589:âshe also directly addresses issues of national identity. In her song, âBosphorus Bridge,â this Berlin-Turk rapper attempts to âlocate the descendants of Turk migrants in a hybrid space where cultural borders blend, where periphery meets the centre, and where the West merges East (. She raps in Turkish," We live together on planet earth/And if we want to grow in peace/We need to erase our borders,/Share our rich cultures./Yes, connect and blend the West/ West with the East." Using a reference to the âBosphorus Bridgeââa bridge in Turkey that connects the European and Asian sidesâshe calls for Turks in Germany to cross invisible cultural borders. In a similar vein, MC Boe-B expresses his double diasporic identity as well as the quest for his homeland in his song âSelamın aleykĂŒm.â Translated by Ayhan Kaya, Mc Boe-B raps the following lyrics, " They arrive in Istanbul from their villages/ And got searched in the German customs/It is as if they got purchased/Germans thought theyâd use and kick them off /But they failed to/Our people ruined their plans/Those peasants turned out to be clever/They worked hard/Opened a bakery or a doner kebab/on each corner/ But they paid a lot for this success" Referring to those who have been twice migrants, these lyrics begin by expressing the hardship guest workers faced when they first arrived in Germany. As the song progresses, Boe-B identifies himself within this context of struggle when he raps, âWe are losing life, losing blood/I was chosen to explain these things/Everybody screams âTell us Boe-Bâ/ And I am telling our story as hip hop in Kadikoyâ/...We tell you our experiences/we present you the news/we connect our neighbourhood and Kadikoy/we are doing real hip hop/and we tell it to you/...I am telling this story in a far land, Kadikoy.
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of the movement as well as specific examples of local artists. Oriental hip hop owes much of its origins to hip-hop groups that were briefly mentioned earlier: Islamic Force and Cartel. Islamic Force (now KanAK) was founded in the 1980s as a way to give ethnic minorities in
Germany a voice and is often recognized as the spark that started Oriental hip hop. Along with hip-hop artists DJ Derezon, the group released their first single, âMy Melody/Istanbul in 1992 to fight racism towards Turks in Germany by combining Western and Turkish cultures (Hip-Hop Culture). By rapping in English and mixing African-American hip-hop beats with Turkish Arabesk, Islamic Force is a perfect example of Boe-Bâs kid who listens to both Turkish and American cassettes in his fatherâs car. Although they initially focused on American hip hop by rapping in English to gain Western acceptance, an increase in the groups popularity in Turkey led them to eventually switch to rapping in Turkish. By rapping in their native language, Islamic Force connected directly with Turkey as a country as well as their cultural background while simultaneously merging a global genre (hip hop) with a local culture (Turkish traditions) According to Diessel, âThe synthesis of Turkish musical idioms and language with hip hop was successful in appealing to a young audience. For Turkish youth in Germany, Oriental hip hop is at once profoundly local and simultaneously global; it imagines, through the evocation of the far reaching âOrientâ and the cohesive language of hip hop, multiple possibilities of resistance to the politics of exclusionâ
597:, Appadurai describes diasporic communities as a type of ethnoscape. He defines ethnoscapes as, âthe landscapes of persons who constitute the shifting world in which we live: tourist, immigrants, refugees, guest-workers and other moving groups and personsâ Ethnoscapes, âallow us to recognize that our notions of space, place and community have become much more complex, indeed a âsingle communityâ may now be dispersed across a variety of sitesâ. Through hip hop Turkish youth in Germany have done precisely that; they have created a community that transcends one specific geographical location. As demonstrated by popular Turkish hip-hop artists, it is only through the global connection to their homeland, that Turkish youth in Berlin find meaning in their local contexts. Turkish hip hop is a âyouth culture that enables ethnic minority youths to use both their own âauthenticâ cultural capital and the global transcultural capital in constructing and articulating their identitiesâ. By embracing hip-hop culture, Turkish youth reclaim a sense of pride, assert their space in the public sphere, and reaffirm their Turkish heritage. As they rework hip hop to act as a mode of expression for a range of local issuesâa common theme in global hip hopâTurkish youth also create a diasporic community. It is only through the creation of this diasporic community that Oriental hip hop moves beyond simple appropriation of African-American and German tradition while performing cultural works at a grassroots level
485:'s single âFremd im eigenen Landâ (âStrangers in Our Own Landâ) that plight of the immigrant was addressed. For Turkish youth who didn't identify with Germany as a homeland, localized German hip hop still did not appeal to them nor function as a medium of self-expression. Looking for representation of their own heritage, Turkish artists and producers used German hip hop as a springboard to create Turkish inspired rap lyrics and beats. In an interview with Andy Bennet one Turkish-German label owner put it: âWell, from a musical point of view weâre trying to combine traditional Turkish melodies and rhythms with rap. The kids have been doing it for a while⊠you can buy tapes of Turkish music from Turkish stores around the city and theyâve been experimenting with that music, sampling it, mixing it with other stuff and rapping to it⊠Weâre just trying to build on the Turkish rap thing and build an outlet for it⊠If Iâm going to tell you why weâre doing it, well, itâs pride really. The point about a lot of this German rap itâs all about coloured guys saying look at us, weâre like you, weâre German. But I donât feel like that I never have. Iâm not German, Iâm a Turk and Iâm passionately proud of itâ.
441:(guest-workers), 2/3 of all Turks in Germany are under the age of 35 and half are under 25. Exclusionary practices on behalf of the government, particularly in terms of citizenship status, create systematic discrimination of Turks in Germany that fuels racism against migrant workers. Although born in Germany, the children of these Gastarbeiters are not recognized as citizens by Germany or their parents' country of origin. Often living in dilapidated neighborhoods and marked as outsiders by their "eastern" traditions and poor command of the German language, Turkish urban youth gravitate towards hip hop as means of expressive identity construction. From the first rap vinyl recorded in the Turkish languageââBir Yabancının Hayatıâ (The Life of a Foreigner) by King Size Terrorâto the creation of an entire subgenreâOriental hip hopâTurkish youth in Germany have embraced and moved beyond pure imitation of African American hip-hop culture. Localizing hip hop, Turks in Germany have reworked it to âact as a mode of expression for a range of local issuesâ particularly those related racism and the problem of national identity experienced by younger members of ethnic minority groups.
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localize what was considered to be a foreign U.S. musical commodity into an artistic form that represented their people, situations, and causes. On the negative side of this, some felt that rapping in a language other than
English or German further isolated these artists in the German music scene and placed labels on them. As one member of the Turkish rap group Cartel notes, âRapping consistently in Turkish was not necessarily a choice but rather the result of being defined by mainstream culture as different, more precisely defined within the framework of Orientalist discourse as the exoticized other and marketed as such." However, Turkish hip-hop can be seen as truly ground-breaking due to the music its artists elect to sample in songs. Instead of simply using clips from American rap songs in their music, Turkish rappers decided to further localize the music and put culturally relevant Turkish samples in songs. As Brown writes, âThe central musical innovation in âOriental hip-hopâ â the rejection of African American samples in favor of samples drawn from Turkish
559:. But nationalism is not absent from the German rap scene; on the contrary, there is an implicit (and sometimes explicit) conflict over national identity that finds expression, on the one hand, in charges that the attempt to form a 'German' rap culture is inherently exclusionary, and on the other, in the growth of a counter-nationalism in the form of ethnic-Turkish or so-called 'Oriental hip hop'" (142) In "From Krauts with attitudes to Turks with attitudes: some aspects oh hip hop history in Germany", written by Dietmar Eleflein, "Yet at the same time, the title Krauts with Attitude also played with a kind of non-dissident identification of a part of the West German hip-hop scene with its role models. Here the structural signs of competition could be coded nationally in terms of an integration in an international framework* what started as 'Bronx against Queens' or 'East Coast against West Coast' gradually turned into '
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reminiscing about vacations to
Istanbul or public discourse about TurkeyâTurkish-German youth construct their local identities from global places. In addition to the physical transmission of hip-hop cassettes to Germany, globalization enables a transnational movement as well as identity by connecting alienated youth to their ethnic roots. Modern circuitry connects youth not only to the rest of the world, but also to the âhomelandâ. This transcendence of physical borders is exemplified in Turkish hip hop. Azize-A, born in Berlin to a Turkish family, released her first hip-hop album called, Es ist Zeit (It's time) in 1997. Considered the first âTurkish hip-hopper ladyâ Germany, Azize-A gained popular media attention by addressing issues Turkish women deal with as double-minorities. While her appeal is largely to young girlsâAzize-A has often been described as the Turkish
555:, that allows German Turks to reclaim a pejorative term. This disenfranchised group, defined by one scholar as "hyphenated German citizens," is drawn to hip-hop as a form of expression because its members have been denied representation and recognition by the majority. In "The Vinyl Ain't Final* Hip Hop and the Globalization of Black Popular Culture", ed . by Dipannita Basu and Sidney J. Lemelle, they quote "Advanced chemistry thus represents not a rejection of the idea of 'Germanness', but a vision of multicultural type of 'Germanness'. Hip hop is important not just because it is art, but because it is a weapon against racial chauvinism and
506:!â and branding it all over their T-shirts and stickers. This not only marked hip-hop culture as distinctly Turkish, but simultaneously created a separate public sphere for fans of Turkish hip hop because most Germans did not speak Turkish. The very fact that the language of the album was in Turkish shifted the balance of power from privileged Germans to oppressed Turks. In the liner notes of the cd, âthe English words âWhat are they sayin?!â appear in big bubble letters. Underneath, the caption teasingly reads in German: âDidnât pay attention in Turkish class? Then ask for the translations fast with this cardââ.
617:, described Turkish hip hop as the product of a language and source material innovation. According to an article about German hip hop in The Bomb Hip-Hop Magazine, Germany is full of immigrants, and consequently, everyone raps in the language they prefer. Turkish hip hop artists rap in their own Turkish language and sample Turkish folk music as opposed to American or German songs. This musical subgenre is therefore seen as a counter nationalism movement marking the Turkish ethnicity within the German nationalism as a whole. It became a weapon against racial chauvinism and ethnic nationalism in Germany.
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families over. Gastarbeiters, by nature of the very word (translated as âguest worker'), expected to return to their homeland and did not identify with
Germany. This mentality combined with government exclusionary practices caused many Turks to feel alienated and displaced; they maintained an outsider position in society. Whereas the German government could recruit temporary guest workers, they could also be controlled and sent away as the interest of capital dictated. Turks in Germany, excluded because of German policies regarding citizenship, rallied around ethnic lines as a political strategy.
473:, a densely populated area in Berlin with a history of hosting guest workers, is dubbed âKleines Istanbulâ or âLittle Istanbul.â Reminiscent of the atmosphere in Istanbul, Kreuzberg is full of local Turkish businesses, open Turkish markets, travel agencies offering regular flights to Turkey, and a Turkish language library. Turks in Germany maintain strong connections to their homeland while constructing local Turkish networks through the conduits of globalization; Turkish language mass media is salient in Berlin.
498:.â âKanak Sprakâ makes a direct reference to local racism in Germany This creolized Turkish-German spoken by the disenfranchised youth of the hip-hop generation is characterized as sentences without commas, full stops, capital letters, and any kind of punctuation as well as frequent switches between Turkish and German Kanak Sprak alone, without even delving into the lyrics, sets Turkish hip hop apart from pure imitation of American music and makes it more meaningful for its Turkish listeners. For example, when
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to the almost 2 million Turks in
Germany, half of whom were between the ages of 25 and 45. As a result of the fall of the Berlin Wall in the early 1990s a refreshed form of nationalism paved the way for a new youth culture- hip hop. Since Turks felt very marginalized by German society, they turned to hip hop in order to express their concerns. This oriental hip hop allowed Turkish youngsters to discuss what it meant to them to be a German foreigner and how they still identified as being Turkish. In Frankfurt were
502:âthe original Turkish-language rap project to get off the groundâreleased their debut album to address the first generation of Turkish immigrants in Berlin, it sparked an international controversy. Although some refrains were rapped in German, most of the lyrics as well as promotional materials and paraphernalia were in Turkish. Cartel even reclaimed the word âKanakâ from its derogative roots by using it liberally in their album, âDonât be ashamed, be proud to be a
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identity and let others know that although some may see them as exiles in
Germany, the youth take pride in themselves, their community, and their heritage. In fact, it even incorporates an element of "rebellion" towards the discrimination Turks face in German society, and hip-hop is united with other cultural expressions in this regard. For instance, popular German author Feridun Zaimoglu adopts a hip-hop friendly hybridization of German and Turkish in his book
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665:, a Turkish pop star, has claimed that "Turkish hip-hop is not original, its something we really are not." While he also incorporates much western influence and electronic, he believes that pop is the form of music which protects the Turkish essence and that musical genres such as hip hop and rock have only been paid attention to as a result of pop music being overplayed on the radio. The notion of the
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between individuals and the government, creating institutionalized space. Discrimination in
Western Europe forced immigrants to constitute their own communities and to define their group boundaries in cultural terms. Children of migrants who were born in Germany and grew up in these ethnic enclaves carry the norms and traditions of their parents' culture and the dominant society.
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von Dirke, Sabine. âHip-Hop Made in
Germany: From Old School to the Kanaksta Movementâ. 103. On Orientalism see Edward Said, âOrientalismâ (New York: Random House, 1978), and âCulture and Imperialismâ (New York: Knopf, 1993). See also the comments by Alper in Weber, âDu kannst, da das die andern fur
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It is in these settings that hip hop has become an important tool for the German and UK-born children of the
Turkish guest workers to express themselves. They used this new form of expression, influenced by American hip hop, to explore and deal with the idea of being "strangers" or "foreigners" even
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The first rap vinyl to be recorded in the
Turkish language was 'Bir Yabancının Hayatı' ('The Life of a Foreigner'), by the Nuremberg, Germany crew King Size Terror. As the title of this track suggests, immigration of Turks around the world, especially Germany, was difficult to cope with. This was due
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In 2006, the members of Nefret broke up and Dr. Fuchs released the song "Hani Biz KardeĆtik (Ceza Diss)" ("I thought we were like brothers") on his official website. The song claimed that Turkish rapper Ceza had abandoned his team for money and more fame. At the time, Ceza was one of the few rappers
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The first solo album DJ Mahmuts and Murat Gs followed only a few years later with Garip DĂŒnya (1997). With this record, the duo toured in 1999 through major cities in Turkey. As a result of this following, groups such as Karakon, an offspring of King Size Terror, reached super stardom as a result of
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Oriental hip hop was the product of two innovations, having to do with the Turkish language and the choice of material which started with King Size Terrorâs âThe Life of the Stranger. This art created a new and more useful identity for the Turkish population in Germany. Oriental hip hop represented
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Furthermore, album artwork and lyrical content enable hip-hoppers and fans to identify commercially and express individually their Turkish identity. In order to see a comprehensive picture of the cultural groundwork Turkish hip hop accomplishes, it's important too take a closer look at the origins
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Because of poor integration policies in Germany, Turkish immigrants isolated themselves in ethnic enclaves away from the dominant society and created their own vibrant communities. After Germany passed a law in 1983 to pay foreigners to leave the country, Turks set up their own services to mediate
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After being recruited by the German government to fill the labor shortages in specific industries, Turkish migrants relocated to German cities such as Berlin and Frankfurt under the âmyth of returnâ. The first generation of migrants came to Berlin as individual workers and then slowly brought their
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explained in an interview that he believed Hip Hop should stay out of Turkish music. He believed that Hip Hop was only brainwashing music and that it took nothing to make a song. He criticized Turkish singers Tarkan and former members of Nefret during his interview and he believed that they should
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against USA'. Further, Niggaz with Attitude themselves, together with performers like Ice Cube and Dre Dre, initiated the 'gangsta hip-hop', a subgenre which was especially popular in those parts of the Western German scene in which identification with this youth culture bordered on glorification"
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In embracing these Turkish traditions, accessible to them from their parents as well as familial ties to Turkey, Turkish youth in Berlin are influenced by a culture not tied one hundred percent to their current geographical location. Through âimaginaryâ journeys back to the homelandâwhether it's
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A distinctive trait of Turkish rap is the fact that languages other than English and German are used. Rapping in Turkish tongue has had its benefits and its costs. On a positive note, making music with Turkish lyrics helped rappers make their music more personal. It also allowed these artists to
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the early starters in Turkish rap, Murat was rapping in both languages German and Turkish, DJ Mahmut delivered the eastern and western sounds. Over the self-founded label Looptown Records they released the first Turkish rap album in 1994 with the compilation Looptown presents Turkish Hip Hop with
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is folk music style that originally appeared in Turkey during the 1960s as a reflection of migrant workers first experience of immigration inside the homeland As Brown writes, âWith its bittersweet longing for a homeland left behindâa homeland most Turkish-German youngsters could never have seen
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Oriental hip hop is a way for disenfranchised youth to mark their place in German society. They live in Germany, but may feel like outcasts because they do not fit perfectly into the cookie-cutter mold of being only German or only Turkish. Turkish hip-hop has allowed the youth to embrace their
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the release of Cartel in Germany in 1995. Cartel was targeted directly to German Turkish youth to be used as a musical lobby for thousands of kids who needed a voice through which they could express the discrimination they have faced in German society. This voice is that of Oriental Hip Hop.
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The most obvious demarcation of Turkish hip hop in Germany is language. As Bennet writes, âthe fact of language itself can also play a crucial role in informing the way in which song lyrics are heard and the forms of significance which are read into themâ. First and foremost, Turkish rap
744:. While Nefret was performing Turkish rap in Turkey and Germany from 1999â2002, another Turkish rap network emerged, however this time from Switzerland with Makale in 1997 with other groups in Europe followed suit like c-it from France who hand a hit single in turkey titled my name. Many
643:. Ceza responded to this by performing a song about Kıraç which used a lot of explicit content. Kıraç later announced that he planned to sue Ceza in court. Afterwards, Ceza instantly apologized to Kıraç and he said that he will think twice in the future before doing something like this.
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in the mid 1990s throughout Turkey. After the success of their first album, the members of Cartel had a fight almost killing some of their members. The group was forbidden to perform together again and the members of Cartel were jailed. Cartel's album was banned from the music market.
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tells the narrative, âboy comes home and listens to hip hop, then his father comes along and says âcome on boy, weâre going shopping.â They get in the car and the boy listens to Turkish music on the cassette player. Later, he gets our record and listens to both styles in oneâ
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music, a folk style that finds its roots in Turkey during the 1960s, and is influenced by the hip hop music of America and Germany. Album artwork, lyrical content, and the Turkish language are used by hip hop artists to express their uniquely Turkish identity.
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Brown, Timothy S. ââKeeping it Realâ in a Different âHood: (African-) Americanization and Hip-hop in Germany.â In The Vinyl Ainât Final: Hip Hop and the Globalization of Black Popular Culture, ed. by Dipannita Basu and Sidney J. Lemelle, 137-50. London;
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Brown, Timothy S. ââKeeping it Realâ in a Different âHood: (African-) Americanization and Hip-hop in Germany.â In The Vinyl Ainât Final: Hip Hop and the Globalization of Black Popular Culture, ed. by Dipannita Basu and Sidney J. Lemelle, 137-50. London;
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In addition to rapping in the language of their ancestral homeland, Turkish hip hop is aesthetically different from German hip hop. Primarily, Turkish hip-hop artists choose to sample Arabesk music in their songs drawing upon a mythic Turkish past.
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the second and third generation Turks that rebelled against the policy in Germany; Turkish individuals were discriminated against because of their race. Turkish youth have adopted hip hop as a form of musical expression, commentary, and protest.
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Brown, Timothy S. ââKeeping it Realâ in a Different âHood: (African-) Americanization and Hip-hop in Germany.â In The Vinyl Ainât Final: Hip Hop and the Globalization of Black Popular Culture, ed. by Dipannita Basu and Sidney J. Lemelle, 144.
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distinguishes itself from German and American hip hop by the utilizing the Turkish language rather than German or English. Feridun Zaimoglu, one of Germanyâs leading literary figures, describes the Turkish most hip hop artists employ as â
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expect perhaps on vacationâArabesk expresses a nostalgia and cultural pessimism that dovetails perfectly with hip hopâs invention of community through stories of displacementâ (Brown, 144). In describing Turkish music, Mc Boe-B from
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in 1991. Islamic Force (now known as KanAK) is often recognized as the beginning of Turkish hip hop. Turkish hip hop is still used as an outlet for many who feel marginalized as Turks living in German society.
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In distinguishing themselves from their German counterparts, Turkish hip hop culture in Germany creates a diasporic Turkish community essential to the nature and success of a Turkish youth subculture. In
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is prominent in Turkish hip-hop as it points to the marginalisation and censorship of rap within the music scene in Turkey and also connotes the rappers pursuit for authenticity in their music.
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as immigrants, or what is there referred to as "guest workers", and created their own enclaves. For example, there are entire neighborhoods in Berlin that are predominantly Turkish, such as
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In 2007, Turkish rapper Ege Ăubukçu released an underground diss single against Ceza titled "Cennet Bekliyebilir" ("Heaven Can Wait"). He accused Ceza of stealing beats from American rapper
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Before Turkish hip hop took root in Germany, it was influenced by American and German hip hop. Whereas German hip hop gained widespread appeal throughout the early 1990s, it wasn't until
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While Turkish hip hop has been seen to be a form of expression of immigrant youth in areas such as Germany, its authenticity and credibility have been challenged. Artists such as
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Mert, Ceren (2003). "The Vigorous Local: Culture Industry, Hip-Hop and the Politics of Resistance in the Age of Globalization". Middle Eastern Technical University: 155-188.
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Diessel, Caroline. "Bridging East and West on the "Orient Express": Oriental Hip Hop in the Turkish Diaspora of Berlin." Journal of Popular Music Studies 12 (2001): 165-187.
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Elflein, Dietmar. "From Krauts with Attitudes to Turks with Attitudes: Some Aspects of Hip-Hop History in Germany." Popular Music, Vol. 17, No. 3. (Oct. 1998), pp. 255-265.
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Elflein, Dietmar. "From Krauts with Attitudes to Turks with Attitudes: Some Aspects of Hip-Hop History in Germany." Popular Music, Vol. 17, No. 3. (Oct., 1998), pp. 255-265
708:, in 1991. Stranger in this context refers to how Turkish youth can feel like strangers to the mainstream German culture. Turkish hip hop continues to influence the
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Appadurai, A. (1990). âDisjuncture and difference in the global economy. In: M. Featherstone (ed.), Global Culture: Nationalism, Globalism, and Modernity.
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408:, first drew inspiration from the discrimination and racism they received while living as migrant workers in Germany in the 1960s. Turkish hip hop uses
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Bennet, Andy. "Hip Hop Am Main: the Localization of Rap Music and Hip Hop Culture." Media, Culture, and Society 21 (1999).
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Bennet, Andy. "Hip Hop Am Main: the Localization of Rap Music and Hip Hop Culture." Media, Culture, and Society 21 (1999)
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Bennet, Andy. "Hip Hop Am Main: the Localization of Rap Music and Hip Hop Culture." Media, Culture, and Society 21 (1999).
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Brown, Timothy S. "âKeeping it Realâ in a Different âHood: (African-) Americanization and Hip-hop in Germany." In
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Before Turkish hip hop took hold in Turkey, specifically Istanbul and Ankara, it originally grew out of Turkish
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Kaya, Ayhan. Constructing Diasporas: Turkish Hip Hop Youth in Berlin. New Brunswick: Transaction, 2001. 1-236.
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in Germany. Owing its large population to the Turkish migrants that came to Germany in the 1960s as
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Mentesh, Aylin. Creating Diasporas Through Hip Hop: A Case Study of Turkish Youth. Unpublished. 2008
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a pop â is emblematic of the blending of diasporic Black culture and diasporic Turkish culture."
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Heimberger, Boris. âHip-Hop In Germany.â In The Bomb Hip-Hop Magazine. Vol. 46, April/May 1996.
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Minnaard, Liesbeth. "Playing Kanak Identity: Feridun Zaimoglu's Rebellious Performances." In
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THE SATURDAY PROFILE; A Bold New View of Turkish-German Youth - New York Times
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The Vinyl Ainât Final: Hip Hop and the Globalization of Black Popular Culture,
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ed. by Dipannita Basu and Sidney J. Lemelle, 144. London: Pluto Press, 2006.
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http://profile.myspace.com/index.cfm?fuseaction=user.viewprofile&frien
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712:, especially in Germany where many top chart rappers such as
609:, Turkish hip hop is placed in opposition to German hip hop.
131:
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1104:
Representing Islam: Hip-Hop of the September 11 Generation
721:
753:
658:
by Eminem. The single had little support and airplay.
626:
played on popular Turkish television stations such as
692:
The first Turkish language hip hop record was titled
509:
416:
The first Turkish hip hop album was recorded by the
787:"Integrating Turkish Communities: A German Dilemma"
1062:Smart, B. (1993) Postmodernity. London: Routledge.
966:http://www.inst.at/trans/15Nr/05_05/minnaard15.htm
1013:http://www.press.umich.edu/pdf/0472113844-ch6.pdf
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400:, and to a lesser degree by hip hop artists in
396:produced by members of the Turkish minority in
1033:"Azize-a Myspace." Myspace. 24 Apr. 2008 <
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698:The Life of Serkan Danyal Munir Raymondo Tatar
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1090:Tarkan: Turkish rock, hip-hop not original
650:'s music. He claimed that Ceza's hit song
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2872:LGBT representations in hip hop music
1159:
839:(Statistiches Landesant Berlin, 1999)
791:Population Research and Policy Review
964:Germany and the Netherlands: 2004.
404:. The Turkish minority, called the
13:
1101:Mohamed Nasir, Kamaludeen (2020).
700:, produced by King Size Terror, a
14:
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962:The Unifying Aspects of Cultures.
605:Although being most prominent in
510:Aesthetics and Local Significance
313:Nationalistic and patriotic songs
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768:when they had been born German.
710:hip hop scenes in Western Europe
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1:
654:had exactly the same beat as
601:Turkish versus German hip hop
476:
2877:Feminist activism in hip hop
1107:. Indiana University Press.
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543:German-Turkish artists out.
460:Turkish Migration to Germany
251:Izmir European Jazz Festival
241:International Music Festival
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2867:Partner violence in hip hop
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716:(who has collaborated with
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246:International Jazz Festival
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968:. Accessed 27 March 2008.
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803:10.1007/s11113-007-9024-y
66:Persian traditional music
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540:DJ Mahmut & Murat G.
785:Mueller, Claus (2006).
201:Golden Butterfly Awards
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46:Azerbaijani folk music
2925:Turkish popular music
2045:Alternative reggaeton
1324:Universal Zulu Nation
694:Bir Yabancının Hayatı
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630:. In August, Turkish
346:Cypriot Turkish music
169:Media and performance
51:Music of ancient Rome
2810:Contemporary R&B
2619:Minneapolis/St. Paul
639:stop trying to make
1414:Chopped and screwed
1319:Five-Percent Nation
580:Diasporic community
186:Turkey Music Awards
86:Turkish music style
1040:2007-11-09 at the
983:2007-08-06 at the
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688:of Turkish descent
557:ethnic nationalism
328:Independence March
76:Whirling Dervishes
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390:Turkish hip hop
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290:Musiki Mecmuası
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81:Arabesque music
56:Byzantine music
32:Music of Turkey
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1985:Ghetto house
1843:Boomba music
1733:Hip hop soul
1646:Sample drill
1641:Jersey drill
1468:Instrumental
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209:Music charts
178:Music awards
127:Hip hop
126:
2862:Video vixen
2857:Synthesizer
2830:Turntablism
2815:Disc jockey
2748:New Zealand
2528:Palestinian
2423:Montenegrin
2214:Bangladeshi
2209:Azerbaijani
1948:Derivatives
1933:Zenji flava
1908:Songo-salsa
1838:Bongo flava
1718:Country rap
1606:Memphis rap
1589:Mafioso rap
1584:Gangsta rap
1559:Underground
1554:Turntablism
1478:Chicano rap
1380:Hipster hop
1375:Alternative
704:group from
667:underground
553:Kanak Sprak
496:Kanak Sprak
264:Music media
216:Kral Top 20
16:Music genre
2914:Categories
2743:Australian
2722:Salvadoran
2658:West Coast
2604:Midwestern
2582:New Jersey
2572:East Coast
2418:Macedonian
2393:Portuguese
2286:Sri Lankan
2276:Philippine
2241:Indonesian
2184:Zimbabwean
2159:Senegalese
1997:Glitch hop
1990:Ghettotech
1959:Electronic
1848:Cumbia rap
1808:Trap metal
1743:Industrial
1658:Latin trap
1617:Trap music
1601:Horrorcore
1544:Snap music
1528:Religious
1495:Mumble rap
1490:Miami bass
1446:East Coast
1339:Golden age
1334:New school
1329:Old-school
1293:Production
1246:Battle rap
1229:Beatboxing
1011:dich tunâ
734:Summer Cem
714:Kool SavaĆ
682:Kool Savas
477:Influences
392:refers to
2805:Auto-Tune
2785:Colombian
2768:Brazilian
2707:Dominican
2663:Northwest
2624:Wisconsin
2577:Baltimore
2483:Ukrainian
2463:Slovenian
2428:Norwegian
2403:Icelandic
2398:Hungarian
2353:Bulgarian
2291:Taiwanese
2281:Singapore
2271:Pakistani
2261:Mongolian
2256:Malaysian
2169:Tanzanian
2127:Mauritian
2040:Reggaeton
2012:Freestyle
1968:Breakbeat
1833:Afroswing
1799:Rap metal
1778:Rap opera
1738:Hip house
1626:Afro trap
1579:Dirty rap
1532:Christian
1517:Conscious
1512:Political
1439:Crunkcore
1424:Cloud rap
1355:Subgenres
1283:Festivals
827:153328251
811:0167-5923
762:Kreuzberg
738:Eko Fresh
706:Nuremberg
673:In Europe
641:rap music
471:Kreuzberg
418:Nuremberg
122:Arabesque
117:Classical
2897:Category
2820:DJ mixer
2773:BrasĂlia
2734:Oceanian
2697:Canadian
2636:Southern
2538:Tunisian
2523:Lebanese
2508:Egyptian
2438:Romanian
2358:Croatian
2346:Scottish
2321:Austrian
2316:Albanian
2307:European
2266:Nepalese
2246:Japanese
2204:Armenian
2174:Togolese
2154:Nigerien
2142:Nigerian
2137:Namibian
2132:Moroccan
2122:Malawian
2107:Ghanaian
2097:Botswana
2092:Beninese
2082:Algerian
2007:Illbient
1913:Scam rap
1888:Motswako
1873:Igbo rap
1824:Regional
1813:Nu metal
1788:Trip hop
1783:Rap rock
1768:Punk rap
1748:Jazz rap
1651:UK drill
1570:Hardcore
1549:Southern
1505:Chap hop
1500:Nerdcore
1402:Road rap
1387:Boom bap
1266:Feminism
1261:Activism
1222:Emceeing
1215:Graffiti
1201:Breaking
1038:Archived
981:Archived
819:40230960
748:came to
728:, &
726:Jadakiss
564:(258) .
489:Language
279:Dream TV
142:Military
2852:Sampler
2780:Chilean
2717:Mexican
2712:Haitian
2646:Memphis
2641:Atlanta
2614:Detroit
2609:Chicago
2543:Turkish
2518:Israeli
2513:Iranian
2473:Swedish
2468:Spanish
2453:Serbian
2448:Russian
2413:Italian
2373:Finnish
2336:British
2326:Belgian
2224:Chinese
2219:Burmese
2179:Zambian
2112:Ivorian
2102:Gambian
2087:Angolan
2073:African
1918:Stronda
1883:Low bap
1868:Hiplife
1758:Pop rap
1728:Emo rap
1723:Electro
1709:General
1683:UK trap
1461:Jerkin'
1419:Chopper
1397:British
1366:General
1312:History
1298:Theater
1256:Fashion
1239:Culture
1188:Hip hop
750:Germany
740:are of
718:50 Cent
634:singer
628:Kral TV
607:Germany
574:Arabesk
517:Arabesk
446:Turkish
429:History
410:Arabesk
398:Germany
284:Kral TV
2668:Alaska
2548:Yemeni
2503:Arabic
2458:Slovak
2443:Romany
2433:Polish
2383:German
2378:French
2341:Celtic
2251:Korean
2229:Indian
2117:Kenyan
1878:Kwaito
1596:G-funk
1537:Jewish
1429:Comedy
1392:Bounce
1303:Genres
1111:
1024:London
825:
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663:Tarkan
648:Eminem
500:Cartel
453:Cartel
451:group
402:Turkey
351:Thrace
191:MĂŒ-Yap
94:Genres
2702:Cuban
2680:Latin
2651:Miami
2629:Omaha
2478:Swiss
2408:Irish
2388:Greek
2368:Dutch
2363:Czech
2195:Asian
2027:Other
2017:Wonky
2002:Grime
1863:Hipco
1853:Genge
1773:Ragga
1678:Tread
1668:Plugg
1663:Phonk
1631:Drill
1473:Latin
1456:Hyphy
1434:Crunk
1288:Music
1251:Dance
1208:DJing
823:S2CID
815:JSTOR
772:Notes
746:Turks
652:Sitem
636:Kıraç
504:Kanak
406:Turks
137:Tango
2296:Thai
2234:Desi
1673:Rage
1485:Lofi
1278:LGBT
1109:ISBN
807:ISSN
760:and
752:and
736:and
632:Rock
296:NR 1
132:Jazz
107:Rock
102:Folk
799:doi
722:RZA
696:or
613:in
561:FRG
449:rap
112:Pop
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