The Guardian

Tina the singer: ‘She put gravel in her voice’

Skin of Skunk Anansie

Tina Turner in 1971.

It’s hard to be a female Black rock singer and not to have been influenced by Tina Turner. There weren’t very many Black women around singing rock when I was a teenager and in my early 20s. There was Etta James – I think she’s one of the original rock singers – but to actually have loud guitars as well, it was only Tina Turner, really. She also came with this whole persona: the wigs, the stance, the outfits, the legs. But, for me, the most important thing was the grit she had in her voice, the dirt – it was kind of unusual for the music she was singing. She was a writer, but more than that she was an interpreter who could take a lyric to a different level. Her version of Whole Lotta Love brought the sex to it. Not that it wasn’t a sexy song, but she puts a lot of woman in there. Then there’s Al Green’s Let’s Stay Together. My parents played that song – I know it intimately. It’s a beautiful, gentle R&B song, with perfectly placed notes and phrasing. And then Tina came with a rock voice and gave it a completely different and magnificent energy. She put a lot of voice on it, and gave it much more desperation. Her version is basically: let’s fuck. She’s more demanding: please, let’s stay together. And her voice cracks and they kept that in there – she gave it a different feeling.

She was from an era where you had to be great. They had just a microphone, a voice and a breathing technique. A lot of it came from Ike – there’s an awful history there, but in terms of how he developed her voice, he did a fantastic job. She had wonderful phrasing: the way she would drop the note and then find the point of putting the gravel in there.

It’s quite a thing to have that gravel in your voice for a long time and not destroy your vocal cords. If you push it in the wrong direction it’s going to be difficult to maintain a 60-year career. When I listen to Janis Joplin, it hurts me because I can hear those vocal cords rubbing together! But with Tina, you’re comforted by that, it feels natural. She had a lot of control over the emotion, and lyrics were perfectly written for her and her situation. Sometimes, she didn’t even particularly like the songs, but she was able to put so much into them. It was the rhythm, the phrasing, and the soulful connection – what am I singing and how am I going to get that across?

Tina the fashion icon: ‘She dazzled in sequins’

Chloe Mac Donnell

The first thing an audience saw when watching Tina Turner live wasn’t her face as she raised the mic to hit her first note. It was a dazzling light. Even if you were seated in the very back row, you knew Turner had arrived as the spotlight hit her sequin minidress.

For more than five decades, Turner commanded the stage in what fans affectionately called “The Tina Dress”, and the longer she performed, the shorter the hemlines became. “There are no rules that say you have to dress a certain way, or be a certain way. We are living in exciting times for women,” she said in 2009 as she embarked on her 50th anniversary tour.

Turner in Mountain View, California, in 1997.

While her earlier looks were more demure, it was filing for divorce from Ike in 1976 that was the catalyst for a sexier approach to dressing. “When I look back, I can see the story of my life through the clothes I wore,” she wrote in her photo collection That’s My Life. “I felt so elegant in my gown, like a princess. But that gown was a prison, just like my marriage. I wanted to move, so my skirts got shorter and less constricting because freedom was important to me, on stage and in life.”

She began to work closely with American designer Bob Mackie, who also worked with Diana Ross and Cher, and it was Mackie who put Turner and Cher in those instantly recognisable matching flame-emblazoned dresses for a special joint performance on The Sonny & Cher show in 1977. Later, when Turner embarked on her first solo tour, he updated the dress with a giant orange feathered cape.

This flamboyant and theatrical style was a precursor to that of performers including Prince, Madonna and more recently Beyoncé, whose current Renaissance tour features a plethora of Turner-esque looks, and as Turner continued to grow in confidence, her style became even more liberated. She commissioned Mackie to create a costume featuring giant silver wings that fluttered as she glided around the stage. “I felt like I was flying, and I was – on my own and free for the very first time,” she said.

Later came the cinched leather corsets, double denim and those Private Dancer fishnet tights, but for her final tour in 2009 she returned to her first love, sequins. Descending a towering staircase in a floor length gown, as the opening notes of Addicted to Love began to play, Turner whipped off the gown to reveal a thigh-skimming, sparkling brown mini dress underneath. The dazzle – literal and metaphorical – was as blinding as ever.

Tina the diva: ‘She embodied hopes of triumph’

Laura Snapes

When Ike Turner realised he would be a fool not to let the vocal powerhouse Anna Mae Bullock join his band, he forced her to take the name Tina Turner and trademarked it in case she left and he wanted to reassign it to a replacement singer. They married in 1962 but divorced in 1978 as a result of Ike’s longstanding violent abuse, and Tina walked away with just two cars – and the rights to her name. Whereas Ike saw “Tina Turner” as a generic mould to be filled, Tina was able to imagine herself beyond the bounds of what he had seen for her to forge the start of a defiant second act – one that would rapidly reverse the music industry’s declining interest. It’s probably no coincidence that Bob Mackie styled the Tina of this era as a phoenix.

Turner in LA in 1980.

It’s this self-creation in the face of limited imagination that should be our working definition of what it means to be a diva. It’s the inverse of the prevailing misogynist notion that any successful female musician must have ideas above her station: how dare she affirm her talent, exert control over her career, or conspicuously enjoy the spoils of her success? That idea is often based in racism and classism, a patriarchal attempt to minimise the perceived threat of particularly working-class and Black women attaining power on a par with men – it’s no surprise that diva as a pejorative has most often stuck to the likes of Mariah Carey, Whitney Houston and Rihanna.

Although many of our most famous divas have ironclad exteriors, divadom is also not about being invincible, a perception that Turner herself refuted. “I don’t necessarily want to be a ‘strong’ person,” she once said. “I had a terrible life. I just kept going.” Endurance is key to divadom and it’s this humanity, not perceived self-aggrandisement, that has elevated the diva to cultural royalty: and divas embody our hopes of overcoming through joy, particularly for audiences from marginalised backgrounds. That’s what it really meant to be Tina Turner, she said towards the end of her life, and in turn to be a diva: having achieved “true and lasting happiness”, it was her “greatest wish to help others become truly happy as well”.

Performing in Berlin in 1979.

Tina the trailblazer: ‘She sweated, screamed, pulled faces’

Nova Twins

Tina’s legacy will ricochet through to younger generations, who will look at those videos and be inspired all over again. You don’t often get an artist, especially a woman, who performs with such edge. She wasn’t trying to be cute on stage – you could see the hard sweat, the angst, the faces she would pull. Especially back in the days when she started out, women were supposed to be petite and polite, with their makeup perfectly set. Tina transcended that and she inspires us. Like her, we want to be in the moment, sweating, feeling like we’re delivering a performance, not worrying about anything else. We want to capture that feel and feminine approach to energy, fierce and exciting. In rock today, it’s so great to see more women and non-binary people have that approach. When we first started it was a bit like: “Scream less, be more hip-hop.”

Pop is sexist, but it’s ageist, too – it takes teenage girls and says that’s where your career should start and end. But Tina’s career really took off in her 40s. She is testament that women can be successful later in life.

Women aren’t set up to be headliners, especially Black women. With so few names we could reference, Tina definitely helped us and the next generation feel less isolated and lonely. No one can match her but if we can take a little bit of Tina going forward, that’s such an amazing thing. She teaches you to be your true authentic self, and that when you’re in the music, let go and enjoy yourself.

Tina in the studio: ‘She just couldn’t stop dancing’

Johnny Douglas

Labels chase after whoever is having the hits of the moment. By 1999, when I worked with Tina Turner on what would be her final solo album, Twenty Four Seven, Cher had just come out with Believe, the song of the year. Record labels thought: “This is great! We can pull out some of our past stars and reinvent them for the kids.” I very much wanted to make a Memphis old soul raw record with her, but the label wanted modern tunes.

Recording her was very hard, because in the studio, a singer has to stay on the microphone, and Tina just couldn’t stop dancing. The voice was moving to the left and right, off mic. We had to keep stopping her moving! But that was the level of energy and joy she had. She was genuinely excited to be in the studio, at an age when most artists want to sit by their pool and count their millions.

Performing with Paul McCartney at the Prince’s Trust 10th birthday party in London in 1986. Also pictured: Mark King, Paul Young, Bryan Adams, Francis Rossi and John Illsley.

I could tell her if she was going off mic, if she’d got some of the phrasing wrong, but someone of that calibre who’s been doing it that long – they don’t need much guidance. I’d come off the back of working with all these boybands and girlbands, and they very much did need word-for-word coaxing, and comping, and this technical stuff to make them sound good. But Tina had been recording for decades, she totally knew what she was doing. Even if the music was more modern than she was used to, she had no problem just being her, and sitting on the track. It’s weird when you work with people you grew up with, and they open their mouth and it’s like: fucking hell, that’s Tina Turner. It’s not like you need a magic box to put her vocal through to make her sound like that – it’s just how it comes out. You’re always aware of the legacy that’s come before you and you feel this immense pressure not to fuck up, or do something that doesn’t sound like her. I had Simply the Best going round my head, thinking: I’ve got to get somewhere close to this level of genius.

We all know Tina’s talent and hit records, but what a lot of people don’t realise is what an incredible human being she was. I’ve worked with hundreds of artists – so many I can’t remember, some lovely people and some horrors – and she is far and above and beyond the nicest one I’ve ever worked with. Working with her was almost a religious experience. There was a white light of positivity around her. She was about 60 by this point, but had more energy than the 18- to 21-year-olds I was working with. There was no bitterness to her, considering what she’d been through; the artists who have to endure hardships and battle to get where they are have real substance. She had this smile and infectious laugh – you got the impression that Tina never had a bad day. And if she did, she could just brush it off like it was nothing.

There was humbleness as well. She told me: “I don’t even consider myself a singer. I’m a dancer!” She was so grounded. And she had this spirituality to her without harking on about spirituality. The level of energy, light, joy – there seemed to be no darkness in her.

Interviews by Ben Beaumont-Thomas

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Phenomenal phytoplankton: Scientists uncover cellular process behind oxygen production – EurekAlert


image: A composition image of diatoms, single-celled algae famous for their ornamental cell walls made of silica.
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Credit: Daniel Yee

Take a deep breath. Now take nine more. According to new research, the amount of oxygen in one of those 10 breaths was made possible thanks to a newly identified cellular mechanism that promotes photosynthesis in marine phytoplankton.

Described as “groundbreaking” by a team of researchers at UC San Diego’s Scripps Institution of Oceanography, this previously unknown process accounts for between 7% to 25% of all the oxygen produced and carbon fixed in the ocean. When also considering photosynthesis occuring on land, researchers estimated that this mechanism could be responsible for generating up to 12% of the oxygen on the entire planet.

Scientists have long recognized the significance of phytoplankton—microscopic organisms that drift in aquatic environments—due to their ability to photosynthesize. These tiny oceanic algae form the base of the aquatic food web and are estimated to produce around 50% of the oxygen on Earth.

The new study, published May 31 in the journal Current Biology, identifies how a proton pumping enzyme (known as VHA) aids in global oxygen production and carbon fixation from phytoplankton.

“This study represents a breakthrough in our understanding of marine phytoplankton,” said lead author Daniel Yee, who conducted the research while a PhD student at Scripps Oceanography and currently serves as a joint postdoctoral researcher at the European Molecular Biology Laboratory and University of Grenoble Alpes in France. “Over millions of years of evolution, these small cells in the ocean carry out minute chemical reactions, in particular to produce this mechanism that enhances photosynthesis, that shaped the trajectory of life on this planet.”

Working closely with Scripps physiologist Martín Tresguerres, one of his co-advisors, and other collaborators at Scripps and the Lawrence Livermore National Laboratory, Yee unraveled the complex inner workings of a specific group of phytoplankton known as diatoms, which are single-celled algae famous for their ornamental cell walls made of silica.

Understanding the “proton pump” enzyme

Previous research in the Tresguerres Lab has worked to identify how VHA is used by a variety of organisms in processes critical to life in the oceans. This enzyme is found in nearly all forms of life, from humans to single-celled algae, and its basic role is to modify the pH level of the surrounding environment.

“We imagine proteins as Lego blocks,” explained Tresguerres, a study co-author. “The proteins always do the same thing, but depending on what other proteins they are paired with, they can achieve a vastly different function.”

In humans, the enzyme aids kidneys in regulating blood and urine functions. Giant clams use the enzyme to dissolve coral reefs, where they secrete an acid that bores holes in the reef to take shelter. Corals use the enzyme to promote photosynthesis by their symbiotic algae, while deep-sea worms known as Osedax use it to dissolve the bones of marine mammals, such as whales, so they can consume them. The enzyme is also present in the gills of sharks and rays, where it is part of a mechanism that regulates blood chemistry. And in fish eyes, the proton pump helps deliver oxygen that enhances vision. 

Looking at this previous research, Yee wondered how the VHA enzyme was being used in phytoplankton. He set out to answer this question by combining high-tech microscopy techniques in the Tresguerres Lab and genetic tools developed in the lab of the late Scripps scientist Mark Hildebrand, who was a leading expert on diatoms and one of Yee’s co-advisors.

Using these tools, he was able to label the proton pump with a fluorescent green tag and precisely locate it around chloroplasts, which are known as “organelles” or specialized structures within diatom cells. The chloroplasts of diatoms are surrounded by an additional membrane compared to other algae, enveloping the space where carbon dioxide and light energy are converted into organic compounds and released as oxygen.

“We were able to generate these images that are showing the protein of interest and where it is inside of a cell with many membranes,” said Yee. “In combination with detailed experiments to quantify photosynthesis, we found that this protein is actually promoting photosynthesis by delivering more carbon dioxide, which is what the chloroplast uses to produce more complex carbon molecules, like sugars, while also producing more oxygen as a by-product.”

Connection to evolution

Once the underlying mechanism was established, the team was able to connect it to multiple aspects of evolution. Diatoms were derived from a symbiotic event between a protozoan and an algae around 250 million years ago that culminated into the fusing of the two organisms into one, known as symbiogenesis. The authors highlight that the process of one cell consuming another, known as phagocytosis, is widespread in nature. Phagocytosis relies on the proton pump to digest the cell that acts as the food source. However, in the case of diatoms, something special occurred in which the cell that was eaten didn’t get fully digested.

“Instead of one cell digesting the other, the acidification driven by the proton pump of the predator ended up promoting photosynthesis by the ingested prey,” said Tresguerres. “Over evolutionary time, these two separate organisms fused into one, for what we now call diatoms.”

Not all algae have this mechanism, so the authors think that this proton pump has given diatoms an advantage in photosynthesis. They also note that when diatoms originated 250 million years ago, there was a big increase in oxygen in the atmosphere, and the newly discovered mechanism in algae might have played a role in that.

The majority of fossil fuels extracted from the ground are believed to have originated from the transformation of biomass that sank to the ocean floor, including diatoms, over millions of years, resulting in the formation of oil reserves. The researchers are hopeful that their study can provide inspiration for biotechnological approaches to improve photosynthesis, carbon sequestration, and biodiesel production. Additionally, they think it will contribute to a better understanding of global biogeochemical cycles, ecological interactions, and the impacts of environmental fluctuations, such as climate change.

“This is one of the most exciting studies in the field of symbiosis in the past decades and it will have a large impact on future research worldwide,” said Tresguerres.

Additional co-authors include Raffaela Abbriano, Bethany Shimasaki, Maria Vernet, Greg Mitchell, and the late Mark Hildebrand of Scripps Oceanography; Ty Samo, Xavier Mayali, and Peter Weber of the Lawrence Livermore National Laboratory; and Johan Decelle of University of Grenoble Alpes.

The authors did not receive any funding for this study. Yee’s doctoral studies at Scripps Oceanography were supported by the Scripps Fellowship, the NIH training grant, and the Ralph Lewin Graduate Fellowship. Funds by UC San Diego’s Arthur M. and Kate E. Tode Research Endowment in Marine Biological Sciences supported the purchase of a microscope that was essential for the research.

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Further link identified between autoimmunity and schizophrenia – EurekAlert

Cell-based assay to detect the anti-NRXN1 autoantibody

image: NRXN1 is induced only in green cells (HeLa cells). Serum from patients with anti-NRXN1 autoantibody react only to green cells (framed in red).
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Credit: Department of Psychiatry and Behavioral Sciences, TMDU

Researchers from Tokyo Medical and Dental University (TMDU) identify a protein in some people with schizophrenia that causes schizophrenia-like features in mice

Tokyo, Japan – Links have been reported between schizophrenia and proteins produced by the immune system that can act against one’s own body, known as autoantibodies. In a study published last month in Brain Behavior and Immunity, Japanese researchers identified autoantibodies that target a ‘synaptic adhesion protein’, neurexin 1α, in a subset of patients with schizophrenia. When injected into mice, the autoantibodies caused many schizophrenia-related changes.

What is a synaptic protein, and why might it be linked to schizophrenia? Synaptic adhesion proteins are specialized proteins that bind to create physical connections between brain cells. These connections, called synapses, allow the cells to communicate by passing molecules back and forth. Both synapses and autoimmunity are known to be associated with schizophrenia, so the research team from Tokyo Medical and Dental University (TMDU) decided to investigate autoantibodies that target synaptic proteins in patients with schizophrenia.

“In around 2% of our patient population, we identified autoantibodies against the synaptic protein neurexin 1α, which is expressed by one cell in the synapse and binds to proteins known as neuroligins on the other cell in the synapse,” says lead author of the study Hiroki Shiwaku. “Once we had identified these autoantibodies, we wanted to see if they were able to cause schizophrenia-related changes.”

To do this, the researchers isolated autoantibodies from some of the patients with schizophrenia and injected them into the cerebrospinal fluid of mice, so that the autoantibodies would travel into the brain. In these mice, the autoantibodies blocked neurexin 1α and neuroligin binding and altered some related synaptic properties. The administration of these autoantibodies also resulted in fewer synapses in the brains of mice and schizophrenia-related behaviors, such as reduced social behavior toward unfamiliar mice and reduced cognitive function.

“Together, our results strongly suggest that autoantibodies against neurexin 1α can cause schizophrenia-related changes, at least in mice,” explains Hiroki Shiwaku. “These autoantibodies may therefore represent a therapeutic target for a subset of patients with schizophrenia.”

Schizophrenia has a wide variety of both symptoms and treatment responses, and many patients have symptoms that are resistant to currently available treatment options. Therefore, the identification of possible disease-causing autoantibodies is important for improving symptom control in patients with schizophrenia. It is hoped that the results of this investigation will allow patients with autoantibodies that target neurexin 1α—all of whom were resistant to antipsychotic treatment in the present study—to better control their symptoms in the future.


The article, “Analyzing schizophrenia-related phenotypes in mice caused by autoantibodies against NRXN1α in schizophrenia,” was published in Brain Behavior and Immunity at DOI: 10.1016/j.bbi.2023.03.028

Disclaimer: AAAS and EurekAlert! are not responsible for the accuracy of news releases posted to EurekAlert! by contributing institutions or for the use of any information through the EurekAlert system.

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New variants of human metapneumovirus surge in Spain post-COVID, highlighting evolution and impact – News-Medical.Net

An important aetiologic agent of upper respiratory tract infection (URTI) and lower respiratory tract infection (LRTI) in adults and children is the human metapneumovirus (HMPV). A recent Journal of Infection study explores the genetic diversity, prevalence, and evolutionary dynamics of HMPV.

Study: The emergence, impact, and evolution of human metapneumovirus variants from 2014 to 2021 in Spain. Image Credit: VO IMAGES / Study: The emergence, impact, and evolution of human metapneumovirus variants from 2014 to 2021 in Spain. Image Credit: VO IMAGES /


HMPV belongs to the Pneumoviridae family and causes similar symptomatology as the human respiratory syncytial virus (HRSV). HMPV is a negative-sensed, lineal, enveloped, and single-stranded ribonucleic acid (RNA) virus that can be classified into HMPV-A and HMPV-B genotypes, with its subgenotypes including A1, A2 (A2a, A2b, and A2c lineages), B1, and B2 (B2a and B2b lineages).

The genome of HMPV consists of eight genes encoding nine proteins. The scheme in which the proteins are encoded is 3’-N-P-M-F-M2(M2–1/M2–2)- SH-G-L-5’.

Recently, in the attachment glycoprotein’s (G) ectodomain,  180- and 111-nucleotide duplications have been associated with LRTI and immune evasion in adulthood. 

About the study

The current study aimed to characterize the evolutionary dynamics and genetic diversity of HMPV in adult and pediatric patients at a university hospital in Barcelona in the seasons between 2014-2015 and 2020-2021.

Laboratory-confirmed HMPV was characterized based on partial-coding G gene sequences. For the assembly of nucleotide sequences, the MEGA.v6.0 was used.

Phylogenetic trees were constructed based on the lowest Bayesian information criterion score. These trees were evaluated with 1,000 bootstrap resamplings. Whole genome sequencing (WGS) was performed with Illumina, and evolutionary analyses with Nextstrain and Datamonkey.

Key findings

Consistent with other studies, the prevalence of HMPV in pre-pandemic years was similar, with an annual seasonal pattern and clear peak. However, the start of the coronavirus disease 2019 (COVID-19) pandemic disrupted the circulation of HMPV. From the summer of 2020, enveloped viruses were circulating; however, HRSV or HMPV were not dominant.

In the summer of 2021, HMPV and HRSV were again in circulation and caused two epidemic peaks, the second of which started in the autumn. This could be due to a lack of viral interference at that time or the relaxation of preventive measures by Spanish people. During the second peak, the prevalence of HMPV was higher compared to previous seasons, likely because two generations had not yet experienced primary infection.

The most common co-detections were adenovirus, rhinovirus, bocavirus, and enterovirus. The co-detection rate increased after the COVID-19 pandemic, and a change was observed in most common co-detected viruses.

HMPV had shown a higher incidence among children under two years of age in pre-pandemic seasons; however, this changed during the pandemic. There was also a higher tendency of male infants to be affected. In contrast, in the adult population, females and individuals 50 years of age or older were more likely to be infected.

A pattern of cyclic shifts of predominance with respect to the circulation of HMPV-A was observed. In addition, an increasing prevalence of A2c viruses carrying duplications was observed, with A2c180dup first described, followed by A2c111dup. The dominance of A2c111dup indicates that the 180-nucleotide duplication covers much of the F protein, which could impact membrane fusion and prevent virus replication.

Consistent with the rise in prevalence of A2c variants and their dominance during the COVID-19 pandemic, an increase in the morbidity of HMPV infections had also been described at the end of the 2009 influenza A(H1N1)pdm09 pandemic. At this time, A2c exhibited a higher mean genetic distance and immune evasive characteristics that contributed to its aggressive predominance.


HMPV affected both pediatric and adult populations and showed significant morbidity throughout the study period. The HMPV epidemic was disrupted by the COVID-19 pandemic in 2020, which led to two unexpected peaks later in the summer and autumn of 2021.

WGS showed the high conservation of the F protein and rich diversity in G protein, thus indicating the necessity for steric shielding of G over F. The current study is an effective example of virological surveillance of a non-HRSV or influenza respiratory virus. It provides crucial information on the real-time evolution of HMPV and its impact on public health.

Journal reference:
  • Pinana, M., Gonzalez-Sanchez, A., Andres, C., et al. (2023) The emergence, impact, and evolution of human metapneumovirus variants from 2014 to 2021 in Spain. Journal of Infection. doi:10.1016/j.jinf.2023.05.004

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