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Notes
“Man brauchte unsere Arbeitskraft/Die Kraft, die was am Fließband schafft/Wir Menschen waren nicht interessant/Darum blieben wir euch unbekannt”. Cem Karaca, “Es kamen Menschen an” (1984).
“Und die Kinder dieser Menschen/Sind geteilt in zwei Welten/Ich bin Ata und frage euch/Wo wir jetzt hingehören”. Ata Canani, “Deutsche Freunde” (1984).
“Anfangs besuchten wenige Türk*innen unsere Konzerte. So waren es beispielsweise letztes Jahr in Deutschland nur ca. zehn Prozent. Erstaunlicherweise haben hier heute fünfzig Prozent unserer Besucher*innen türkische Wurzeln”. Merve Daşdemir from Altın Gün, in: Gast ArbeiterIn (KAYA Berivan), “Anadolu Rock aus Amsterdam”, in renk, 28 January 2020, https://renk-magazin.de/anadolu-rock-aus-amsterdam/ – accessed 30 April 2021.
See the vinyl record releases of Global Pop First Wave, https://corvorecords.de/global-pop-first-wave/ – accessed 30 April 2021.
Yıldırım’s question came up shortly after he was interviewed for the Cologne magazine StadtRevue and its issue Kölsch Kültür, dealing with the history of Turkish music in Cologne. See StadtRevue: Kultur Politik Stadtleben in Köln: Kölsch Kültür, no. 3, 2019, p. 31-37.
The rather imprecise adjectives ‘Turkish’ and ‘German’ are mainly used for the purpose of maintaining the text readable. They are, of course, highly problematic, as they comprise different kinds of national, cultural and linguistic affiliations and self-definitions. They are the result of complex nation-building processes in the 19th and 20th century and biased in many ways. For our purpose, they reflect the encounter of the cultures when the Turkish ‘guest workers’ first arrived in Germany: it was experienced by many as a duality of two distinct cultures, Turkish and German, with not much room for careful differentiation.
See Elster Christian, Pop-Musik sammeln, Bielefeld: Transcript, 2021, p. 11. For an overview of the sociology of music concerning relationships between music and collective identities, see Roy William G. and Timothy J. Dowd, “What is Sociological about Music?” Annual Review of Sociology, vol. 36, no. 1, 2010, p. 183-203.
For our decolonial approach informed by Achille Mbembes writings, see Lund Holger, “Decolonizing pop music”, in norient, 2019, https://norient.com/stories/decolonizing-pop-music?topic=99 – accessed 30 April 2021 and Lund Holger, “Decolonizing Turkish Pop Music Historiography: Anatolian Rock Studies as an Example”, conference paper for “Sound/Music/Decoloniality: A Research Colloquium”, 24-25 March 2020, Maynooth University Arts and Humanities Institute in cooperation with the Department of Music and the Society for Musicology in Ireland, April 2020, https://www.researchgate.net/publication/340607051_Decolonizing_Turkish_Pop_Music_Historiography_Anatolian_Rock_Studies_as_an_Example – accessed on 30 April 2021. For the reception of Mbembe in musicology see also Fourie William, “Musicology and Decolonial Analysis in the Age of Brexit”, Twentieth-Century Music, vol. 17, Issue 2, June 2020, p. 197-211, DOI: https://doi.org/10.1017/S1478572220000031, https://www.cambridge.org/core/journals/twentieth-century-music/article/abs/musicology-and-decolonial-analysis-in-the-age-of-brexit/E51B1E0256E5669D1ADA74AD104D4728 – accessed 30 April 2021.
See Nettl Bruno, “Comparison and Comparative Method in Ethnomusicology”, Anuario Interamericano de Investigacion Musical, vol. 9, 1973, p. 148-161, https://doi.org/10.2307/779910, www.jstor.org/stable/779910 – accessed 30 April 2021.
Anatolian pop is an umbrella term, covering a range of styles in the 1970s, which have basically in common that they build a musical hybrid between Anatolian folk music and different styles of Western pop music. Arabesk is a hybrid music born in the 1970s and 1980s out of Turkish folk, art, Western popular as well as Arabic and Egyptian musical elements, assembled like in highly eclectic Pakistani or Indian Bollywood film music. The line between Anatolian pop and Arabesk is blurred, sometimes they are even blended to form hybrids. See Lund Holger, “Anatolian Rock: Phenomena of Hybridization”, in norient, 2013, https://norient.com/academic/anatolian-rock/ and see also Lund, “Decolonizing Turkish Pop Music”.
Supposedly due to their interest in gaining a wider audience by addressing people in Germany in German, a strategy that worked out well later on. In the beginnings, even before multilingual Turkish hip-hop in Germany became usual with T.C.A Microphone Mafia or DJ Mahmut and Murat G. in the 1990s, for example, early 1980s Turkish bands in Germany had released music in two languages, due to the members’ mixed cultural backgrounds. On Samanyolu’s record Aşk Azabı (1983) two out of the six tunes are in Italian, thanks to the guitar player Mimo Tolomeo, the other ones are in Turkish.
See Bax Daniel, “Die Deutsch-türkische Musikszene zwischen Türkpop und Deutschrap”, Heinrich-Böll- Stiftung. Heimatkunde. Migrationspolitisches Portal, 2006, https://heimatkunde.boell.de/de/2006/12/18/die-deutsch-tuerkische-musikszene-zwischen-tuerkpop-und-deutschrap – accessed 30 April 2021.
“[…] als Türkeideutscher scheint man in diesem Genre bislang nur in einer Rolle reüssieren zu können: als Gangster”. Reier Sebastian, “Türkei: Die Musik von Nebenan”, Zeit, no. 6, 29-30 January 2020, https://www.zeit.de/2020/06/tuerkei-popmusik-baris-manco-metin-tuerkoez-derdiyoklar – accessed 30 April 2021.
See Lund, “Decolonizing pop music”.
See Schührer Susanne, Türkeistämmige Personen in Deutschland: Erkenntnisse aus der Repräsentativuntersuchung ‘Ausgewählte Migrantengruppen in Deutschland 2015’ (RAM), Bundesamt für Migration und Flüchtlinge, Nürnberg, p. 5, https://www.bamf.de/SharedDocs/Anlagen/DE/Forschung/WorkingPapers/wp81-tuerkeistaemmige-in-deutschland.pdf?__blob=publicationFile&v=12 – accessed 30 April 2021.
“Millionen türkischer Tonträger werden von den späten Sechzigerjahren an in der Bundesrepublik verkauft. Besprechungen in Musikmagazinen gibt es keine, auch keine popkulturellen Betrachtungen in den Feuilletons. Die Starschnitte in der Bravo sind westlichen Popgrößen vorbehalten, überregionale Fernsehauftritte türkischer Musikerinnen und Musiker lassen sich an zwei Händen abzählen. Auch bei der Ermittlung der Charts werden Firmen wie Türküola nicht berücksichtigt. Die türkische Musik bleibt in ihrem Paralleluniversum; die wenigsten Deutschen kommen mit ihr in Berührung”. Reier, “Türkei”.
See the TRT documentary film Yeryüzü Göçerleri (dir. Gülseven Güven, TR, 1979). Gülseven Güven’s narrator reflects this racism by comparing migrant Turkish people in Europe to and paralleling them with black people as slaves in a critical way.
Solomon Thomas, “Made in Almanya. The Birth of Turkish Rap”, in Seibt Oliver, Ringsmut Martin and David-Emil Wickström (eds), Made in Germany. Studies in Popular Music, Routlegde Global Popular Music Series, New York/London: Routlegde, 2021, p. 112. The problem continues as Turkey is still not part of the EU, see Kathrin Prümm, “Die Rechte türkischer Migranten in Deutschland”, Bremen: COMCAD, Working Papers – Center on Migration, Citizenship and Development, 2003.
Metin Türköz in a personal conversation with the co-author Holger Lund, Cologne, summer 2019, and Ercan Demirel in an email-conversation with the co-authors in spring 2021.
We set up three criteria for a success – and, reversely, a flop: a) a piece of music gets a release (or not); b) a release sells so well its cost are at least covered or a profit is made so the releasing institution can make it on the market and is not damaged financially (or not), an indicator for b) next to sales figures (if available) and chart positions could be that the label continues to make releases with the respective artist; and c) a piece of music reaches the (intended) audience and gets appreciation from it (or not). The last two criteria are usually interrelated, especially before Internet times. Yet the question of a piece of music being both a commercial flop and a relevant musical success at the same time or with an undefined latency shows, that flop and success are complex and hard to define, depending on the aspects taken into consideration. For failures/successes and their history of (different) receptions see the fundamental text by Bauer Reinhold, Gescheiterte Innovationen: Fehlschläge und technologischer Wandel, Frankfurt/Main, Campus, 2006.
Except for example Greve Martin, Musik der imaginären Türkei: Musik und Musikleben im Kontext der Migration aus der Türkei in Deutschland, Stuttgart, J.B. Metzler, 2003. Greve’s interest is mainly focused on styles connected to the 1980s up to 2000 and on CD and MC as media, which limits his otherwise highly valuable study.
Except for German-Turkish hip-hop in Germany, see for example Güngör Murat and Hannes Loh, Fear of a Kanak Planet: Hip-Hop zwischen Weltkultur und Nazi Rap, Höfen, Hannibal, 2002; Verlan Sascha and Hannes Loh, 35 Jahre Hip-Hop in Deutschland, Höfen, Hannibal, 2015 [2000]; Seliger Martin and Marc Dietrich (eds), Deutscher Gangsta Rap: Sozial- und kulturwissenschaftliche Beiträge zu einem Pop-Phänomen, Bielefeld, transcript, 2012; Seliger Martin and Marc Dietrich (eds), Deutscher Gangsta Rap II: Popkultur als Kampf um Anerkennung und Integration, Bielefeld, transcript, 2017.
Except for example Güneş Azize, French pop music remakes in Turkey: A cognitive semiotic inquiry into cultural transfer, Centre for Languages and Literature, Lund University, Degree Project – Master’s Thesis, May 2017, and some remarks in Turkish pop music research for instance in Dilmener Naim, Bak Bir Varmış Bir Yokmuş: Hafif Türk Pop Tarihi, Istanbul, İletişim Yayıncılık, 2003, p. 222-228, esp. p. 227.
“Aussagekräftige, datierbare Quellen über türkische Musik in Deutschland sind kaum vorhanden”. Greve, Musik der imaginären Türkei, p. 23.
Greve Martin, “Music in the European-Turkish Diaspora”, in Clausen Bernd, Hemetek Ursula, Saether Eva et al. (eds), Music in Motion: Diversity and Dialogue in Europe, Bielefeld, transcript, 2009, p. 116.
For a rare and very important archive documenting migrant culture in Germany see DOMiD. Dokumentationszentrum und Museum über die Migration in Deutschland, https://domid.org/ – accessed 30 April 2021.
For the catalogue see www.diskotek.info/RecordLabel/Details/269 – accessed 30 April 2021. See also for a discography Greve, Musik der imaginären Türkei, Appendix, p. 515-534. We shall point out, that in the German history of the German record industry the first independent label acknowledged is usually not the Turkish company Türküola but the German David Volksmund Produktion (founded in 1971 by the group Ton Steine Scherben) or the German company Trikont (founded in 1972) not releasing records before the early 1970s. The myth of Trikont as first independent label is still surviving, see for the vinyl record scene Philipps Helmut, “Dahoam hört sich’s am schönsten”, in Mint: Magazin für Vinylkultur, no. 8, 2020, p. 34. See on this topic also Lund Holger, “The hidden history of Turkish independent labels in Germany from the 1960s to the 1980s”, conference paper for “Colloquium Independents, Independent Music Labels: Histories, Practices and Values”, Lisbon, NOVA FCSH, 22.-25.06.2021, published September 2021, https://www.researchgate.net/publication/354451392_The_hidden_history_of_Turkish_independent_labels_in_Germany_from_the_1960s_to_the_1980s – accessed 24 September 2021.
Thanks for the information to Türküola label sucessor Cevdet Yıldırım, who showed us one of the golden records Yüksel Özkasap received (the LP, by the way, is even not listed on discogs.com until now).
See Greve, Musik der imaginären Türkei, p. 78.
On the question of invisibility and inaudibility of Turkish people in Germany as well as Turkish migrant identity see Güney Serhat, Pekman Cem and Bülent Kabaş, “Diasporic Music in Transition: Turkish Immigrant Performers on the Stage of ‘Multikulti’ Berlin”, in Popular Music and Society, vol. 37, no. 2, 2014, p. 132, DOI: 10.1080/03007766.2012.736288. In the frame of the usual ‘Multikulti’ events, happening especially since the 1980s, Turkish music was again othered mainly through folklorization (which places Turkish music within another, foreign culture). Remarkably, Turkish popular music studies are framing Turkish music as Middle Eastern music (and not as European or Mediterranean or Balkan music) like the large Western musicological series show, e.g. Bloomsbury’s Encyclopedia of Popular Music of the World, and The Garland Encyclopedia of World Music. The same happens to Turkish cinema, e.g. in the Companion Encyclopedia of Middle Eastern and North African Film. On Middle-Easternization and Islamization of Turkish people see Stokes Martin, “Globalization and the Politics of World Music”, in Clayton Martin, Herbert Trevor and Richard Middleton (eds), Cultural Study of Music: A critical introduction, New York, London, Routledge, 2003, p. 303.
Except short TV programs for migrants (in their languages) like “Ihre Heimat, unsere Heimat”, “Nachbarn in Europa” and “Babylon”. For decades, the issue of rendering Turkish music invisible and inaudible is not addressed in German media itself.
See Güngör Murat and Hannes Loh, “Kölsch Kültür: Türkische Popmusik im Exil”, StadtRevue: Kultur Politik Stadtleben in Köln: Kölsch Kültür, no. 3, 2019, p. 31 and p. 33; see also Reier, “Türkei”.
See https://www.discogs.com/label/225384-Teledisc-2 – accessed 30 April 2021.
“Die wenigsten Käufer der Single dürften 1970 erkannt haben, dass es sich um ein türkisches Volkslied handelte. Wiederum dürften die Gastarbeiter in den Wohnheimen irritiert gewesen sein, da der türkische Text als deutscher Schlager umgeschrieben und auch musikalisch an die deutschen Ohren angepasst wurde”. Güngör, Loh, “Kölsch Kültür”, p. 32.
Thanks to Ercan Demirel for this information. See https://www.discogs.com/John-Tuner-Lovers-Rainbow-Wonderland-Lazy-Lady-Sunshine/master/1277567 and https://www.discogs.com/John-Tuner-Regenbogenland/release/5649803 – accessed on 30 April 2021.
See https://www.discogs.com/The-Bosporus-Sound-Orchestra-Lailas-Dream/release/8280738 – accessed 30 April 2021.
See https://www.discogs.com/Cem-Karaca-Apa%C5%9Flar-Karda%C5%9Flar-Mo%C4%9Follar-Ferdy-Klein-Orkestras%C4%B1-Cem-Karacan%C4%B1n-Apa%C5%9Flar-Karda%C5%9Flar-/master/628832 and https://www.discogs.com/release/5780051-Y%C3%BCksel-%C3%96zkasap-Londra-Sokaklar%C4%B1nda-A%C4%9Flar-Gezerim-Zindan-Oldu-Sensiz-Ge%C3%A7en-G%C3%BCnlerim – accessed 30 April 2021.
Orientalization as well as self-Orientalization have been for a long time the only accepted ways to success: “Most Europeans’ encounters with Anatolian or Ottoman music are at least initially influenced by the still-existing expectation of an impassionate, irrational and mysterious ‘Orient’. The best prospects for success in Europe lie in the hands of those Turkish musicians who meet these orientalist expectations”. Greve, “Music in the European-Turkish Diaspora”, p. 126. Greve also notes some examples and concludes: “Concerts of Sufi music raise much more interest among European audiences than even the most famous Turkish folk music singers”. Ibid. For our case, that is Turkish pop music, the success of Sufi music is not relevant as this is not pop music, but genuinely religious music transformed into ‘world music’.
Greve Martin, Makamsız. Individualization of Traditional Music on the Eve of Kemalis Turkey, Orient Institut Istanbul, Istanbuler Texte und Studien 39, Würzburg, Ergon, 2017, p. 51.
See Andersen Pablo Dominguez, “Ahmet Gündüz: Migration, Männlichkeit und die diasporischen Ursprünge von HipHop in Deutschland und Europa”, Themenportal Europäische Geschichte, 2015, www.europa.clio-online.de/essay/id/fdae-1660 – accessed 30 April 2021. Andersen names as examples for the struggle with the acceptance of German-Turkish hip-hop: Jacob Günther, “HipHop in Deutschland: Krauts With Attitudes”, in Jacob Günther, Agit-Pop: Schwarze Musik und weiße Hörer, Berlin, Id-Verlag, 1992, p. 206-226, p. 213; Templeton Inez H., “Was ist so deutsch daran? Kulturelle Identität in der Berliner HipHop-Szene”, in Bock Karin, Meier Stefan and Günter Süss (eds), HipHop meets Academia: globale Spuren eines lokalen Kulturphänomens, Bielefeld, transcript, 2007, p. 185-198.
For the release date of Fresh Familee’s “Ahmet Gündüz” being before Die Fantastischen Vier see Kaya Verda, HipHop zwischen Istanbul und Berlin. Eine (deutsch-)türkische Jugendkultur im lokalen und transnationalen Beziehungsgeflecht, Bielefeld: Transcript, 2015, p. 79.
“Anfang der 90er Jahre, als mit den ‘Fantastischen Vier’ der kommerzielle Aufstieg des deutschen HipHops begann, blieben viele türkischstämmige Rapper zunächst außen vor”. Bax Daniel, “Deutsch-Türkische Popszene: Bassturk, Muhabbet, Tarkan & Co”, Qantara, 4 November 2008, https://de.qantara.de/print/6692 – accessed 30 April 2021.
“Ende der Achtzigerjahre, als Rap und Hip-Hop aufkommen, wird die Zusammenarbeit zwischen türkeistämmigen und deutschstämmigen Musikern mehr und mehr zur Normalität. Gruppen […] mischen ganz selbstverständlich Türkisch, Deutsch und Englisch. Sie treten vor gemischtem Publikum auf [...]”. Reier, “Türkei”.
“Die deutschen Medien sprangen unmittelbar auf das vermeintlich neue Thema an: Vom Spiegel über die Zeit bis Spex ließ sich kaum eine Zeitschrift die Geschichte vom neuen ‘Oriental Hiphop’ entgehen, auch Viva-TV und MTV präsentierten Cartel in aller Ausführlichkeit. Trotzdem wurde Cartel in Deutschland kommerziell gesehen beinahe zum Flop [...]”. Greve, Musik der imaginären Türkei, p. 445. Cartel’s LP release on the Mercury label sold only 20.000 copies through the official German distribution channels (see Ibid.). Of course, pirated versions on CD and cassette with lower prices were sold in much higher quantities in Germany and abroad through the semi-official Turkish distribution channels (see Ibid.).
“Zwar wurde die türkischsprachige Rap-Szene in Deutschland von den Medien wohl bemerkt und ausgiebig beleuchtet. Aber auf die Karriere der meisten türkischstämmigen Rapper hatte diese öffentliche Aufmerksamkeit erstaunlicherweise keinerlei Auswirkung”. Bax Daniel, “Die Deutsch-türkische Musikszene”.
“Nach den Anschlägen von Mölln und Solingen brachte der Verlag “Eurostar” erstmals eine CD mit “Turkish Gold” heraus, eine Kompilation neuerer und älterer Stücke türkischer Interpreten. Der Mitleideffekt: ein etwas zweifelhafter Anlaß, für türkische Pop-Musik zu werben. Der Verlag ging ein, die Scheibe wurde ein Flop. Bax Daniel, “Istanbul Calling”, taz, 09/06/1995, p. 15, https://taz.de/!1505673/ – accessed 30 April 2021.
See Stokes “Globalization”.
See Özkan Derya (ed.), Cool Istanbul. Urban Enclosures and Resistances, Bielefeld: transcript, 2014.
Each time for the single release the position was B2: https://www.discogs.com/Udo-Lindenberg-Reeperbahn/master/441544 and https://www.discogs.com/Sezen-Aksu-Sude/release/1157407.
See Bax, “Istanbul Calling”, p. 16.
See the reportage “erci e ft peter maffay - reportaj (by kvt-tp)” on Maffay and Cartel in Istanbul: https://www.youtube.com/watch?v=gE8G8gxtTI4 – accessed 30 April 2021.
StadtRevue: Kultur Politik Stadtleben in Köln: Kölsch Kültür, no. 3, 2019, p. 31-37. The title includes an intentionally miswriting of ‘Kultur,’ which changed to ‘Kültür’, refering to the Turkish word “kültür” https://www.stadtrevue.de/archiv/artikelarchiv/13736-koelsch-kueltuer-teil-1/ and https://www.stadtrevue.de/archiv/artikelarchiv/13737-koelsch-kueltuer-teil-2/ – accessed 30 April 2021.
Thanks to Edita Noth from GCM Go City Media GmbH tip Berlin & ZITTY who was so kind to provide a copy of the magazine for research purpose.
Greve Martin, “Berlin’de Türk Müziği: Eine Szene öffnet sich”, ZITTY, no 17, 1994, p. 10-17.
Ibid. p. 11.
For the following arguments see Ibid., p. 10-17.
Most of the Turkish migrants had a very rural background, a poor education and very little respected jobs. Consequently, their lack of discursive power led to exclusion. For example: “In general, performances of Turkish compositions – whether the composers live in Turkey or elsewhere – are extremely rare in the general concert life of Germany. Berkan Karpat: ‘My projects are hardly ever visited by Turks: Nazim Hikmet [a production with a sound collage of voice recordings and synthetic sounds] had 1,500 visitors, of which a maximum of 20 were Turks. The layer of Turkish intellectuals in Munich is insanely thin.’” – “Überhaupt sind Aufführungen türkischer Werke – gleich ob die Komponisten in der Türkei leben oder anderswo – im allgemeinen Konzertleben Deutschlands außerordentlich selten. Berkan Karpat: ‘Meine Projekte werden von Türken kaum besucht: Nazim Hikmet [eine Inszenierung mit einer Klangcollage aus Sprachaufnahmen und synthetischen Klängen] hatte 1.500 Besucher, davon maximal 20 Türken. Die Schicht der türkischen Intellektuellen in München ist wahnsinnig dünn’”, in Greve, Musik der imaginären Türkei, p. 328.
Stokes, “Globalization”, p. 303 and see footnote 30.
Greve, Musik der imaginären Türkei, p. 124.
Greve, “Music in the European-Turkish Diaspora”, p. 121.
Ibid. p. 123.
Ibid. In contrast, today institutional support is rising with initiatives like “Jugend musiziert” or “Jedem Kind ein Instrument”, which are now much more open to non-classical instruments.
“Wenn sich die Szenen so hermetisch präsentieren, muss es nicht wundern, dass Deutsche von dieser blühenden Kultur nichts erfahren”, Greve, “Berlin’de Türk Müziği”, p. 16.
“In Deutschland hat es noch keine Minderheit geschafft, ihre Musik gut herauszubringen”, Ibid. p. 17. See for this issue and the many difficulties to realize a release (which fails at the end) the reportage on Kanak and Killa Hakan by Michael Richter, “Menschen Hautnah. Türkische Rapper in Berlin-Kreuzberg”, 1997 (information about this film see Rieple Beate and Sarah van der Walle, Findbuch Audiovisuelle Medien, DOMiD e.V., Cologne, 2013, entry 196 (no pages), https://www.archive.nrw.de/sites/default/files/media/files/FINDBUCH-April-2014-1.pdf – accessed 30 April 2021.
See Lund Holger, “The hidden history of Turkish independent labels in Germany from the 1960s to the 1980s”, conference paper for “Colloquium Independents, Independent Music Labels: Histories, Practices and Values”, Lisbon, NOVA FCSH, 22-25 June 2021, published September 2021, https://www.researchgate.net/publication/354451392_The_hidden_history_of_Turkish_independent_labels_in_Germany_from_the_1960s_to_the_1980s – accessed 10 September 2021.
“Türkische und kurdische Musik hat bislang ebensowenig von der großen Ethnowelle [Weltmusik] profitieren können wie von dreißig Jahren unmittelbarer Nachbarschaft”, Ibid., p. 16.
This changed a bit later on when in 1998 the globally oriented Turkish record company Doublemoon jumped in with music in oriental fusion style. See https://www.discogs.com/label/22894-Doublemoon – accessed 30 April 2021. Hence, this process was discussed “in the context of globalization saying that world music helped the rediscovery of Turkish music”. Gedik Ali C. (ed.), Made in Turkey, Routledge Popular Music Series, London, New York, Routlegde, 2018, p. 169. A few festivals of encounter included Turkish music, which made it also on the releases, like the Kemnade festival. See https://www.discogs.com/Various-Kemnade-Live/release/5599729 and https://www.discogs.com/Various-Kemnade-Live-II-/release/8045980 – accessed 30 April 2021. For Turkish music and its (non-)place in the context of so-called word music see Greve, Musik der imaginären Türkei, p. 415, 416, 433, 437.
See Reier Sebastian at “Outernationale I: Derdiyoklar w/ Booty Carrell: DJ Mix& Live Talk”, bi’bak, Berlin, 15 May 2020, https://bi-bak.de/bi-bakaudio/outernationale-stars-from-outer-space – accessed 30 April 2021.
See Lund, “Decolonizing Turkish Pop Music”, and Ergin Murat, “On humans, fish, and mermaids: The Republican taxonomy of tastes and arabesk”, New Perspectives on Turkey, no. 33, 2005, p. 63-92.
See Lund, “Decolonizing Pop Music”.
See Lund, “Decolonizing Turkish Pop Music”, p. 3.
Şahin Nevin, “Dervish on the Eurovision Stage: Popular Music and the Heterogeneity of Power Interests in Contemporary Turkey”, in Dunkel Mario and Sina A. Nitzsche (eds), Popular Music and Public Diplomacy: Transnational and Transdisciplinary Perspectives, Bielefeld, transcript, 2018, p. 71.
Ibid.
In contrast, singing in German would not prevent a singer from winning: in 1980 singer Katja Ebstein started a chain of German singers in top 3 positions in the ESC. For an overview see https://www.eurovision.de/zahlenspiele/Alle-Ergebnisse-fuer-Deutschland-beim-ESC,deutschland744.html – accessed 30 April 2021.
See https://www.discogs.com/S%C3%BCrpriz-Reise-Nach-Jerusalem-Kud%C3%BCse-Seyahat-Journey-To-Jerusalem/master/322343 – accessed 30 April 2021.
See Greve, Musik der imaginären Türkei, p. 54 and 185.
See https://www.discogs.com/S%C3%BCrpriz-S%C3%BCrpriz/release/14080240 – accessed 30 April 2021.
Whereas Bel Ami was more of a local Berlin group, Ideal released the song as b-side of the single “Keine Heimat”, which made it just in the top 50, position 47 as peak. A comparable weak result for the former top ten hit group Ideal. It seems, fans did not like “Keine Heimat” as well as “Aşk Mark Ve Ölüm”, see https://hitparade.ch/song/Ideal/Keine-Heimat-34925 – accessed 30 April 2021.
See https://mischalke04.wordpress.com/2008/06/25/bel-ami-gece-berlinde-1980/ – accessed 30 April 2021.
See Musikszene, Chapter 2 “Türkische Musik in Deutschland”, 28 November 1982, Westdeutscher Rundfunk.
“Wenn du wissen willst, wovon die Rede ist, mußt du einen Türken fragen”. No author, “Türkisch lernen mit ‘Ideal’”, Der Spiegel, 15 November 1982, https://www.spiegel.de/spiegel/print/d-14355088.html – accessed 30 April 2021.
See https://www.discogs.com/Freddy-Quinn-Istanbul-Ist-Weit/release/2044057 – accessed 30 April 2021.
See Kraushaar Elmar, Freddy Quinn: Ein unwahrscheinliches Leben, Zurich, Atrium, 2011, n. p.
See Kunz Thomas, “Das Ankommen des ‘Gastarbeiters’ auch im Popsong. Oder: Wer singt hier eigentlich über wen?” Pop-Zeitschrift, 23/10/2013, https://pop-zeitschrift.de/2013/10/23/das-ankommen-des-gastarbeiters-auch-im-popsongoder-wer-singt-hier-eigentlich-uber-wenvon-thomas-kunz23-10-2013/ – accessed 30 April 2021.
See Özkan Duygu, “Gastarbeiter-Songs: ‘Komm, Türke, trinke deutsches Bier!’: Von melancholischen Arabesken, Freddy Quinn und Gastarbeiter-Songs”, Die Presse, 10 May 2014, https://www.diepresse.com/3803756/gastarbeiter-songs – accessed 30 April 2021.
See https://archive.org/stream/GermanTribune1986GermanyEnglish/Aug%2003%201986%2C%20German%20Tribune%20Supplement%2C%20%231237%2C%20Germany%20%28en%29_djvu.txt – accessed 30 April 2021, and Kulturszene, 11 December 1986, Westdeutscher Rundfunk.
See http://www.mariorispo.com/ – accessed 30 April 2021.
There are some rare later cases of Germans singing in Turkish to be mentioned like the Turkish-German-Swiss band The Trial see https://www.discogs.com/artist/142931-The-Trial – accessed 30 April 2021, or Relle Büst’s cover version of “Üska Dara”, see https://www.discogs.com/Various-Infant-Munich-Hits-Rock-Bottom/release/2316087 – accessed 30 April 2021.
See for example https://www.discogs.com/Marc-Aryan-Nas%C4%B1l-Evlenirsin-Bu-Lisanla-Doudou/release/8831518 – accessed 30 April 2021.
See for example https://www.discogs.com/Sacha-Distel-Kime-Derler-Sana-Derler-Ou-%C3%87a-Ou-%C3%87a/release/5737317 – accessed 30 April 2021.
See for example https://www.discogs.com/Anne-Marie-David-Anne-Marie-David/release/6483454 – accessed 30 April 2021.
See for example https://www.discogs.com/Juanito-Para-%C4%B0le-Saadet-Olmaz-Kanma-Arkada%C5%9F/release/7033551 – accessed 30 April 2021.
See for example https://www.discogs.com/Adamo-Her-Yerde-Kar-Var-Tombe-La-Neige-Ballade-A-La-Pluie/release/1188051 – accessed 30 April 2021.
See for example https://www.discogs.com/Mina-Mevsim-Bahar/release/13086369 – accessed 30 April 2021.
See Meriç Murat, “Türkçe Şarkı Söyleyen Yabancı Sanatçılar: Murat Meriç’le Plak Dolabı”, 09 December 2016, https://www.youtube.com/watch?v=y7tzF_i9WQY and Meriç Murat, “Türkçe Şarkı Söyleyen Yabancı Sanatçılar 2: Murat Meriç’le Plak Dolabı”, 14 January 2017, https://www.youtube.com/watch?v=Geym7L156N0 – accessed 30 April 2021.
See https://www.discogs.com/Baris-Man%C3%A7o-Baby-Sitter/release/2066350 and https://www.discogs.com/Ajda-Pekkan-Ajda-Pekkan/release/2517600 – accessed 30 April 2021.
See Greve, “Music in the European-Turkish Diaspora”, p. 118.
See the documentary by Pekün Didem and Barış Doğrusöz, Tülay German: Years of Fire and Cinders/Kor ve Ateş Yılları, Turkey/France, 2010, https://vimeo.com/channels/1321145/93774697 – accessed 30 April 2021. In the documentary German explains her reasons for continuing to sing in Turkish.
See for example https://www.discogs.com/Ajda-Pekkan-Zigeuner-M%C3%BCssen-Singen-Der-Gro%C3%9Fe-Abschied/release/7240148 – accessed 30 April 2021.
See https://www.discogs.com/Miss-Nil%C3%BCfer-Bau-Mir-Ein-Paradies-Anatol/release/5600502 – accessed 30 April 2021.
See for example https://www.discogs.com/Lale-Akat-Ich-Gr%C3%BCss-Dich-Istanbul-Yuva-Merhaba-Bir-Tanem/release/3002984 – accessed 30 April 2021.
See for example https://www.discogs.com/Ne%C5%9Fe-Karab%C3%B6cek-Geiger-Careless-Love/release/8322277 – accessed 30 April 2021.
“Türkoz spielt geschickt mit Ironie, Mehrsprachigkeit und Neuwortschöpfungen in seinen Liedern, um so Machtverhältnisse in den Betrieben zu unterlaufen: Häufig kommt die Figur des deutschen Vorarbeiters, des ‘Maestero’, in seinen Liedern vor, die er augenzwinkernd aufs Glatteis führt”. Güngör, Loh, “Kölsch Kültür”, p. 32.
See https://www.discogs.com/Yusuf-Blondes-Haar-T%C3%BCrkisch-Mann/release/1439849 – accessed 30 April 2021.
“Der Sänger Yusuf zieht in seinen Songs sämtliche Register über türkische Männer und nimmt damit sich und die Klischees in der Mehrheitsgesellschaft auf den Arm”. Gürler Hülya, “Die Zeiten von Türküola”, taz, 14 May 2016, https://taz.de/!5302133/ – accessed 30 April 2021.
See https://www.discogs.com/H%C3%BCsn%C3%BC-I%C5%9F%C4%B1k-Bende-Bir-Insanim-Ich-Bin-Auch-Ein-Mensch/release/4088370 – accessed 30 April 2021.
“Auch ich bin ein Mensch. Auch ich habe ein Herz”.
Apart from hip-hop, only few examples of decidedly bilingual songs made by Turkish or German-Turkish musicians can be found later on. Examples are Nekropsi’s “Die neue Papa” in 2006, a satirical song about the new German pope, see https://www.discogs.com/artist/1395061-Nekropsi – accessed 30 April 2021, or the comedian Yunus Bülbül’s song “Dankeşon Sevgilim”, which mixes constantly German and Turkish words to make fun of the migrant habit of alternating the language while making a sentence, see https://www.discogs.com/Yunus-B%C3%BClb%C3%BCl-Ke%C5%9Fke-%C3%87ocuk-Kalsayd%C4%B1k/release/13630279 – accessed 30 April 2021.
See https://www.discogs.com/Die-Neue-Weltmacht-Tanz-Ins-Gl%C3%BCck-Orienttr%C3%A4ume/release/3313936 – accessed 30 April 2021.
See https://www.discogs.com/Cem-Karaca-Die-Kanaken/release/2488924 – accessed 30 April 2021.
See Aktuelle Stunde, 14 September 1984, Westdeutscher Rundfunk, and later on with Cem Karaca’s formation Die Kanaken at Bio’s Bahnhof, ARD/Westdeutscher Rundfunk, late 1980s. The song itself dates back to the late 1970s.
By the way: “Ata Canani wrote a whole cycle of German-language songs in 1977. But neither Turks nor Germans, he says, would have wanted to hear them. They have remained unpublished to this day”. – “Ata Canani verfasste 1977 einen ganzen Zyklus deutschsprachiger Lieder. Doch weder Türken noch Deutsche, sagt er, hätten sie hören wollen. Sie sind bis heute unveröffentlicht geblieben”. Reier, “Türkei” – finally, in May 2021 Canani could release his LP Warte mein Land, warte.
“Meilenstein der deutsch-türkischen Musikproduktion”, booklet Songs of Gastarbeiter, no page [p. 3].
See Reier Sebastian, “Geteilt in zwei Welten”, liner notes for Ata Canani’s release Warte mein Land, warte, spring 2021, https://shop.hanseplatte.com/warte-mein-land-warte-16270.html – accessed 30 April 2021.
“Und oft sind es in den kommenden Jahren Exilanten wie Karaca, die versuchen, eine Brücke zwischen der türkischen Community und der deutschen ‘Mehrheitsgesellschaft’ zu schlagen. So veröffentlicht Cem Karaca 1984 ein Album in deutscher Sprache. Und der Schauspieler, Musiker und Radiomoderator Nedim Hazar (der Vater des Rappers Eko Fresh) gründet 1983 die deutsch-türkische Band Yarınistan, Morgenland”. Reier, “Türkei”.
“Die Künstler von Türküola richteten sich mit ihren Songs an die erste Generation von Arbeitsmigranten. Als die politischen Exilanten aus der Türkei eintrafen, machten sie die Probleme der Gastarbeiterfamilien in Deutschland für ein hiesiges Publikum sichtbar”. Güngör, Loh, “Kölsch Kültür”, p. 34.
See https://www.discogs.com/release/7654473-Biz-Deniz-%C3%9Cst%C3%BC-K%C3%B6p%C3%BCr%C3%BCr-E%C4%9Flen-Sunam – accessed 30 April 2021. The second generation formation BIZ followed the path of Anatolian pop and recorded a 45rpm single in Turkish but addressed its audience with an information sheet only in German. The sheet announced a whole LP which never made it to a proper release. According to the sheet the musical aim was “to convey something of the Turkish culture beyond flatbread and doner kebab” (“[…] etwas von der türkischen Kultur jenseits von Fladenbrot und Döner Kebap rüberzubringen”).
“Und die Kinder dieser Menschen/Sind geteilt ins zwei Welten/Ich bin Ata und frage euch/Wo wir jetzt hingehören”. Ata Canani, “Deutsche Freunde”, 1984.
“[…] die erste Generation hat mich nur ausgelacht, denen waren die Lieder zu problematisch, die haben mich gar nicht verstanden. […] Aber die Leute der zweiten Generation, die haben zugehört”. Ata Canani, in Winkler Thomas, “Musiker über deutsche Gastarbeiterkultur: Immer die Drecksarbeit gemacht”, taz, 16 December 2018, https://taz.de/Musiker-ueber-deutsche-Gastarbeiterkultur/!5556325/ – accessed 30 April 2021.
Güneş, French pop music remakes, p. 15.
Ibid., p. 9.
See https://www.discogs.com/Y%C3%BCksel-%C3%96zkasap-Mercie-Cherie-M%C3%BCh%C3%BCr-G%C3%B6zl%C3%BCm/release/10138601 – accessed 30 April 2021.
See https://www.discogs.com/Ajda-Pekkan-Bo%C5%9F-Sokak-%C3%87apk%C4%B1n/release/4863358 and https://www.discogs.com/Ajda-Pekkan-M%C3%A9diterran%C3%A9e/release/3792801 – accessed 30 April 2021.
See https://www.discogs.com/Ricky-Shayne-Fantastic/release/2873931 – accessed 30 April 2021.
See https://www.discogs.com/Fato%C5%9F-Balk%C4%B1r-Hey-Taksi-Para/release/8203863 – accessed 30 April 2021.
See for example T.C.A Microphone Mafia or Advanced Chemistry.
See Reier, “Türkei”.
“‘Man kann ruhig behaupten, dass die 2010er-Jahre auf jeden Fall das Jahrzehnt des von Migrantenkindern und -enkeln beherrschten deutschen Hip-Hops waren’, sagt Kaya. Am Ende des Jahrzehnts werden die Charts dominiert von Rappern wie Mero, Eno, Xatar, Ufo361 und Summer Cem”. Anwar Shanli, “Deutsch-Türkisches in der Popmusik: Wie Migrantenkinder das Jahrzehnt bestimmen: Cem Kaya im Gespräch mit Shanli Anwar”, Deutschlandfunk Kultur, Kompressor, 19 December 2019, https://www.deutschlandfunkkultur.de/deutsch-tuerkisches-in-der-popmusik-wie-migrantenkinder-das.2156.de.html?dram:article_id=466277 – accessed 30 April 2021.
Greve, “Music in the European-Turkish Diaspora”, p. 128.
The following listing owes thanks to Yaprak Uyar and her BEAM lecture on 13 June 2019, Humboldt University Berlin, https://berlinethnomusicology.wordpress.com/2019/06/03/13-june-2019-martin-greve-and-yaprak-melike-uyar/ – accessed 30 April 2021.
The first reissue of Anatolian pop of the 1970s seems to be the LP compilation “Electric Türk” with songs by Erkin Koray by the Swedish psychedelic label Xotic Mind Productions from 1995. Earlier compilations of Anatolian pop have been released on cassette, mostly made by Turkish labels in Germany like for example Minareci’s Pop Dinamit or Hit Trix (both no date, probably 1980s), see https://www.discogs.com/release/8399143-Various-Pops-Dinamit-Aranjmanlar-15 and https://www.discogs.com/release/21408409-Various-Hit-Trix-Aranjmanlar-17 – accessed 30 April 2021.
Who writes this history and releases the reissues? Mostly non-Turkish people started to do so, but more and more both, reissues and history writing are made a) by Turkish people or b) in collaborations with Turkish people. See Lund, 2020.
See Lund, 2019.
See https://www.discogs.com/label/1076131-Ironhand-Records – accessed 30 April 2021.
See Lund, 2020.
See https://www.discogs.com/Big-Turks-Directors-Cut/master/1655486 – accessed 30 April 2021.
See https://www.discogs.com/Action-Bronson-Only-For-Dolphins/release/15972050 – accessed 7 October 2020.
The first edit seems to be Beyond the Wizards Sleeve’s edit of Üc Hürel’s “Ağlarsa Anam Ağlar” in 2005, see https://www.discogs.com/Beyond-The-Wizards-Sleeve-Birth/master/989755 – accessed 30 April 2021.
See Cornils Kristoffer, “A Journey into Turkish Music: Gastarbeiter*innenmusik”, hhvmag, 7 October 2020, https://www.hhv-mag.com/en/feature/11317/a-journey-into-turkish-music-gastarbeiter-innen-musik – accessed 30 April 2021, as well as Cornils Kristoffer, “A Journey into Turkish Music: Anadolu Pop”, hhvmag, 7 October 2020, https://www.hhv-mag.com/de/feature/11318/a-journey-into-turkish-music-anadolu-pop – accessed 30 April 2021.
Ibid.
Nieden Gesa zu, “From Sons of Gastarbeita to Songs of Gastarbeiter. Migrant and Post-Migrant Integration through Music and German Musical Diplomacy from the 1990s to the Present”, in Dunkel Mario and Sina A. Nitzsche (eds), Popular Music and Public Diplomacy. Transnational and Transdisciplinary Perspectives, Bielefeld, transcript, 2019, p. 277-300, DOI: 10.14361/9783839443583-015, https://www.transcript-verlag.de/chunk_detail_seite.php?doi=10.14361%2F9783839443583-015 – accessed 30 April 2021.
See Anwar, “Deutsch-Türkisches”.
For ‘Cool Istanbul’ and a critique of the brand concept see Özkan, Cool Istanbul.
See Greve, “Music in the European-Turkish Diaspora”, p. 127.
See https://www.kanak-attak.de/ka/about/manif_eng.html – accessed 30 April 2021.
See www.suedblock.org – accessed 30 April 2021.
See https://ballhausnaunynstrasse.de/ – accessed 30 April 2021.
See https://import-export.cc/ – accessed 30 April 2021.
See https://renk-magazin.de/ – accessed 30 April 2021.
https://www.maviblau.com/ – accessed 30 April 2021.
See https://lefterrecords.wordpress.com/ – accessed 30 April 2021.
See recently: Cornils, “A Journey into Turkish Music: Gastarbeiter*innen Musik”, and Cornils, “A Journey into Turkish Music: Anadolu Pop”, as well as Seibt Oliver, Ringsmut Martin and David-Emil Wickström (eds), Made in Germany. Studies in Popular Music, Routlegde Global Popular Music Series, New York, London, Routlegde, 2021. This book contains at least a chapter on Turkish hip-hop and an interview conducted with a Turkish rap artist. Still any Turkish (pop) music made in Germany previous to hip-hop is not considered at all.
Bax, “Deutsch-Türkische Popszene”.
Even in Germany there is a growing and well received movement back to multilingualism in hip-hop, including Turkish and Arab languages, see for example the rap artist Yonii with “Anonym”, https://www.youtube.com/watch?v=BWDasOxbbF0 – accessed 30 April 2021. Thanks to Cem Kaya for this observation.
See Özbek Meral, Popüler kültür ve Orhan Gencebay arabeski, Istanbul, Iletisim, 1991.
See Stokes Martin, The Arabesk Debate: Music and Musicians in Modern Turkey, Oxford, Clarendon, 1992.
“Aber wer weiß, vielleicht wird türkische Pop-Musik hierzulande eines Tages so populär wie Döner Kebab. Als dieser eingeführt wurde, hat man auch nicht jedem Döner eine Bratwurst beigelegt, um ihn schmackhafter zu machen”. Bax, “Istanbul Calling”, p. 16.
“Und ich finde es auch gut, dass die ‘westlichen Charts’ endlich mal durchbrochen werden. Ich hoffe, dass sich das auch in Richtung einer weiteren Spezifizierung weiterentwickelt, sodass wir vom Rest der Welt nicht nur von World Music sprechen und dass die Europäer mal aufhören, ihren Sound als das Non plus ultra zu sehen. Also, da müssen die Gehörgänge ein bisschen geweitet werden”. DJ Tuncay Acar in Hacker Matthias, “Die Europäer müssen mal aufhören ihren Sound als das Non Plus ultra zu sehen”, in Zündfunk. Bayern 2, 3 March 2021, https://www.br.de/radio/bayern2/sendungen/zuendfunk/dj-tuncay-acar-ueber-altin-guen-und-global-pop-100.html – accessed 30 April 2021.
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