{"id":2663,"date":"2021-09-14T09:19:28","date_gmt":"2021-09-14T06:19:28","guid":{"rendered":"https:\/\/www.istanbulberlin.com\/?p=2663"},"modified":"2021-09-14T10:33:44","modified_gmt":"2021-09-14T07:33:44","slug":"kimler-geldi-kimler-gecti","status":"publish","type":"post","link":"https:\/\/www.istanbulberlin.com\/en-de\/kimler-geldi-kimler-gecti\/","title":{"rendered":"Casefile I Feature II: Hall of Fame"},"content":{"rendered":"<h6>There\u2019s no stopping the #gastarbeitergroove as it sweeps up and transforms the vibes of the times.\n\nIn the first doted assignment of our #60JahreMusik project, we focused on the adventures of folk music in Germany.<\/h6>\n<h6>In this article we\u2019ll be focusing on musicians that expressed similar woes in different genres, such as pop, jazz and soul. As for the \u201cHall of Fame\u201d section, there we\u2019ll remember stars from Turkey whose paths, for whatever reason, trailed through Germany.<\/h6>\n<h6>Lastly, the story of the record-company triangle of T\u00fcrk\u00fcola-Uzelli-Minareci which carried on alongside the German music market just like a parallel universe!<\/h6>\n<h6>Yaz\u0131ya e\u015flik etmesi i\u00e7in DJ Funshine&#8217;\u0131n haz\u0131rlad\u0131\u011f\u0131 \u00e7alma listesi burada:<\/h6>\n<p><iframe loading=\"lazy\" title=\"Spotify Embed: #60JahreMusik 61-90 Vol.2\" width=\"100%\" height=\"380\" allowtransparency=\"true\" frameborder=\"0\" allow=\"encrypted-media\" src=\"https:\/\/open.spotify.com\/embed\/playlist\/3vZgYIadDLLhikpurNpoQO?si=Gep5VMw1Tt-ee98e1GvIkg&#038;dl_branch=1&#038;nd=1\"><\/iframe><\/p>\n<p>Translated to English by Zeynep Beler.<\/p>\n<p>In the 1960\u2019s one observes musicians from Turkey who, in step with the rise of Turkish pop in both the production front and its eclectic amalgamation of different genres, also utilize genres other than folk music to express their sentiments in Germany.<\/p>\n<h4>Germany, Germany, We\u2019re Here for the Money: Like Worries Unalike Genres<\/h4>\n<h5>The KadrI SIx Feat LAMIA:<\/h5>\n<p>Formed with the Kadri \u00dcnalan orchestra and vocals by Lamia \u00dcnalan, The Kadri Six Feat Lamia arrived in Germany in 1962. They took their chances in Germany with their pop-jazz-soul infusion that had at the time conquered the hearts of young people in Turkey who were into foreign music. Their sole album, released by the German record company Intercord, is comprised entirely of soul covers. On the album sleeve they defined their music as \u201cexuberant and Black\u201d and Lamia\u2019s take on western music with an eastern vocal style was found to be \u201cextraordinary and surprisingly funky\u201d.<\/p>\n<div class=\"atbssuga-responsive-video\"><iframe loading=\"lazy\" title=\"Kadri Six Feat  Lamia - Baby I Love You\" width=\"1200\" height=\"675\" src=\"https:\/\/www.youtube.com\/embed\/M1IWtDof4nQ?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/div>\n<h5>Erkut Ta\u00e7k\u0131n and The Black PoInts:<\/h5>\n<p><span style=\"color: #000000;\">One of the first Turkish rockers, Erkut Ta\u00e7k\u0131n kicked off his music career in Istanbul. Ta\u00e7k\u0131n, who came to Germany as a laborer in 1962, worked at the Ford factory for eight months. <\/span><\/p>\n<p><span style=\"color: #000000;\">During this time, he was invited by friends in M\u00fcnich to join the band \u201cBlack Points\u201d which also included German musicians, making music in M\u00fcnich until 1996. It seems likely that Black Points was Germany\u2019s first multicultural band.<span style=\"font-size: 14.5715px;\"> [<a style=\"color: #000000;\" target=\"_blank\" href=\"https:\/\/www.youtube.com\/watch?v=qV7v3PTq2vk&amp;t=641s\">1<\/a>]<\/span><\/span><\/p>\n<h5>Necdet \u00d6ztunal\u0131: A TURKISH HIPPIE IN Germany<\/h5>\n<p><span style=\"color: #000000;\">A hippie musician who wound up in Germany in 1972, Necdet \u00d6ztunal\u0131 was scouted one day while making a living as a street musician. The song Lover\u2019s Rainbow Wonderland that he went on to record under the pseudonym John Tuner was such a hit that a German version, Regenbogen-Land, was also released as a single. <a style=\"color: #000000;\" target=\"_blank\" href=\"https:\/\/www.youtube.com\/watch?v=qV7v3PTq2vk&amp;t=641s\"><span style=\"font-size: 14.5715px;\">[2<\/span><\/a><span style=\"font-size: 14.5715px;\">]<\/span><\/span><\/p>\n<h5>Yusuf &amp; FrIends: \u201cIch T\u00fcrkIsch Man\u201d<\/h5>\n<div>Kadir Cavak, <span class=\"il\">with his son Yusuf Cavak's wording,<\/span>\u00a0worked in Istanbul with Turkish Classical Music Composer and Singer Arif Sami Toker. He performed \"ney\" in Istanbul Symphony Orchestra. He came to Germany as a guest worker in 1960. The album \"Turkish Classical Songs\" is a compilation of his works and released in 2020.<\/div>\n<div><\/div>\n<div>Please join us listening to the track named \"Women and Men\" starting with the words of an outcry \"When will women start to understand the men?\"<\/div>\n<div>\n<div class=\"atbssuga-responsive-video\"><iframe loading=\"lazy\" title=\"Kadinlar, Erkekler\" width=\"1200\" height=\"900\" src=\"https:\/\/www.youtube.com\/embed\/FCnIk3yo6dQ?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/div>\n<\/div>\n<p><span style=\"color: #000000;\">Born in 1950 in Turkey, at 11 Yusuf Cavak moved to join his family in Germany.\u00a0<\/span><span style=\"color: #000000;\">He starting making music more than 50 years ago with his band Yusuf &amp; Friends. <\/span><\/p>\n<div id=\"attachment_2703\" style=\"width: 1034px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-2703\" class=\"wp-image-2703 size-full\" src=\"https:\/\/www.istanbulberlin.com\/wp-content\/uploads\/2021\/09\/yusuf_cavak.jpg\" alt=\"\" width=\"1024\" height=\"712\" srcset=\"https:\/\/www.istanbulberlin.com\/wp-content\/uploads\/2021\/09\/yusuf_cavak.jpg 1024w, https:\/\/www.istanbulberlin.com\/wp-content\/uploads\/2021\/09\/yusuf_cavak-300x209.jpg 300w, https:\/\/www.istanbulberlin.com\/wp-content\/uploads\/2021\/09\/yusuf_cavak-768x534.jpg 768w, https:\/\/www.istanbulberlin.com\/wp-content\/uploads\/2021\/09\/yusuf_cavak-18x13.jpg 18w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><p id=\"caption-attachment-2703\" class=\"wp-caption-text\">With the permission of the artist \u00a9 Yusuf Cavak, www.cavak.com<\/p><\/div>\n<p><span style=\"color: #000000;\">The song Ich T\u00fcrkisch Mann (I, Turkish Man) they recorded in 1977, Cavak, facetiously singing in broken German, gives stereotypes about Turks the once-over. Among these characteristics are the consumption of garlic, refusal to drink alcohol, fasting, having too many children, and the inability to harmonize with the society they live in.\u00a0<\/span><\/p>\n<blockquote>\n<p style=\"text-align: left; padding-left: 40px;\"><span style=\"color: #000000;\">Ich T\u00fcrkisch Man nur T\u00fcrkisch essen kann, nur T\u00fcrkisch leben kan\u00a0<\/span><\/p>\n<p style=\"text-align: left; padding-left: 40px;\"><span style=\"color: #000000;\">I Turkish man, me only eat Turkish food, me only live Turkish way<\/span><\/p>\n<\/blockquote>\n<p><span style=\"color: #000000;\">The musician also made other songs centered on the same theme. We leave you with the live recording of his song \u201cGermany Germany, We\u2019re Here for the Money\u201d from one of the concerts that the band played between \u201970-75.<\/span><\/p>\n<p><iframe loading=\"lazy\" title=\"Almanya (Live)\" width=\"1200\" height=\"900\" src=\"https:\/\/www.youtube.com\/embed\/k0jOjSZWbAo?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<h5>Newly DISCOVERED Gems: Grup Do\u011fu\u015f, Mustafa Ku\u015f and Grup IMECE<\/h5>\n<p><span style=\"color: #000000;\">Defined as the forebear of #gastarbeitergroove by Ercan Demirel, owner of Ironhand Records, Grup Do\u011fu\u015f was formed by the brothers Tufan and Muhittin Aydo\u011fan, who had been jazz musicians in Turkey, along with Sedat \u00dcrk\u00fct and Sedat Dikmen. Their first and only album, released in 1975, contained psychedelic interpretations of Anatolian pop and folk songs. The most ebullient #hamsipower song from that album, Karadeniz Derlemesi [Black Sea Compilation] can be found here.\u00a0<\/span><\/p>\n<div class=\"atbssuga-responsive-video\"><iframe loading=\"lazy\" title=\"Grup Do\u011fu\u015f (1975) (2019) FULL ALBUM\" width=\"1200\" height=\"675\" src=\"https:\/\/www.youtube.com\/embed\/dJIBPbdCuIs?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/div>\n<p><span style=\"color: #000000;\">Then released by Minareci Kaset\u00e7ilik, the album was re-released in vinyl by Ironhand Records in 2019.\u00a0<\/span><\/p>\n<div id=\"attachment_2677\" style=\"width: 1182px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-2677\" class=\"wp-image-2677 size-full\" style=\"font-size: 19.4286px;\" src=\"https:\/\/www.istanbulberlin.com\/wp-content\/uploads\/2021\/09\/a1102245555_10.jpeg\" alt=\"\" width=\"1172\" height=\"1200\" srcset=\"https:\/\/www.istanbulberlin.com\/wp-content\/uploads\/2021\/09\/a1102245555_10.jpeg 1172w, https:\/\/www.istanbulberlin.com\/wp-content\/uploads\/2021\/09\/a1102245555_10-293x300.jpeg 293w, https:\/\/www.istanbulberlin.com\/wp-content\/uploads\/2021\/09\/a1102245555_10-1000x1024.jpeg 1000w, https:\/\/www.istanbulberlin.com\/wp-content\/uploads\/2021\/09\/a1102245555_10-768x786.jpeg 768w, https:\/\/www.istanbulberlin.com\/wp-content\/uploads\/2021\/09\/a1102245555_10-12x12.jpeg 12w, https:\/\/www.istanbulberlin.com\/wp-content\/uploads\/2021\/09\/a1102245555_10-18x18.jpeg 18w\" sizes=\"auto, (max-width: 1172px) 100vw, 1172px\" \/><p id=\"caption-attachment-2677\" class=\"wp-caption-text\"><span style=\"color: #999999; font-size: 10pt;\">Vinyl Record Cover \"Veda\" (Farewell) of Mustafa Ku\u015f &amp; \u0130mece<\/span><\/p><\/div>\n<p><span style=\"color: rgba(0, 0, 0, 0.7); font-size: 1.21429rem;\">Another gem dug up from the past by Ironhand Records is Mustafa Ku\u015f and Grup \u0130mece [The \u0130mece Band]. Mustafa Ku\u015f, who came to Germany in \u201870 to study, released three albums and one 45-rpm record between 1979 and 1985. The band played concerts in Germany, followed by Germany, the Netherlands, Austria and Switzerland. Also known as \u201csuper orchestra\u201d due to the scope of its success , Grup \u0130mece has contributed a unique synthesis of Anatolian melodies and rhythms and funk and jazz.<\/span><\/p>\n<h5>Fresh from the Oven: The Tango of \u0130brahim I\u015f\u0131l<\/h5>\n<p><span style=\"color: #000000;\">\u0130brahim I\u015f\u0131l, who in 1977 had a bakery in Cologne with a small studio in the back, was known on the city\u2019s streets as Tango \u0130brahim. After recording the songs Cebimde Kibrit Var [Matches in My Pocket] and Oy Fadimem for the WDR TV channel along with the same-named \u0130brahim Solmaz\u2019s orchestra, I\u015f\u0131l re-recorded the same two songs with another orchestra in 1969 and released it via the company Sahibinin Sesi, meanwhile also releasing a song titled \u201cMini Rock\u201d [Mini Skirt] with both Turkish and German lyrics that is surmised to be the first ever Turkish-German pop song. <span style=\"font-size: 14.5715px;\">[<a style=\"color: #000000;\" target=\"_blank\" href=\"https:\/\/www.youtube.com\/watch?v=qV7v3PTq2vk&amp;t=641s\">4<\/a><\/span><span style=\"font-size: 14.5715px;\">] <\/span>I\u015f\u0131l, who in addition to his activities in the bakery and studio also sang tango on tour boats on the Rhein to entertain tourists, crossed paths with Cem Karaca in 1982. The duo recorded the album Bekle Beni [Wait for Me] in \u0130brahim I\u015f\u0131l\u2019s studio. <a style=\"color: #000000;\" target=\"_blank\" href=\"https:\/\/vesaire.org\/cem-karaca-isciler-cagrildi\/\"><span style=\"font-size: 14.5715px;\">[5<\/span><span style=\"font-size: 14.5715px;\">]<\/span><\/a><\/span><\/p>\n<div class=\"atbssuga-responsive-video\"><iframe loading=\"lazy\" title=\"\u0130brahim I\u015f\u0131l - Ay\u015fem (1976)\" width=\"1200\" height=\"675\" src=\"https:\/\/www.youtube.com\/embed\/GRbfW1c91gU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/div>\n<h5>Kobra, The TURKISH Rock Band from BERLIN<\/h5>\n<p style=\"font-size: 19.4286px;\"><span style=\"color: #000000;\"><img loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-2682 alignleft\" style=\"font-size: 1.21429rem;\" src=\"https:\/\/www.istanbulberlin.com\/wp-content\/uploads\/2021\/09\/unnamed-300x300.jpeg\" alt=\"\" width=\"300\" height=\"300\" srcset=\"https:\/\/www.istanbulberlin.com\/wp-content\/uploads\/2021\/09\/unnamed-300x300.jpeg 300w, https:\/\/www.istanbulberlin.com\/wp-content\/uploads\/2021\/09\/unnamed-150x150.jpeg 150w, https:\/\/www.istanbulberlin.com\/wp-content\/uploads\/2021\/09\/unnamed-12x12.jpeg 12w, https:\/\/www.istanbulberlin.com\/wp-content\/uploads\/2021\/09\/unnamed-180x180.jpeg 180w, https:\/\/www.istanbulberlin.com\/wp-content\/uploads\/2021\/09\/unnamed-400x400.jpeg 400w, https:\/\/www.istanbulberlin.com\/wp-content\/uploads\/2021\/09\/unnamed-18x18.jpeg 18w, https:\/\/www.istanbulberlin.com\/wp-content\/uploads\/2021\/09\/unnamed.jpeg 512w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" \/><\/span><\/p>\n<p><span style=\"color: #000000;\">In 1980, Barbaros Hayrettin, Adnan Bayrak\u00e7\u0131, Nedim \u00dcnal and Fevzi\u00a0<span style=\"font-size: 1.21429rem;\">Bineytio\u011flu formed the band Kobra in Berlin. Three years later, <\/span>their first and only album Orient Express, comprised of four songs, was released by Virgin Records. They played on German television, festivals, open air concerts and opened for famed German bands such as Karat, Puhdys, and Peter Maffay. In addition to D\u00fcsseldorf, M\u00fcnich, Hamburg, and Dortmund, they also went on to take the Istanbul Harbiye Open Air Theatre by storm. The band ended up breaking up over in-group disputes. <span style=\"font-size: 14.5715px;\">[<a style=\"color: #000000;\" target=\"_blank\" href=\"https:\/\/www.redbull.com\/tr-tr\/simdi-neredeler-barbaros-hayrettin\">6<\/a><\/span><span style=\"font-size: 14.5715px;\">] <\/span>Later, Barbaros Hayrettin would speak to mainstream audiences with \u201cBen Sizin Baban\u0131z\u0131m\u201d  [I Am Your Father].<\/span><\/p>\n<p><span style=\"color: #000000;\">We can\u2019t not share the opening lines of the album, still completely relevant in spite of being written 40 years ago.\u00a0<\/span><\/p>\n<blockquote><p><span style=\"color: #000000;\">To hold a light upon the world is humanity\u2019s task<\/span><\/p>\n<p><span style=\"color: #000000;\">Why all the destruction, the belaboring of lives<\/span><\/p>\n<p><span style=\"color: #000000;\">Let\u2019s stop war for the rest of our days\u00a0<\/span><\/p>\n<p><span style=\"color: #000000;\">Let\u2019s seek peace for the rest of our days<\/span><\/p><\/blockquote>\n<div class=\"atbssuga-responsive-video\"><iframe loading=\"lazy\" title=\"Kobra - orient express album 1983\" width=\"1200\" height=\"900\" src=\"https:\/\/www.youtube.com\/embed\/HbCEbkPBWAI?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/div>\n<h4><strong><span style=\"color: #000000;\">Hall of Fame<\/span><\/strong><\/h4>\n<p><span style=\"color: #000000;\">Although, as mentioned in the previous article, weddings were at the apex of cultural activity and entertainment, taverns, restaurants with live music and events by associations were also gaining steam. The associations, which began emerging as life in Germany increasingly became institutionalized, organized courses in music, choirs, and performances in Germany by artists from Turkey, more for the purposes of \u201crescuing the youth from the streets\u201d rather than out of any kind of artistic concern. <span style=\"font-size: 14.5715px;\">[<a style=\"color: #000000;\" target=\"_blank\" href=\"http:\/\/Greve, Martin; Almanya\u2019da \u201cHayali T\u00fcrkiye\u201dnin M\u00fczi\u011fi, \u0130stanbul Bilgi \u00dcniversitesi Yay\u0131nlar\u0131, \u0130stanbul, Temmuz 2016, s. 100.\">7<\/a><\/span><span style=\"font-size: 14.5715px;\">] <\/span><\/span><\/p>\n<p><span style=\"color: #000000;\">Greve writes that this opened a considerable number of doors for music professionals and notes the visitations of an array of singers from the Istanbul-based tavern star Cengiz Kurto\u011flu to TRT folk-music artist Bedia Akart\u00fcrk, Ne\u015fet Erta\u015f, Azer B\u00fclb\u00fcl, and \u00d6zcan Deniz. <span style=\"font-size: 14.5715px;\">[<a style=\"color: #000000;\" target=\"_blank\" href=\"http:\/\/Age, s. 130.\">8<\/a><\/span><span style=\"font-size: 14.5715px;\">] <\/span>By the 1970\u2019s, concerts aimed at Turkish audiences were constantly being organized. <span style=\"font-size: 14.5715px;\">[<a style=\"color: #000000;\" target=\"_blank\" href=\"http:\/\/Age, s. 132.\">9<\/a><\/span><span style=\"font-size: 14.5715px;\">] <\/span><span style=\"font-size: 1.21429rem;\">Travels to Europe, albeit with completely different agendas, became extremely popular from the 60\u2019s onwards. As Ercan Demirel imparts: <\/span><\/span><\/p>\n<blockquote><p><span style=\"color: #000000; font-size: 1.21429rem;\">T\u00fclay German moved to France in the 60s. Erkin Koray followed suit. Uncompromising hippie that he is, he took off without a dime. They told him, \u2018Let us pool some money so you have something in your pocket.\u2019 \u2018That would defeat the purpose of my trip,\u2019 he replied, and carried on hitchhiking.<\/span><\/p><\/blockquote>\n<p><span style=\"color: #000000; font-size: 1.21429rem;\">Anatolian rock guru Erkin Koray played for two months in 1965 in Germany, with German musicians, in the band Hiccups.<\/span><\/p>\n<blockquote><p><span style=\"color: #000000;\">Z\u00fclf\u00fc Livaneli came to Germany in the 70s. The number of arrivals in Germany likewise increased throughout the 80s. Cem Karaca came before the coup, and Ne\u015fet Erta\u015f after; due to financial troubles. Then in the 80s, for instance, Selda Ba\u011fcan joined them. Cologne, where Cem Karaca lived, was like a meeting spot. Bar\u0131\u015f Man\u00e7o also used to visit. In spite of all that, though, there was no collective musical activity. They shoot the breeze and conversationally save Turkey but other than that, there is no musical interaction.<\/span><\/p><\/blockquote>\n<p><span style=\"color: #000000;\">The \u015eanar Yurdatapan and Melike Demira\u011f duo as well as Fuat Saka and S\u00fcmeyra are a few of the artists who were in this parade of eminent musicians. So when did musical interaction happen, if at all?<\/span><\/p>\n<blockquote><p><span style=\"color: #000000;\">Musical interaction began emerging when Z\u00fclf\u00fc Livaneli released his Turkish albums through German record companies with only the titles of the songs translated into German, so that for example Atl\u0131n\u0131n T\u00fcrk\u00fcs\u00fc [The Rider\u2019s Song] became Das Lied des Reiters. Cem Karaca made an album in which all the songs were German except for Naz\u0131m Hikmet\u2019s poem \u00c7ok Yorgunum. Musicians such as Ne\u015fet Erta\u015f and \u00c2\u015f\u0131k Emrah, who mainly forged folk music, began working with migrant-run record companies after coming here. Either they released German records via German record companies or continued to release Turkish albums via migrant-run companies. Beyond that, there was no musical interaction.<\/span><\/p><\/blockquote>\n<p>* We will be publishing a seperate piece on Cem Karaca and Die Kanaken soon.<\/p>\n<h4><strong><span style=\"color: #000000;\">Meanwhile in a Parallel Universe: The T\u00fcrk\u00fcola-Uzelli-Minareci Triangle<\/span><\/strong><\/h4>\n<p><span style=\"color: #000000;\">It was perhaps unavoidable that the denizens of \u201cimagined Turkey\u201d, who brought their families to Germany and by 1972 had become the largest migrant community of Germany, leaving the Italians in the dust, would also bring with them a culture that created a music industry with its own singular set of dynamics. Unkapan\u0131 began taking notice of the Marks owned by the workers in Germany. \u0130mran Ayata believes that the Germans did not only not contribute to \u201cTurkish migrant music\u201d but also obstructed the path to its creation and production. <\/span><\/p>\n<blockquote><p><span style=\"color: #000000;\">The establishment of record companies and sound studios in the German market sensibility, and the spurning of Turkish artists by German record companies and studios led us to say, \u2018if that\u2019s how it is, then we\u2019ll make our own.\u2019 That was naturally quite expensive\u2014bringing an artist from Turkey to Germany for 3-4 months, hosting them here, making them a German album\u2026I remember each of those tapes cost 10 Marks too, serious money. The Germans missed out on the potential of that particular market.\u00a0<\/span><\/p><\/blockquote>\n<p><span style=\"color: #000000;\">The potential missed out on by the Germans was noticed by Y\u0131lmaz As\u00f6cal, who had come to Germany to study German Language and Literature. He promptly laid the foundation for the T\u00fcrk\u00fcola Record Company. Once T\u00fcrk\u00fcola was joined by the Uzelli Company, formed in Frankfurt in 1974, and the Munich-based Minareci, the trio that dominated the music market of Germany\u2019s imagined Turkey was complete.<\/span><\/p>\n<p><span style=\"color: #000000;\">Ercan Demirel, who gave our case file its title by likening that market to a<\/span><\/p>\n<blockquote><p><span style=\"color: #000000;\"> There are those who say that those three formed a Turkish Ghetto. <em>Parallel universe<\/em> would be a better definition, however. If there\u2019s a ghetto somewhere you\u2019d be aware of it, but these Turkish record companies didn\u2019t want to be seen. Whereas earlier, Minareci and Uzelli had been selling prayer rugs and wares for Hajj [pilgrimage], later on they made so many records\u2026then there are people who made their own records, I\u2019m guessing they sold them out of their car, going from coffeeshop to coffeeshop. There\u2019s a record company in Cologne, for instance, called Areg. T\u00fcrkofon grew, their tapes began selling because migrants listened to them in their cars. Tapes are more practical compared to vinyl. And after the advent of portable tape players, they started being able to take them to Turkey. They would record their own voices over the tapes. Tapes just have a completely different sensibility. Minareci started releasing tapes in 1974. He might have printed around 200-300 tapes. If you consider that each tape had a run of about 1000, that comes out to around 200 thousand. On top of that you\u2019d have to pay its taxes. So much money changed hands yet no one knew about it. It\u2019s like a completely different world.<\/span><\/p><\/blockquote>\n<div id=\"attachment_2676\" style=\"width: 1034px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-2676\" class=\"wp-image-2676 size-large\" src=\"https:\/\/www.istanbulberlin.com\/wp-content\/uploads\/2021\/09\/IMG_20210817_155200-1-1024x473.jpg\" alt=\"\" width=\"1024\" height=\"473\" srcset=\"https:\/\/www.istanbulberlin.com\/wp-content\/uploads\/2021\/09\/IMG_20210817_155200-1-1024x473.jpg 1024w, https:\/\/www.istanbulberlin.com\/wp-content\/uploads\/2021\/09\/IMG_20210817_155200-1-300x138.jpg 300w, https:\/\/www.istanbulberlin.com\/wp-content\/uploads\/2021\/09\/IMG_20210817_155200-1-768x354.jpg 768w, https:\/\/www.istanbulberlin.com\/wp-content\/uploads\/2021\/09\/IMG_20210817_155200-1-1536x709.jpg 1536w, https:\/\/www.istanbulberlin.com\/wp-content\/uploads\/2021\/09\/IMG_20210817_155200-1-2048x945.jpg 2048w, https:\/\/www.istanbulberlin.com\/wp-content\/uploads\/2021\/09\/IMG_20210817_155200-1-18x8.jpg 18w, https:\/\/www.istanbulberlin.com\/wp-content\/uploads\/2021\/09\/IMG_20210817_155200-1-20x10.jpg 20w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><p id=\"caption-attachment-2676\" class=\"wp-caption-text\"><span style=\"color: #999999;\">Ercan Demirel \u00a9 Olcay Mete Demirel<\/span><\/p><\/div>\n<h4><strong><span style=\"color: #000000;\">By Way of a Conclusion<\/span><\/strong><\/h4>\n<p><span style=\"color: #000000;\">We hope that this follow-up to our first feature, \u201cIn the Words of Contemporary Folk Bards, the Predicament of Germany\u2019s Guest Workers\u201d has opened up a space for you to encounter musicians of that time with output in an array of genres. Although the exact dimensions of the \u201cimagined Turkey\u201d music market in Germany elude us, it is at least evident that it\u2019s too formidable to evade detection.\u00a0\u00a0<\/span><\/p>\n<p><span style=\"color: #000000;\">We mentioned that this market almost constitutes a kind of parallel universe to the German music market. Let\u2019s just say that exceptions prove the rule, because in our next interview we will be sharing with you one of the few overlaps that have ever occurred between those universes. Frontman Nedim Hazar shared with us the story of Yar\u0131nistan, the band that made its mark on the disco charts of the 80\u2019s and 90\u2019s with its ethnic rock songs and on history with four albums, over 200 concerts and a German Record Critics\u2019 Award.\u00a0<\/span><\/p>\n<p>This piece is written in the framework of #60JahreMusik project financed by Berlin Yunus Emre Institute.<\/p>","protected":false},"excerpt":{"rendered":"<p>#gastarbeitergroove engel tan\u0131madan etraf\u0131 sar\u0131yor, ortam\u0131n havas\u0131n\u0131 de\u011fi\u015ftirmeye devam ediyor. #60YilMuzik projemizin ilk g\u00f6z a\u011fr\u0131s\u0131nda Almanya\u2019daki halk m\u00fczi\u011finin maceras\u0131n\u0131 konu etmi\u015ftik. Bu yaz\u0131da benzer dertlerini pop-caz-soul gibi farkl\u0131 t\u00fcrlerde ifade eden m\u00fczisyenlere odaklan\u0131yoruz. \u201cKimler Geldi Kimler Ge\u00e7ti\u201d b\u00f6l\u00fcm\u00fcndeyse yolu Almanya\u2019dan t\u00fcrl\u00fc sebeplerle ge\u00e7en T\u00fcrkiyeli y\u0131ld\u0131zlar\u0131 yad edece\u011fiz. Son olarak Alman m\u00fczik piyasas\u0131n\u0131n yan\u0131nda adeta bir paralel evren gibi yer alan plak \u015firketleri \u00fc\u00e7geni T\u00fcrk\u00fcola-Uzelli-Minareci\u2019yi bu yaz\u0131da! Yaz\u0131ya e\u015flik etmesi i\u00e7in DJ Funshine&#8217;\u0131n haz\u0131rlad\u0131\u011f\u0131 \u00e7alma listesi burada: \u0130ngilizce \u00e7evirisi Zeynep Beler taraf\u0131ndan yap\u0131lm\u0131\u015ft\u0131r. 1960\u2019larda aranjman ve farkl\u0131 t\u00fcrleri bir araya getiren eklektik tarz\u0131yla T\u00fcrkiye\u2019de pop m\u00fczi\u011fin y\u00fckseli\u015fe ge\u00e7mesiyle uyum h\u00e2linde, Almanya\u2019da [&hellip;]<\/p>","protected":false},"author":2,"featured_media":2703,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[698,706],"tags":[714,700,699,837,280,738,834,829,828,830,737,687,824,831,825,708,833,822,827,663,832,800,742,835,823,739,651,821,717,836,210],"class_list":["post-2663","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-60jahremusik","category-dosya-1-61-90-donemi","tag-gastarbeitergroove","tag-60jahremusik","tag-60yilmuzik","tag-areg","tag-cem-karaca","tag-ercan-demirel","tag-fuat-saka","tag-grup-dogus","tag-grup-imece","tag-ibrahim-isil","tag-ironhand-records","tag-isgucu-anlasmasi","tag-kadri-unalan","tag-kobra","tag-lamia-unalan","tag-martin-greve","tag-melike-demirag","tag-minareci","tag-mustafa-kus","tag-neset-ertas","tag-sanar-yurdatapan","tag-selda-bagcan","tag-songs-of-gastarbeiter","tag-sumeyra","tag-the-kadri-six-feat-lamia","tag-turkofon","tag-turkuola","tag-uzelli","tag-yarinistan","tag-yilmaz-asocal","tag-zulfu-livaneli"],"yoast_head":"<!-- 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