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Nuns on the Run

Nuns on the Run is a 1990 British comedy film starring Eric Idle and Robbie Coltrane, also featuring Camille Coduri and Janet Suzman. The film was written and directed by Jonathan Lynn and produced by HandMade Films. Many of the outdoor scenes were shot in Chiswick, White City and Kings Cross. The soundtrack was composed and performed by Yello and also features George Harrison's song "Blow Away" in addition to Steve Winwood's "Roll With It". The film was released on 16 March 1990.

Plot
After their boss is killed during a bank robbery, London gangsters Brian Hope and Charlie McManus desire to lead more peaceful lives in Brazil, disapproving of their new younger and more brash boss, Casey. While planning to rob a local Triad gang of their ill-gotten drug money, Brian meets and falls in love with a waitress, Faith. During the robbery, Brian and Charlie betray their fellow gangsters, Abbott and Morley, steal the money and flee, but are forced to abandon their car when it runs out of petrol and seek refuge in a nearby nunnery during the ensuing gunfight. Faith, who had tried to warn Brian beforehand, is shot in the wrist by Abbott, while one of the triads is shot and hospitalised. After this, Casey places a bounty on Brian and Charlie's heads.

Disguising themselves as nuns, Brian and Charlie introduce themselves to the Sister Superior, Liz, as Sisters Inviolata and Euphemia, respectively. Faith, having witnessed the gunfight and Brian and Charlie fleeing into the nunnery, follows them and poses as a mature student to get inside. Her gunshot wound is exposed and she is taken to the infirmary. Brian pays her a secret visit and claims he is married in order to end their relationship for her safety. When Faith intends to go to church and confess, Charlie distracts the priest, Father Seamus, while Brian poses as him. Faith admits she still loves Brian, but Brian convinces Faith to keep silent. On her way out, she is abducted by the Triads and interrogated. She directs them to Casey and they set her free, but bumps into a lamppost and hits her head on the road, ending up in the hospital, where one Triad has infiltrated the staff as a cleaner. Brian and Charlie acquire tickets to Brazil, despite Brian's desire to take Faith with them.

Brian decides to tell Faith the truth, but discovers she has not returned to the nunnery. They go to her flat and only barely escape from Abbott and Morley, who had been sent to retrieve her by Casey. They sneak back into the nunnery and manage to slip into their spare habits after accidentally waking up an eccentric nun, Sister Mary. In conversation, Brian learns that Faith is in the hospital, with her father and brother who are protecting her from the gang. He visits her, but she is heartbroken, believing that Brian no longer loves her. They wake up and leave for the airport the next morning, but are caught and exposed by Sister Mary. In desperation, they steal a utility and drive to the airport pursued by Sisters Liz and Mary, Morley and Abbott, and eventually Casey and the Triads. Brian forces Charlie to go to the hospital, where Brian tells Faith the truth while Charlie stalls the gangsters. They manage to escape the hospital with Faith and Casey is arrested, though one briefcase of money is lost during the chase. Sister Liz and Sister Mary find the lost briefcase and, ignoring the police concerns, decide to use it to fund a drug rehabilitation clinic. Sister Liz then leads the nuns in prayer, thanking God for sending them Sisters Euphemia and Inviolata, and asking him to, "keep on eye on them, won't you? They need you."

Brian, Charlie and Faith reach the airport and check-in, when an airport policeman warns the attendant about Brian and Charlie. They board the flight on board a British Airways Boeing 747-200 jumbo jet, disguised as attendants and successfully escape the UK for Brazil.

Cast

 * Eric Idle as Brian Hope/Sister Euphemia of the Five Wounds
 * Robbie Coltrane as Charlie McManus/Sister Inviolata of the Immaculate Conception
 * Janet Suzman as Sister Liz, the Sister Superior of the nunnery
 * Camille Coduri as Faith Thomas
 * Robert Patterson as Mr. "Case" Casey
 * Doris Hare as Sister Mary of the Sacred Heart
 * Lila Kaye as Sister Mary of the Annunciation
 * Tom Hickey as Father Seamus, the somewhat lecherous priest of the nunnery
 * Colin Campbell as Norm
 * Robert Morgan as Abbott, one of Casey's henchmen
 * Winston Dennis as Morley, one of Casey's henchmen and the bouncer of his health club
 * Gary Tang as Ronnie Chang, the head of the Triads
 * David Forman as Henry Ho
 * Ozzie Yue as Ernie Wong, the most senior of the Triads

As an in-joke, Brian Hope and Charlie McManus are credited as playing the flight attendants.

Production
Filming of the convent exterior took place at St. Michael & All Angels Church on Priory Avenue, Chiswick, West London. Interior shots were done at former Royal Masonic School for Boys at Bushey in Hertfordshire. Other locations include White City, Putney and other parts of central London.

Release
The film opened in the United States first on 16 March 1990. It opened at the Odeon Haymarket in London on 4 May 1990 before opening nationwide in the UK on 25 May 1990.

Reception
The film received mixed reviews from critics, and was criticised in the United States for its lack of depth and excessive use of nuns for humour. On Rotten Tomatoes, the film has a 42% rating based on reviews from 26 critics, with an average rating of 4.6/10.

Roger Ebert asked, "Why do filmmakers so often insist that nuns are funny? I'll bet there are some psychological reasons buried around here somewhere." Ebert and Gene Siskel had also ridiculed Fox's advertising campaign for the film; in retaliation, Fox's president of marketing, Bob Harper, announced that they would be barred from press screenings of future films released by the company, though he backed down after only three weeks under pressure from the Chicago Film Critics Association (of which neither Siskel nor Ebert was a member). Michael Wilmington of the Los Angeles Times noted that as far as drag comedies go, the film "has some bawdy class—but only because of its casting".

Vincent Canby wrote in The New York Times that "Nuns on the Run is a great leveler. It makes everyone in the audience feel a rascally 8 years old, the age at which whoopee cushions (when they work) seem the greatest invention since firecrackers." Owen Gleiberman wrote in one of Entertainment Weekly first issues that the film "isn't a madcap-hysterical, end-of-the-empire drag farce; it doesn't hash over what Monty Python did definitively over 20 years ago. It's a cleverly directed caper comedy about two crooks on the lam, and it has its fair share of chuckles."

Box office
The film was successful in the US on limited release, making $658,835 in its first screenings at 76 theatres. Nuns on the Run grossed US$10,959,015, according to Box Office Mojo.

It made £3.2 million at the UK box office.

Home media
The distribution rights for Nuns on the Run were initially held by Anchor Bay Entertainment for DVD release in the United Kingdom. The original DVD was made available on 8 April 2002. A second printing was released on 10 October 2005 under its subsidiary 'Bay View', while a third and final release came from Anchor Bay, alongside Time Bandits in a 'Double Disc Box Set' on 6 February 2006. After which, the then Optimum Releasing (now StudioCanal UK) released the film on 4 January 2010. Arrow Films currently hold distribution rights to the film as all previous releases are now out-of-print. Arrow released Nuns on the Run to DVD on 27 June 2016, with a reissue distributed on 17 April 2019.

title: Nuns on the Run


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Kayahan

Kayahan Açar (29 March 1949 – 3 April 2015) was a Turkish pop music singer-songwriter. He was an accomplished composer, consistently ranking among the best-selling Turkish musicians of all time. Kayahan composed all of his own material and released more than eight best-selling albums during a career spanning three decades. Kayahan released a number of compact cassettes, CDs and albums and had major singles. He represented Turkey in Eurovision Song Contest 1990 with "Gözlerinin Hapsindeyim".

Early years
Kayahan Açar was born in İzmir, Turkey on 29 March 1949. He spent his childhood and young adulthood years in Ankara before moving to Istanbul.

Career
He became known for his songs "Geceler" ("Nights"), "Kar Taneleri" ("Snow Flakes"), "Esmer Günler" ("Brunette Days"), which were sung by Nilüfer, all becoming later classical.

His album Yemin Ettim (I Swore), released on 3 June 1991, became a bestseller. He coined a motto "Yolu sevgiden geçen herkesle bir gün bir yerde buluşuruz" (One day, we will meet everyone somewhere, whose path goes through love". He wrote and composed also songs for children, and appeared in television shows for children.

On 30 April 1992, he released the album Odalarda Işıksızım (Lightless in the Rooms). Ten songs of Kayahan in the album titled Son Şarkılarım (My Last Songs), released by the label Raks Müzik in March 1993, became very successful. He continued his career with the albums Benim Penceremden (From My Window), released in January 1995. The song "Allah'ım Neydi Günahım" ("God, What Was My Sin?") has been sung by many singers, and brought him great success. With this album, he introduced to the music world a new, young and talented singer, İpek Tüter, whom he married later in 1999.

Kayahan^'s 1996 album, Canımın Yaprakları (Leaves of My Life) had eight songs and expressed "Allah kimseyi sevgisiz bırakmasın" (May God not leave anyone without love), emphasizing the concept "love" with "Sevgisiz hiçbir şey yapılmaz. Herşeyin başı sevgidir" (Nothing can be done without love. The beginning of everything is love). The next year, he released the album Emrin Olur (Your Call). His ninth album Beni Azad Et (Set Me Free) came out in April 1999, and featured nine songs, some of them becoming hits. Among them was a song, "Gömeç", the name of a seaside resort in Balıkesir Province, where he has a residence with a special music studio and where he spent most of his summer time. The album Gönül Sayfam (My Soul's Page), released 26 November 2000, containing the songs "17 Ağustos" (17 August) commemorating the earthquake of 17 August 1999 and "Ninni" (Lullaby) for his new-born daughter Aslı Gönül. In Ne Oldu Can (What Happened Dear), released 17 December 2002, Kayahan emphasized the importance of the musicians and artists with his song "Bugün Aslında Bayram" (Today Is Indeed, Feastday), he wrote in memory of the late singer-songwriter Barış Manço.

Kayahan received his first important award "Altın Portakal" (Golden Orange) with the song "Geceler" (Nights) at the 1986 International Mediterranean Music Contest. He represented Turkey at the Eurovision Song Contest 1990 with his song "Gözlerinin Hapsindeyim" (I'm captive in your eyes), which came 17th. In 2003, he was honored with the Altın Kelebek (Golden Butterfly), and the MÜYAP (Music Producers Association) award for the bestselling-success of the album Ne Oldu Can. He released Kelebeğin Şansı (The Luck of the Butterfly) in 2005, and Biriciğime (To My One and Only) on 15 March 2007. He performed many concerts in Turkey and abroad. For his open-air concert held at Kızılay Square in Ankara on the occasion of the Republic Day in 1992, a crowd of about 160,000 people came together. Kayahan performed many relief benefit concerts to create or increase awareness about the environment.

Personal life
Açar was married three times. He made his first marriage to Nur in 1973. From this marriage, which lasted 18 years long, he became father of a daughter Beste (Turkish for music composition), born in 1975. Beste was runner-up for Miss Turkey in 1995. Kayahan remarried to Lale Yılmaz in 1992. The couple divorced in 1993. In 1999, at age fifty, he remarried to his third and current wife 1976-born İpek Tüter. In August 2000, İpek gave birth to their daughter Aslı Gönül.

Illness and death

In 1990, Kayahan was diagnosed with soft-tissue cancer. He caught the same disease in 2005 again. The illness repeated in 2014, and he was under treatment for cancer.

Kayahan died of multiple organ dysfunction syndrome on 3 April 2015, aged 66, in a hospital in Istanbul. He had been battling small-cell lung cancer since one-and-half years. He had overcome the disease twice before. After a Valentine's Day concert he lately performed with Nilüfer on 14 February 2015, he bid a public farewell to his fans.

He was buried in Kanlıca Cemetery, which overlooks Bosphorus, following a memorial ceremony in Cemal Reşit Rey Concert Hall, and the religious funeral service at Teşvikiye Mosque, attended also by President Recep Tayyip Erdoğan and a great number of renowned musicians. He was survived by his wife İpek Açar, and daughters Aslı Gönül and Beste.

Tribute
Turkish musicians contributed to and sang for a tribute album, Kayahan'ın En İyileri No.1 to celebrate his music and legacy. Of the popular Turkish artists, taking part were Tarkan, Sezen Aksu, Sıla, Nilüfer, Gülşen, Ajda Pekkan, Mustafa Ceceli, Emre Aydın among several others.

Albums

 * 1975 – Bekle Gülüm – Ateş (Wait, My Rose – Fire!)
 * 1978 – İstanbul Hatırası – Neden Olmasın (A Souvenir from Istanbul – Why Not?)
 * 1981 – Canım Sıkılıyor Canım (I Get Bored)
 * 1987 – Merhaba Çocuklar (Hello Kids)
 * 1988 – Benim Şarkılarım (My Songs)
 * 1989 – Benim Şarkılarım 2 (Siyah Işıklar) (My Songs Vol. 2: Black Lights)
 * 1991 – Yemin Ettim (I Swore)
 * 1992 – Odalarda Işıksızım (Lightless in the Rooms)
 * 1993 – Son Şarkılarım (My Last Songs)
 * 1995 – Benim Penceremden (From My Window)
 * 1996 – Canımın Yaprakları (Leaves of My Life)
 * 1997 – Emrin Olur (Your Call)
 * 1999 – Beni Azad Et (Set Me Free)
 * 2000 – Gönül Sayfam (My Soul's Page)
 * 2002 – Ne Oldu Can? (What Happened? My Dear)
 * 2004 – Kelebeğin Şansı (The Luck of the Butterfly)
 * 2007 – Biriciğime (To My One and Only)
 * 2011 – 365 Gün (365 Days)

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Kayahan


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Jonathan Lynn

Jonathan Adam Lynn (born 3 April 1943) is an English stage and film director, producer, writer, and actor. He directed the comedy films Clue, Nuns on the Run, My Cousin Vinny, and The Whole Nine Yards. He also co-created and co-wrote the television series Yes Minister.

Early life
Lynn was born in Bath, Somerset, the son of physician Robin Lynn and sculptor Ruth Helen (née Eban), whose first cousin on her mother's side was the neurologist Oliver Sacks. Another cousin, Caroline Sacks, married Nicholas Samuel, 5th Viscount Bearsted. Lynn was educated at Kingswood School, Bath, between 1954 and 1961, after which he studied law at Pembroke College, Cambridge. (His maternal uncle, Israeli statesman Abba Eban, had also studied at Cambridge in the 1930s.) There he participated in the Cambridge University Footlights Club revue Cambridge Circus (appearing with the revue in 1964 on Broadway and on The Ed Sullivan Show).

Acting
Lynn's first West End appearance was in a stage production of Green Julia, for which he was nominated for the 1965 Plays and Players Award as Most Promising New Actor. In 1967, he played Motel the tailor in the original West End production of Fiddler on the Roof (production recorded by CBS Records). From the late 1960s, Lynn was appearing in and writing television sitcoms, including the television comedy series Twice a Fortnight with Graeme Garden, Bill Oddie, Terry Jones, Michael Palin and Tony Buffery.

Lynn played the Irish medical student Danny Hooley in the second series of the television comedy Doctor in the House in 1970. He wrote some episodes for Doctor at Large, Doctor in Charge, Doctor at Sea and Doctor on the Go. As a TV actor, his most memorable roles included Beryl's boyfriend Robert in early series of The Liver Birds, the role of Harold in Jack Rosenthal's 1976 television film Bar Mitzvah Boy, and the role of Ted Margolis in Rosenthal's The Knowledge (1979). He had a bit-part as a window cleaner in the BBC television series The Good Life. His film appearances have included roles in Prudence and the Pill (1968), The House That Dripped Blood (1971), Romance with a Double Bass (1974), and Three Men and a Little Lady (1990).

Lynn is a guest instructor at HB Studio.

Screenwriting
Lynn's first (co-written) screenplay was for The Internecine Project, which was released in 1974. For television he wrote episodes for the Doctor TV series and On the Buses and wrote for Harry Worth and George Layton before eventually, in partnership with Antony Jay, writing Yes Minister and Yes, Prime Minister. His later writing credits include the first two films he directed, Clue (1985) and Nuns on the Run (1990). He is also known for his co-writing, co-producing, and co-directing of the revived Yes, Prime Minister series produced by the BBC on Gold in 2013.

Books
Lynn co-authored the books The Complete Yes Minister, as well as The Complete Yes Prime Minister, which spent 106 weeks on the Sunday Times top 10 fiction list. Both were ranked number one on the Sunday Times list, including in December 1986 when the books were ranked number one and number two respectively. He also wrote the 1993 novel Mayday. In 2011 Lynn wrote a non-fiction work entitled Comedy Rules. The Independent newspaper called the book "a charming memoir, full of amusing and insightful anecdotes about the many entertainers Lynn has worked with" and described it as a combination of autobiography and how-to manual for comedy. The paper wrote further: "By dovetailing different types of book, Lynn cleverly avoids the pitfalls of both genres. Because it's ostensibly a sort of how-to book, there are no boring childhood reminiscences. Because it's also a kind of autobiography, his no-nonsense dos and don'ts are springboards for entertaining yarns, rather than academic discourse."

Plays
Lynn won praise for his direction of the 2010 London stage version of Yes, Prime Minister, which he co-wrote as well.

In 2016 Lynn's play The Patriotic Traitor was published. Its subject is the relationship of Philippe Pétain to Charles de Gaulle. In the words of the blurb, ‘Two giants of the twentieth century who loved each other like father and son until they found themselves on opposing sides in World War II. In 1945 de Gaulle had his oldest friend tried for treason. Their complex relationship – noble, comic and absurd – changed history.’

Lynn also co-wrote the stage play of "Clue", together with Hunter Foster, Eric Price and Sandy Rustin.

Producing
Lynn also produced six episodes of the new Yes, Prime Minister television series, was executive producer of He's Such a Girl, Vanity Fair, and was a producer for Trial and Error. It also received an exclusive production agreement with Columbia Pictures Television in 1992.

Awards
Lynn's work on the Minister series earned him three BAFTAs, two Broadcasting Press Guild Awards, and two Pye Television Writers Awards, and he won the ACE Award for Best Written Comedy Series. The Campaign for Freedom of Information also recognized Lynn with a special award for his work on the show. Lynn was a recipient of a Diamond Jubilee Award for Political Satire in 2010. He received a NAACP Image Award for the 2003 film The Fighting Temptations.

title: Jonathan Lynn


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Talk:Bilingual

Doesn't this artcile talk about bilingual rather than bulingualism. -- Taku 21:49 Jan 13, 2003 (UTC)

Note that just speaking two languages fluently does not make one bilingual

Note that there's multiple definitions of bilingualism in the research literature: simultaneous bilingualism (in commonest case: 1 lang language learn from each parent) and sequential bilingualism (commonly first language learnt at home and second at school/work etc. environment), which is divided into early bilingualism (language learnt before puberty) and late bilingualism language learnt after puberty. Then there's also language dominancy effects, which might lead you to have an accent in your mother tongue, or the other way around. You may also be generally more skilled in a language that isn't your mother tongue. So it isn't that simple. GolDDranks (talk) 10:29, 8 March 2016 (UTC)

I do not agree with the above. It also contradicts with much of the rest of the article and three (1 English, 1 Australian, 1 American) of the five English dictionaries I have consulted say the opposite. Instead I included a narrow and a broader sense.

 * I agree that the page looks better now, but my dictionary of choice (http://m-w.com/) says that a bilingual is "able to use two languages especially with equal fluency" (my emphasis). I remember my English teacher noting to us in high school that even if our written English were syntactically indistinguishable from that of an average New Yorker or Londoner and even if we could speak English articulately with the eloquence of a native, we still shouldn't call ourselves "bilingual" because we started learning English in third grade. To be bilingual requiered "certain conditions", it's not simply a matter of proficiency.

 * Arnold Schwarzenegger, Jackie Chan, John Malkovich or Heidi Klum are not bilingual by my definition (but Michael Lonsdale, Jack Kerouac, Daniel Cohn-Bendit and Linus Torvalds are). The article still stresses that there's an "more correct/more narrow" and a more popular (broader) version of the definiton, which is a distinction I feel is important to make. A bit like with "who" and "whom". Most English-speaking people rarely know of the difference nowadays, and since the "incorrect" variant of always using the former is so popular, it has become "correct".

 * A "narrow" sense and a "broader" sense is cool by me, but beware of excluding the first sense altogether... --Gabbe 16:42 Jan 14, 2003 (UTC)

 * I don't really get why John Malkovich is added to the group of not being bilingual. As far as I know he was born and raised in the USA. His family is of Croatian heritage but that doesn't say anything about the level of his language knowledge neither about his English (that has to be on native levels) nor about his Croation knowledge.

--valie 16:35, 15 Aug 2004 (UTC)

 * (John Malkovich speaks French fairly fluently, too)

I'd like to move this article to bilingual. bilingual gets 1,320,000 hits in google, where bilingualism gets only 103,000. Also, bilingualism is easier to type than bilingual Martin

 * The move sounds like a good idea. Wesley

I propose the moves multilingual -> polyglot (title is better in line with the actual content of the article) and bilingual -> multilingual (speaking of not-necessarily-perfect fluency in several languages, "2" plays no special role; many "bilingual" people speak a 3rd language as well). (See also Talk:multilingual where I suggest the same things in different terms - the original author of that article seems to agree with me.) ----FvdP 19:58 Jan 16, 2003 (UTC)

--

 * I don't like that idea. We've got two subjects to deal with:

 * 1) speaking of two languages fluently (or semi-fluently) as currently described in bilingual
 * 2) speaking of many languages fluently, as currently described in multilingual

Now look at what links to multilingual
 * William Jones -- sense (2)
 * Nordfriesland -- sense (2)
 * Madeleine Korbel Albright -- sense (2)
 * Paul Pimsleur -- sense (2)
 * ISO 3864 -- sense (2)
 * New Orleans, Louisiana -- sense (2), though from the word "polyglot"

Nothing currently links to polyglot.

Now look at what links to multilingual
 * Brussels -- sense (1)
 * Sesame Park -- sense (1)
 * Finland-Swedish -- sense (1)
 * Stephen Krashen -- sense (1)
 * Douglas Hofstadter -- sense (1)

I believe that if you make the proposed move, you'll break a lot of links, and people will continue to link to multilingual in sense 2, and get information about sense 1, which will be unhelpful; and vica versa. By contrast, in the current situation natural linking works. Further, polyglot is a much less common term than multilingual occurring only 1/10 as much in a google search. While many bilingual do speak a third language, they do not typically speak the third language to the standard of the other two. Martin

The Koreans living in Japan should not be called Korean-Japanese because they are not Japanese in either aspect of nationality or ethnicity. They have the options to naturalize in Japan and to return to Korea, but they do neither. --Nanshu 01:48 27 Jul 2003 (UTC)

Multilingual
I propose to merge this article with multilingual. Yes, there is a difference in sense - "two" versus "two or more" -- but the difference is irrelevant to the content of this article, almost all of which applies to speaking more than two languages. --Erauch 05:04, Jun 7, 2005 (UTC)

title: Talk:Bilingual


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Music of Turkey

The roots of traditional music in Turkey span across centuries to a time when the Seljuk Turks migrated to Anatolia and Persia in the 11th century and contains elements of both Turkic and pre-Turkic influences. Much of its modern popular music can trace its roots to the emergence in the early 1930s drive for Westernization.

With the assimilation of immigrants from various regions the diversity of musical genres and musical instrumentation also expanded. Turkey has also seen documented folk music and recorded popular music produced in the ethnic styles of Greek, Armenian, Albanian, Polish, Azeri and Jewish communities, among others. Many Turkish cities and towns have vibrant local music scenes which, in turn, support a number of regional musical styles. Despite this, however, western-style pop music lost popularity to arabesque in the late 1970s and 1980s, with even its greatest proponents, Ajda Pekkan and Sezen Aksu, falling in status. It became popular again by the beginning of the 1990s, as a result of an opening economy and society. With the support of Aksu, the resurging popularity of pop music gave rise to several international Turkish pop stars such as Tarkan and Sertab Erener. The late 1990s also saw an emergence of underground music producing alternative Turkish rock, electronica, hip-hop, rap and dance music in opposition to the mainstream corporate pop and arabesque genres, which many believe have become too commercial.

Classical music

Ottoman court music has a large and varied system of modes or scales known as makams, and other rules of composition. A number of notation systems were used for transcribing classical music, the most dominant being the Hamparsum notation in use until the gradual introduction of western notation.

A specific sequence of classical Turkish musical forms becomes a fasıl, a suite consisting of an instrumental prelude (peṣrev), an instrumental postlude (saz semaisi), and in between, the main section of vocal compositions which begins with and is punctuated by instrumental improvisations taksim. A full fasıl concert would include four different instrumental forms and three vocal forms, including a light classical song, şarkı. A strictly classical fasıl (in the early 19th-century style) remains in the same makam throughout, from the introductory taksim and usually ending in a dance tune or oyun havası. However shorter şarkı compositions, precursors to modern day songs, are a part of this tradition, many of them extremely old, dating back to the 14th century; many are newer, with late 19th century songwriter Haci Arif Bey being especially popular.

 * Composers and Performers

Other famous proponents of this genre include Sufi Dede Efendi, Prince Cantemir, Baba Hamparsum, Kemani Tatyos Efendi, Sultan Selim III and Sultan Suleyman the Magnificent. The most popular modern Turkish classical singer is Münir Nurettin Selçuk, who was the first to establish a lead singer position. Other performers include Bülent Ersoy, Zeki Müren, Müzeyyen Senar and Zekai Tunca.

Musical instruments
Traditional instruments in Turkish classical music today include tambur -generally use as tanbur - long-necked plucked lute, ney end-blown flute, kemençe bowed fiddle, oud plucked short-necked unfretted lute, kanun plucked zither, violin, and in Mevlevi music, küdüm drum and a harp.

Ottoman harem music: Belly dance

From the makams of the royal courts to the melodies of the royal harems, a type of dance music emerged that was different from the oyun havası of fasıl music. In the Ottoman Empire, the harem was that part of a house set apart for the women of the family. It was a place in which non-family males were not allowed. Eunuchs guarded the sultan's harems, which were quite large, including several hundred women who were wives and concubines. There, female dancers and musicians entertained the women living in the harem. Belly dance was performed by women for women. This female dancer, known as a rakkase, which is the Arabic word for "female dancer", hardly ever appeared in public.

This type of harem music was taken out of the sultan's private living quarters and to the public by male street entertainers and hired dancers of the Ottoman Empire, the male rakkas. These dancers performed publicly for wedding celebrations, feasts, festivals, and in the presence of the sultans.

Modern oriental dance in Turkey is derived from this tradition of the Ottoman rakkas. Some mistakenly believe that Turkish oriental dancing is known as Çiftetelli due to the fact that this style of music has been incorporated into oriental dancing by Greeks, illustrated by the fact that the Greek belly dance is sometimes mistakenly called Tsifteteli. However, Çiftetelli is now a form of folk music, with names of songs that describe their local origins, whereas rakkas, as the name suggests, is from Arabic which means "male dancer". Dancers are also known for their adept use of finger cymbals as instruments, also known as zils.

Romani influences
Romani are known throughout Turkey for their musicianship. Their urban music brought echoes of classical Turkish music to the public via the meyhane or taverna. This type of fasıl music (a style, not to be confused with the fasıl form of classical Turkish music) with food and alcoholic beverages is often associated with the underclass of Turkish society, though it also can be found in more respectable establishments in modern times.

Roma have also influenced the fasıl itself. Played in music halls, the dance music (oyun havası) required at the end of each fasıl has been incorporated with Ottoman rakkas or belly dancing motifs. The rhythmic ostinato accompanying the instrumental improvisation (ritimli taksim) for the bellydance parallels that of the classical gazel, a vocal improvisation in free rhythm with rhythmic accompaniment. Popular musical instruments in this kind of fasıl are the clarinet, violin, kanun, and darbuka. Clarinetist Mustafa Kandıralı is a well-known fasil musician.

Military music

The Janissary bands or Mehter Takımı are considered to be the oldest type of military marching band in the world. Individual instrumentalists were mentioned in the Orhun inscriptions, which are believed to be the oldest written sources of Turkish history, dating from the 8th century. However, they were not definitively mentioned as bands until the 13th century. The rest of Europe borrowed the notion of military marching bands from Turkey from the 16th century onwards.

Turkish influence on Western classical music
Musical relations between the Turks and the rest of Europe can be traced back many centuries, and the first type of musical Orientalism was the Turkish Style. European classical composers in the 18th century were fascinated by Turkish music, particularly the strong role given to the brass and percussion instruments in Janissary bands.

Joseph Haydn wrote his Military Symphony to include Turkish instruments, as well as some of his operas. Turkish instruments were included in Ludwig van Beethoven's Symphony Number 9, and he composed a "Turkish March" for his Incidental Music to The Ruins of Athens, Op. 113. Wolfgang Amadeus Mozart wrote the "Ronda alla turca" in his Sonata in A major and also used Turkish themes in his operas, such as the Chorus of Janissaries from his Die Entführung aus dem Serail (1782). This Turkish influence introduced the cymbals, bass drum, and bells into the symphony orchestra, where they remain. Jazz musician Dave Brubeck wrote his "Blue Rondo á la Turk" as a tribute to Mozart and Turkish music.

Western Influence on Turkish classical music

While the European military bands of the 18th century introduced the percussion instruments of the Ottoman janissary bands, a reciprocal influence emerged in the 19th century in the form of the Europeanisation of the Ottoman army band. In 1827, Giuseppe Donizetti, the elder brother of the renowned Italian opera composer Gaetano Donizetti, was invited to become Master of Music to Sultan Mahmud II. A successor of Donizetti was the German musician Paul Lange, formerly music lecturer at the American College for Girls and at the German High School, who took over the position of Master of the Sultan's Music after the Young Turk Revolution in 1908 and kept it until his death in 1920. A son of Paul Lange was the Istanbul-born American conductor Hans Lange. The Ottoman composer Leyla Saz (1850–1936) provides an account of musical training in the Imperial Palace in her memoirs. As the daughter of the Palace surgeon, she grew up in the Imperial harem where girls were also given music lessons in both Turkish and Western styles.

After the decline of the Ottoman Empire and the creation of a Turkish republic, the transfer of the former Imperial Orchestra or Mızıka-ı Hümayun from Istanbul to the new capital of the state Ankara, and renaming it as the Orchestra of the Presidency of the Republic, Riyaset-i Cumhur Orkestrası, signaled a Westernization of Turkish music. The name would later be changed to the Presidential Symphony Orchestra or Cumhurbaşkanlığı Senfoni Orkestrası.

Further inroads came with the founding of a new school for the training of Western-style music instructors in 1924, renaming the Istanbul Oriental Music School as the Istanbul Conservatory in 1926, and sending talented young musicians abroad for further music education. These students include well-known Turkish composers such as Cemal Reşit Rey, Ulvi Cemal Erkin, Ahmet Adnan Saygun, Necil Kazım Akses and Hasan Ferit Alnar, who became known as the Turkish Five. The founding of the Ankara State Conservatory with the aid of the German composer and music theorist Paul Hindemith in 1936 showed that Turkey in terms of music wanted to be like the West.

However, on the order of the founder of the republic, Atatürk, following his philosophy to take from the West but to remain Turkish in essence, a wide-scale classification and archiving of samples of Turkish folk music from around Anatolia was launched in 1924 and continued until 1953 to collect around 10,000 folk songs. Hungarian composer Béla Bartók visited Ankara and south-eastern Turkey in 1936 within the context of these works.

By 1976, Turkish classical music had undergone a renaissance and a state musical conservatory in Istanbul was founded to give classical musicians the same support as folk musicians. Modern-day advocates of Western classical music in Turkey include Fazıl Say, İdil Biret, Suna Kan, the Önder Sisters and the Pekinel sisters.

Early Years of The Republic
After the Turkish War of Independence ended in 1923, and the borders were drawn, there was a social and political revolution under the leadership of Mustafa Kemal Atatürk. This revolution opted to Westernize the way of living in Turkey. By 1929, all public and commercial communications were made in the Latin alphabet, completely taking the written Ottoman Turkish language out of circulation. A new constitution was written, one that was modeled after the French. This new constitution was designed to make the new Republic of Turkey into a secular, modern, nation-state. Every aspect of the revolution, from major policy changes to clothing reforms, was made in accordance with the Kemalist Ideology. All affairs were carried out followed by a chain of military command for the purpose of reaching the level of Western civilization. Both religious and Turkish classical music was impacted by this top to bottom revolution.

On November 1, 1934 Atatürk made a speech in the Grand National Assembly of Turkey. Alaturca music was banned on radios, public places as well as private properties. Here is the excerpt from the speech, concerning Turkish music, "Folks, we all know how sensitive we, the Turkish, are towards the matters of our cultural legacy…. I am aware what kind of progress that my people want to see within fine arts delivered by the new generation of artists, and musicians. If you ask me, what would be most efficient and quick to tackle first within the fine arts is Turkish Music. The music we are made to listen to these days is far from being a point of pride for Turkish people. We must all know this. We must take our great nation's idioms, stories, experiences and compose them, but only complying to the general rules of music. I wish that the Ministry of Cultural Affairs take this matter seriously, and work alongside the law-makers of our country."

Right after this speech, on November 2, 1934, The Department of Publishing and Press banned Alaturca music, knowing what Mustafa Kemal meant when he said "… but only complying to the general rules of music…" was that the only acceptable type of music available to the public will be music following the principles of western tonal music. The Turkish composers, who were educated abroad in the beginning of the century and came back to Turkey, were assigned to teach classical Turkish musicians the western way of writing and playing music. The Presidential Symphony Orchestra, established back in 1924 started giving weekly free performances in schools specifying in Music Education. New instruments like pianos, trumpets, and saxophones were bought for cultural centers in villages, not just in Istanbul, but in many places like Bursa, Çorum, Gümüşhane, and Samsun.

Along with the radical ideology change, and the sudden application of these new ideas came an obvious tear in the fabric of the society. People who couldn't listen to Turkish music on Turkish Radio sought out the next best thing and started listening to the Arabic Radio. There are records of Turkish people calling into Egyptian, Crimean, and Haifan radio stations requesting Turkish songs they were used to listening to, since The Middle East already consumed and re-created a lot of Turkish Music since the rise of the Ottoman Empire in the middle of the millennium. Turkish people started listening to other nations' version of Turkish songs. This cleared the way for the Arabesque music to become hugely popular in the 70s. Today, there are still prolific and popular Arabesque musicians in Turkey. The ban in the early years of the Republic is exactly why Arabesque Music became a cultural phenomenon.

Folk music
Folk music or Türkü generally deals with subjects surrounding daily life in less grandiose terms than the love and emotion usually contained in its traditional counterpart, Ottoman court music.

Most songs recount stories of real-life events and Turkish folklore, or have developed through song contests between troubadour poets. Corresponding to their origins, folk songs are usually played at weddings, funerals and special festivals.

Regional folk music generally accompanies folk dances, which vary significantly across regions. For example, at marriage ceremonies in the Aegean guests will dance the Zeybek, while in other Rumeli regions the upbeat dance music Çiftetelli is usually played, and in the southeastern regions of Turkey the Halay is the customary form of local wedding music and dance. Greeks from Thrace and Cyprus that have adopted çiftetelli music sometimes use it synonymously to mean Oriental dance, which indicates a misunderstanding of its roots. Çiftetelli is a folk dance, differing from a solo performance dance of a hired entertainer.

The regional mood also affects the subject of the folk songs, e.g. folk songs from the Black Sea are lively in general and express the customs of the region. Songs about betrayal have an air of defiance about them instead of sadness, whereas the further south travelled in Turkey the more the melodies resemble a lament.

As this genre is viewed as a music of the people, musicians in socialist movements began to adapt folk music with contemporary sounds and arrangements in the form of protest music.

In the 70s and 80s, modern bards following the aşık tradition such as Aşik Veysel and Mahsuni Şerif moved away from spiritual invocations to socio-politically active lyrics.

Other contemporary progenitors took their lead such as Zülfü Livaneli, known for his mid-80s innovation of combining poet Nazım Hikmet's radical poems with folk music and rural melodies, and is well regarded by left-wing supporters in politics.

In more recent times, saz orchestras, accompanied with many other traditional instruments and a merger with arabesque melodies have kept modern folk songs popular in Turkey.

Folk instruments

Folk instruments range from string groups as bağlama, bow instruments such as the kemençe (a type of stave fiddle), and percussion and wind, including the zurna, ney and davul. Regional variations place importance on different instruments, e.g. the darbuka in Rumeli and the kemençe around the Eastern Black Sea region. The folklore of Turkey is extremely diverse. Nevertheless, Turkish folk music is dominantly marked by a single musical instrument called saz or bağlama, a type of long-necked lute. Traditionally, saz is played solely by traveling musicians known as ozan or religious Alevi troubadours called aşık.

Due to the cultural crossbreeding prevalent during the Ottoman Empire, the bağlama has influenced various cultures in the Eastern Mediterranean, e.g. the Greek baglamas. In Turkish bağlamak means 'to tie' as a reference to the tied, movable frets of the instrument. Like many other plucked lutes, it can be played with a plectrum (i.e., pick), with a fingerpicking style, or strummed with the backs of fingernails. The zurna and davul duo is also popular in rural areas, and played at weddings and other local celebrations.

Folk literature
A large body of folk songs are derived from minstrels or bard-poets called ozan in Turkish. They have been developing Turkish folk literature since the beginning of 11th century. The musical instrument used by these bard-poets is the saz or bağlama. They are often taught by other senior minstrels, learning expert idioms, procedures, and methods in the performance of the art. These lessons often take place at minstrel meetings and the coffeehouses they frequent. Those bard-poets who become experts or alaylı then take apprentices for themselves and continue the tradition.

A minstrel's creative output usually takes two major forms. One, in musical rhyming contests with other bards, where the competition ends with the defeat of the minstrel who cannot find an appropriate quatrain to the rhyme and two, storytelling. These folk stories are extracted from real life, folklore, dreams and legends. One of the most well-known followings are those bards that put the title aşık in front of their names.

Arabesque
Arabic music had been banned in Turkey in 1948, but starting in the 1970s immigration from predominantly southeastern rural areas to big cities and particularly to Istanbul gave rise to a new cultural synthesis. This changed the musical makeup of Istanbul. The old tavernas and music halls of fasıl music were to shut down in place of a new type of music. These new urban residents brought their own taste of music, which due to their locality was largely middle eastern. Musicologists derogatively termed this genre as arabesque due to the high-pitched wailing that is synonymous with Arabic singing.

Its mainstream popularity rose so much in the 1980s that it even threatened the existence of Turkish pop, with rising stars such as Müslüm Gürses and İbrahim Tatlıses. The genre has underbeat forms that include Ottoman forms of belly-dancing music known as fantazi from singers like Gülben Ergen and with performers like Serdar Ortaç who added Anglo-American rock and roll to arabesque music.

It is not really accurate to group Arabesk with folk music. It owes little to folk music, and would be more accurately described as form of popular music based on the makam scales found in Ottoman and Turkish classical music. Though Arabesk was accused of having been derived from Arabic music, the scales (makam) used identify it as music, that, though influenced by both Arabic and Western music, is much more Turkish in origin.

Islamic Recitation
"Islamic Recitation," a term associated with mainstream religion in Turkey, includes the azan (call-to-prayer), Kur'an-ı Kerim (Koran recitation), Mevlit (Ascension Poem), and ilahi (hymns usually sung in a group, often outside a mosque). On musical grounds, mosque music in large urban areas often resembles classical Turkish music in its learned use of makam and poetry, e.g., a Mevlit sung at Sultan Ahmet mosque in Istanbul. Dervish/Sufi music is rarely associated with a mosque. Kâni Karaca was a leading performer of mosque music in recent times.

Alevi influences: The Aşık (Ashik) traditions
It is suggested that about a fifth of the Turkish population are Alevis, whose folk music is performed by a type of travelling bard or ozan called aşık, who travels with the saz or baglama, an iconic image of Turkish folk music. These songs, which hail from the central northeastern area, are about mystical revelations, invocations to Alevi saints and Muhammad's son-in-law, Ali, whom they hold in high esteem. In Turkish aşık literally means 'in love'. Whoever follows this tradition has the Aşık assignation put before their names, because it is suggested that music becomes an essential facet of their being, for example as in Aşık Veysel.

Middle Anatolia is home to the bozlak, a type of declamatory, partially improvised music by the bards. Neşet Ertaş has so far been the most prominent contemporary voice of Middle Anatolian music, singing songs of a large spectrum, including works of premodern Turkoman aşıks like Karacaoğlan and Dadaloğlu and the modern aşıks like his father, the late Muharrem Ertaş. Around the city of Sivas, aşık music has a more spiritual bent, afeaturing ritualized song contests, although modern bards have brought it into the political arena.

Sufi influences: The Mevlevi traditions
Followers of the Mevlevi Order or whirling dervishes are a religious sufi sect unique to Turkey but well known outside of its boundaries.

Dervishes of the Mevlevi sect simply dance a sema by turning continuously to music that consists of long, complex compositions called ayin. These pieces are both preceded and followed by songs using lyrics by the founder and poet Mevlana Jelaleddin Rumi. With the musical instrument known as the ney at the forefront of this music, internationally well-known musicians include Necdet Yasar, Niyazi Sayin, Kudsi Ergüner and Ömer Faruk Tekbilek.

Regional folk styles
Minorities and indigenous peoples have added and enhanced Turkish folk styles, while they have adopted Turkish folk traditions and instruments. Folk songs are identifiable and distinguished by regions.

Aegean and Rumeli regions
Rumelia (or Trakya) refers to the region of Turkey which is part of Southeast Europe (the provinces of Edirne, Kırklareli, Tekirdağ, the northern part of Çanakkale Province and the western part of Istanbul Province). Folk songs from this region share similarities with Balkan, Albanian and Greek folk musics, especially from the ethnic minorities and natives of Thrace. Cypriot folk music also shares folk tunes with this region, e.g. the Çiftetelli dance. These types of folk songs also share close similarities with Ottoman court music, suggesting that the distinction between court and folk music was not always so clear. However, folk songs from Istanbul may have been closely influenced by its locality, which would include Ottoman rakkas and court music.

Cities like İzmir share similar motifs, such as the zeybek dance.

Black Sea and Caspian Sea regions
Central Asian Turkic peoples from the Caspian Sea and areas have had a huge influence in the purest forms of Turkish folk music, most notably from the Azeris and Turkmen.

Pontic Greeks on the eastern shore of the Black Sea or Karadeniz regions have their own distinct Greek style of folk music, motifs from which were used with great success by Helena Paparizou. The diaspora of Greek speaking Pontic people from that region introduced Pontic music to Greece after 1924 population exchange between Turkey and Greece. The region's dance style uses unique techniques like odd shoulder tremors and knee bends. Folk dances include the gerasari, trygona, kots, omal, serra, kotsari and tik.

Southeastern regions
Southeastern regions carry influences from Turkmen music, Zaza motifs and Armenian music. These usually include epic laments.

Kanto (Cantare music)
Italian theater and opera have had a profound effect on Turkish culture in the past century. Like the terminology of seamanship, the terminology of music and theater is derived from Italian. In the argot of the improvisational theater of Istanbul the stage was called "sahano", the backstage was referred to as "koyuntu", backdrops depicting countryside were "bosko", the applause was "furi" and the songs sung between the acts and plays were called "kanto".

The improvised pieces were stage adaptations of the Karagöz (shadow puppet) and Ortaoyunu (traditional form of Turkish theatre performed in the open) traditions, although in a much more simplified form. The themes explored in these traditional theater arts as well as their stock characterizations and stereotypes were used as the framework for the new extemporaneous performances of the tuluat (improvised) theater.

As with their Italian counterparts, the Turkish troupes employed songs and music before the show and between the acts to pique people's interest and draw in customers.

Kanto: songs sung between the acts as solos or duets, based on traditional eastern makam (modes) but performed on western instruments.

Kanto: "first the introduction, then the lyrics, shake your shoulders to a violin, solo, cock your head and shimmy in oriental dance style, leap around like a partridge, then slowly disappear behind the curtain."

Kanto: the irreplaceable unifying feature of ali Turkish tuluat theater. We can divide kanto into two periods. The division, particularly in terms of musical structure, is very clear between the early kanto and the kanto of the Post-Republic period. It is further possible to identify two styles within the early period. Galata and Direklerarası (both neighbourhoods of Old Istanbul).

Kanto first took root in the musical theaters of Galata, a part of town frequented by sailors, rowdies and roustabouts. Ahmed Rasim Bey paints a vivid picture of the Galata theaters in his 1922 memoir entitled Fuhş-i Atik (Prostitution in the Old Days):

"Everyone thought Peruz was the most flirtatious, most skillful and the most provocative. The seats closest to the stage were always crammed full... They said of Peruz, 'she is a trollop who has ensnared the heart of many a young man and has made herself the enemy of many. 'Her songs would hardly be finished when chairs, flowers, bouquets and beribboned letters. Come flying from the boxseats. It seemed the building would be shaken to the ground."

Direklerarası was a little off the beaten track and in comparison to Galata was a more refined center of entertainment. Direklerarası was said to be quite lively at night during the month of Ramadan (Ramazan in Turkish) and certainly once its attraction was its family atmosphere. It was here that the troupes of Kel Hasan and Abdi Efendi and later that of Neshid enjoyed a great popularity. It was under the influence of these masters that kanto experienced its golden years.

The troupes orchestra would be made up of such instruments as the trumpet, trombone, violin, trap drum and cymbals. The orchestra would start to play popular songs of the day and marches in front of the theatre about an hour before the show to drum up interest. This intermission or Antrak music ended up with the well-known Izmir March, a sign that the show time was approaching. The play began as the musicians went in and took their places at the side of the stage.

The kanto singers of the period were also composers. Set to extraordinarily simple melodies which were the fashion of the day, the lyrics relied heavily of tensions between men and women as well as reflecting topical events. The compositions were in such fundamental makams as Rast, Hüzzam, Hicaz, Hüseyni and Nihavent. Kanto songs are remembered both by the names of their interpreters and by their creators, artists such as Peruz, Shamran, Kamelya, Eleni. Küçük and Büyük Amelya, Mari Ferha and Virjin. That kanto brought an erotic element to the stage performance was an important aspect and one that should not be overlooked or separated out.

Art and cultural life gained new dimensions with the changes brought about by the 1923 formation of the Turkish Republic. It was a period of rapid transformation and its effects were widespread. Turkish women had finally won the freedom to appear on the stage, breaking the monopoly previously held by Rûm (Istanbul Greek) and Armenian women who performed in musical and non-musical theatre. Institutions like Darulbedayi (Istanbul City Theatre) and Darulelhan (Istanbul Conservatory of Music) had long been turning out trained artists.

Western lifestyles and Western-style art put pressure on the traditional Turkish formats and these were swept off to the side. The operetta, the tango, then later the Charleston and the foxtrot overshadowed kanto. Kanto's popularity began to fade, the city's centers of entertainment shifted, and the theaters of Galata and Direklerarası were closed down. Turkish female artists were unreceptive to kanto's inherent ribairy and chose to keep their distance from it.

Around 1935, there was a revival of interest in the kanto form. Although rather far from its fundamental principles, a new type of kanto was once again popular.

It is important to point out that kanto had now moved from the stage to the recording studio. While the subjects dealt with in the lyrics were still the same old quarrels between men and women, mixed in with satirical takes on fashion and current events, the songs were being written with the 78 rpm phonograph in mind. So much so that every record label hired their own kanto composers—and rather famous ones at that. With Columbia at the fore, record labels commissioned kanto from Kaptanzade Ali Rıza Bey, Refik Fersan, Dramalı Hasan, Sadettin Kaynak, Cümbüş Mehmet and Mildan Niyazi Bey. The makams were the same but the instrumentation had changed. Kanto were now accompanied by cümbüş (a fretlees banjo like instrument) the ud (a fretless) lute, and calpara (castenets). Foxtrot, Charleston and rumba rhythms dominated. The tunes were being written and sung more tor listening than tor dancing. Female soloists include Makbule Enver, Mahmure, and Neriman; Beşiktaşlı Kemal Senman was the most sought after male singer for duets.

Among the topics explored by the new kantocu (singer or composer of kanto) perhaps the most frequent subject of satire was the new role of women brought about by the formation of the Republic. Songs like Sarhoş Kızlar (Drunken Girls) or Şoför Kadınlar (Women Drivers) were sung seemingly in revenge for all the suffering they had endured at the hands of men in the past. Other topical songs include Daktilo (The Typewriter) which brought to mind the newly formed Secretaires 7 Society. Songs such as Bereli Kız (The Girl with the Beret) and Kadın Asker Olursa (If Women Were Soldiers) were full of mockery and ridicule.

The early period kanto were largely nourished by Istanbul culture. It was much the same in the Post-Republican period. The city's large and diverse population provided both the characters and the events that were the mainstay of kanto. Kanto was heavily influenced by musical theatre. Roman (gypsy) music and culture, which was itself the subject of satire, left its mark on kanto form. Another major influence was Rum music. The importance of the Istanbul Rum, who were so fond of entertainment and of singing and playing, must not be underestimated. It is a natural and inevitable result of cultural exchange. As it was, almost all the kanto singers were either Rum or Armenian, artists like Pepron, Karakas, Haim, Samran and Peruz who performed during the period following 1903.

Eventually kanto became more of a definition, a generalized genre than a musical term. Any tune that was outside of the day's musical conventions, anything light that appealed to current trends and tastes, was labeled kanto. Any music played with different instruments that was free rhythmic or somehow novel was labeled kanto; it was the product of the middie-class, urban culture of Istanbul.

Kanto has been viewed as a forerunner of today's pop culture.

Popular music
Popular music is distinguished from the traditional genres as those styles that entered the Turkish musicality after the fall of the Ottoman Empire, either due to attempts of national modernization from 1924 onwards, the opening of the republic to Western musical influences or modern fusions and innovations from artists themselves.

Mainstream pop

Turkish pop music had its humble beginnings in the late 1950s with Turkish cover versions of a wide range of imported popular styles, including rock and roll, tango, and jazz. As more styles emerged, they were also adopted, such as hip hop, heavy metal and reggae.

The self-named "superstar" of the "arrangement" (aranjman) era of the 70s was Ajda Pekkan and Aydzhan Bekir who also debuted, along with Enrico Macias, at Olympia, Paris, while MFÖ (Mazhar, Fuat, Özkan) was the celebrated group of the pop scene with an outstanding dexterity in their use of Turkish prosody and their success of amalgamating Western and Turkish cultural ingredients and perspectives. Also one of the most renowned Turkish pop stars of the last decades is probably Sezen Aksu. She contributed considerably to the unique Turkish pop sound of this period, allowing it gain ground from its humble beginnings in the early 50s and 60s to the popular genre it is today. She was also one of the strongest advocates for Turkey to enter the Eurovision Song Contest. Her one-time vocalist and later protégé Sertab Erener won the contest in 2003. The biggest male pop stars in Turkey are arguably Tarkan, Mustafa Sandal and Kenan Doğulu. Tarkan achieved chart success in Europe and Latin America with his single "Şımarık", also composed by Sezen Aksu, which has been covered by numerous artists. Mustafa Sandal has also enjoyed chart success in Europe with his 2005 single "İsyankar", which peaked at number 4 and went gold.

Turkish hip hop
Turkish hip hop or oriental hip hop is a creation of the Turkish migrant worker community in Germany, which some suggest was a suitable outlet for a young generation disillusioned with Germany's treatment of its migrant class. In 1995, the Turkish-German community produced a major hip hop crew named Cartel which caused controversy in Turkey and Germany for its revolutionary lyrics. Hip hop now enjoys wide popularity among the younger generation in Turkey. Ceza, Dr.Fuchs (formerly "Nefret") and Sagopa Kajmer, Sansar Salvo, Pit10, Şehinşah, Hayki, Saian, Allâme are popular figures of contemporary rap music in Turkey.

Anatolian rock
The Turkish rock scene began in the mid- to late 1960s, when popular United States and United Kingdom bands became well-known. Soon, a distinctively Turkish fusion of rock and folk emerged; this was called Anatolian rock, a term which nowadays may be generically ascribed to most of Turkish rock. Barış Manço, Cem Karaca and Erkin Koray are the best known performers; Moğollar and Kurtalan Ekspres are the best known groups of older classical Anatolian rock music.

Islamic anasheed
Islamic anasheed are also very popular among some of the Turkish people. The most popular artist in Turkey is the British Azeri, Sami Yusuf, a concert in Istanbul drew an audience of over 200,000, his biggest concert so far around the world. He is one of the most notable singers of anasheed, and can speak in many different languages, which includes Turkish. To date he has performed at sell out concerts in over 30 countries across the world from Istanbul to Casablanca, United States to Germany. Some albums selling more than a million copies in comparison to western music. In Jan 2009 Sami travelled to Turkey where he was invited by Emine Erdoğan, wife of the Turkish Prime Minister Recep Tayyip Erdoğan, to attend a rally in support of peace in Gaza. Another popular Turkish singer is Feridun Özdemir, who mainly sings of God and true faith. His records are most successful in the anasheed genre.

Heavy metal and industrial
Heavy metal and industrial groups from Turkey include Pentagram (known as Mezarkabul outside Turkey) and Almora. Individual musicians in these genres include Ogün Sanlısoy and Hayko Cepkin.

Underground black metal and death metal
Underground black metal and death metal bands known from Turkey are Witchtrap, Ehrimen, Satanized, Godslaying Hellblast, Burial Invocation, Deggial, Decaying Purity.

Turkish Trance
Trance is a rare musical genre in Turkey but it also has specific listeners. This genre gained when the first Turkish trance music composed by Murtaza Khojami and the song named for Yalnızlık Düşünceler with mixed criticism.

Pop-rock and rock
As a singular phenomenon amidst popular currents since the mid-1970s, Bülent Ortaçgil appeared as an urban songwriter/musician with a distinct musical quality, and became a role model for aspiring young musicians. He was the only Turkish musician for whom a tribute album was compiled that included several prominent performers from a wide gamut of different genres.

Other recent rock bands with a more Western sound who have enjoyed mainstream success include maNga, Duman and Mor ve Ötesi. Şebnem Ferah, Özlem Tekin and Teoman are examples of individual rock artists with substantial fan bases. Turkey also boasts numerous large-scale rock festivals and events. Annual rock festivals in Turkey include Barışarock, H2000 Music Festival, Rock'n Coke, and RockIstanbul.

Underground and club music
There are many clubs across Turkey, especially across its Aegean region. The alternative music scene however is derived mostly from Istanbul's thriving underground club scene that sees DJs merging the past with the present, using traditional motifs with new age sounds and electronic music. Mercan Dede is one of Turkey's most successful DJs, mixing trance with historical and mystic Sufi songs. Another worldwide recognized name from the underground music scene of Turkey is Mert Yücel. Yücel was responsible for the first house music album to be released in Turkey. He also had worldwide acclaimed and respected releases on US and UK dance labels. He is one of the key names defining the underground house sound emerging from Istanbul.

Musical influence of Syrian refugees and other immigrants
The influx of immigrants and refugees from Afghanistan, Syria, Iraq, Pakistan, Central Asian, and African countries has affected the Turkish musical landscape, particularly in Istanbul. Bands such as Country for Syria, and Saktat explicitly blend the music of different refugee communities in Istanbul to create a mix of Turkish, Arab, Greek, Persian, and Western influences. Busking has played an important role in the development of this style.

Music industry
The Turkish music industry includes a number of fields, ranging from record companies to radio stations and community and state orchestras. Most of the major record companies are based in Istanbul's region of Unkapanı and they are represented by the Turkish Phonographic Industry Society (MÜ-YAP). The major record companies produce material by artists that have signed to one of their record labels, a brand name often associated with a particular genre or record producer. Record companies may also promote and market their artists, through advertising, public performances and concerts, and television appearances.

In recent years, the music industry has been embroiled in turmoil over the rise of the Internet downloading of copyrighted music and general piracy; many musicians and MÜ-YAP have sought to punish fans who illegally download copyrighted music. On 13 June 2006 it was reported that MÜ-YAP and The Orchard, the world's leading distributor and marketer of independent music, had reached an agreement on digital global distribution, representing approximately 80% of the Turkish music market.

There is not a substantial singles market in Turkey. It is album orientated, although popular singers such as Yonca Evcimik and Tarkan have released singles with success. Most music charts not related to album sales, measure popularity by music video feedback and radio airplay.

Turkish radio stations often broadcast popular music. Each music station has a format, or a category of songs to be played; these are generally similar to but not the same as ordinary generic classification. With the introduction of commercial radio and television in the early 1990s ending the monopoly of the Turkish Radio and Television Corporation (TRT), a multitude of radio and TV stations were opened by newspaper media moguls. These media chains sponsor award ceremonies such as the Kral TV awards for music, but most accredited music awards are based on sales given out by industry societies such as MÜ-YAP and the Magazine Journalists Society (MJS).

Though major record companies dominate the Turkish industry, an independent music industry (indie music) does exist. Indie music is mostly based around local record labels with limited, if any, retail distribution outside a small region. Artists sometimes record for an indie label and gain enough acclaim to be signed to a major label; others choose to remain at an indie label for their entire careers. Indie music may be in styles generally similar to mainstream music, but is often inaccessible, unusual or otherwise unappealing to many people. Indie musicians often release some or all of their songs over the Internet for fans and others to download and listen to.

Perhaps the most successful Turkish name associated with indie music outside of Turkey is Ahmet Ertegun of Atlantic Records. His promotion of some of the most famous R&B and soul artists in North America and his contribution to the American music industry has earned a place in Rock and Roll Hall of Fame, together with his brother Nesuhi.

Music education
Music has a place in education in Turkey, and is a part of most or all school systems in the country. High schools generally offer classes in singing, mostly choral, and instrumentation in the form of a large school band or social clubs and communities for Turkish classical or folk music, known as cemiyets. Music may also be a part of theatrical productions put on by a school's drama department. Many public and private schools have sponsored music clubs and groups, most commonly including the marching band that performs Mehter marches at school festivals. However, class time given to music in schools is restricted, and a large proportion of Turkish children and adults seem to have limited musical ability, e.g. they are unable to join a melody singing at the same pitch.

Higher education in the field of music in Turkey is mostly based around large universities, connected to state music academies and conservatories. A conservatory is usually a department of a university, not a separate institution. While many students join conservatories at the usual university entrance age, some conservatories also include a 'Lise' (Lycee), in effect a specialist music school for children aged 14 to 18 years. Conservatories often have a musicology department, and do research on many styles of music especially the Turkish traditional genres, while also keeping a database of sounds in their sound libraries.

Holidays and festivals

Music is an important part of several Turkish holidays and festivals, especially playing a major part in the springtime celebration of Newroz and religious festivities such as Ramadan. New year is a traditional time for the belly dancer and weddings are celebrated with upbeat tunes, while funerals are mourned with musical laments. Patriotic songs like the national anthem, "The Independence March", are a major part of public holiday celebrations such as National Independence & International Children's Day celebrations on 23 April and 30 August Victory Day celebrations, a holiday that marks Turkish independence. Music also plays a role at many regional festivals that aren't celebrated nationwide, for example a music and dance parade and festival in Zonguldak.

Istanbul, Ankara and İzmir are also home to numerous music festivals which showcase styles ranging from the blues and jazz to indie rock and heavy metal. Some music festivals are strictly local in scope, including few or no performers with a national reputation, and are generally operated by local promoters. Recently large soft drink companies have operated their own music festivals, such as Rock'n Coke and Fanta parties, which draw huge crowds.

Notable people

 * Emre Araci
 * Wojciech Bobowski
 * Mercan Dede
 * Ahmet Ertegun
 * Nesuhi Ertegun
 * Oruç Güvenç
 * Gülçin Yahya Kaçar
 * Arif Mardin
 * Erkan Oğur
 * Cem Tuncer
 * Baba Zula

title: Music of Turkey


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Talk:Sociology of knowledge

Wikipedia Ambassador Program assignment
This article is the subject of an educational assignment at University of Toronto supported by WikiProject Wikipedia and the Wikipedia Ambassador Program during the 2011 Q3 term. Further details are available on the course page.

Above message substituted from on 14:35, 7 January 2023 (UTC)

Sociology of knowledge
Hello again, I have added another reference to the "new sociology of knowledge" section. It would be great if this section were to become more developed. Hopefully, these references can be used as a good starting point! --Yvegao (talk) 15:58, 29 October 2011 (UTC)

Hi Yvegao and Wendy. I read over your contributions and found them to be excellent. Both of your contributions have helped make this article much more informative and I will make mention of them in my paper. Just as a note, both of your articles have hyperlinks that are red and lead to an editing page. I'm not sure if you meant to do this, so I did not take the liberty to change them. Perhaps you intended to do a blue hyperlink with the ' '? --Seth Mortezavi (talk) 18:04, 27 October 2011 (UTC)

 * Hi Seth. Thanks so much for your comments. The link in red is not my doing, but now that I feel a little attached to this section I will try to change it. Your elaboration on Foucault's section is very good. I'd like to do something similar with the last section, the New Sociology of Knowledge. If I get this paper done early I just might!--Wendy.traas (talk) 11:54, 28 October 2011 (UTC)

 * Hi Seth, thank you for your kind feedback. I was the one to create the link in red. The link is in red because there has not yet been a page that has been created for the 'new sociology of knowledge' and I thought perhaps this topic may warrant a page on its own. Therefore, I've created the link for it in case anyone may be interested in expanding this. Thanks. --Yvegao (talk) 23:30, 28 October 2011 (UTC)

Hi, I have added a new section to include the 'New Sociology of Knowledge'. I would appreciate any input on my contribution. Thank you. --Yvegao (talk) 21:59, 26 October 2011 (UTC)

--- I am planning on expanding the section on Durkheim to give more of a summary of The Elementary Forms of Religious Life as it relates to the sociology of knowledge. I will also add some references to the section. --Wendy.traas (talk) 13:40, 25 October 2011 (UTC)

--- I have extended the section on Foucault, giving a summary of the role of power relations and the social creation of knowledge. Please let me know if you have any suggestions that will improve my contribution. Thank you. --Seth Mortezavi (talk) 15:01, 25 October 2011 (UTC) Regarding Sociology of Math - I think we should quantify or add qualifiers to "and much of mathematics has been developed precisely for the goal of developing these models in a rigorous fashion." Might be true for some Western mathematics, certainly Newton, the Bernoulli's, Laplace, Lagrange, but not universally so (Reimman, Hardy, Littlewood, Hilbert, Wiles, ...) Thoughts? The article is Ok (in relation to a lot of other pomobabble-driven nonsense) 209.128.81.201 18:03, 18 April 2006 (UTC)

---

Should Thomas Sowell's book Knowledge and Decisions be mentioned here? Michael Hardy 21:58 Jan 13, 2003 (UTC)

 * In a word, no. Sowell is an economist, not a sociologist. Now (pace SLR!) I do not see that as a barrier to his contributing to sociological thought, but if I get the gist of Knowledge and Decisions correctly from the on-line sources I looked over just now, the work (while undoubtedly interesting in its own right) has very little indeed to do with the sociology of knowledge. Tannin 12:26 Jan 16, 2003 (UTC)

Why did you remove the bit about the significance of the SofK to sociology as a whole? Tannin

 * I'm not sure if you speak to me, but I removed what seemed to me not necessary -- to say, sociology of knowledge influenced more or less all branches of sociology in a way or other seemed a bit inconclusive to me (if that is the word) till we *) 00:43 Jan 28, 2003 (UTC)

--- Regarding the Foucault/Mathematics-part. I agree that it's a good idea to mention Foucault. But I find the part of the article rather long (maybe it should become part of an Foucault-article?), and I strongly disagree with the paragraphs about mathematics, which -- besides the links to Foucault -- sound more like (a) some mathematic-in-jokes and (b) cognitive psychology. Maybe my idea of the sociology of knowledge is to narrow (or used in that way only in Germany), but I would reserve "sociology of knowledge" (Wissenssoziologie) for phenomenological/ethnomethodological studies, combined with some french and german classics. A somewhat broader approach -- but still not including the psychology of mathematical thinking ;-) -- is found here: . till we *) 00:43 Jan 28, 2003 (UTC)

 * For what it's worth, the descriptions in this section about the Erdős number are highly inaccurate. The Erdős number applies to all mathematicians, not just those who collaborated with Erdős.  The graph in question is the graph of collaborative papers among all mathematicians, not just those involving Erdős.  The only way in which Erdős is special to this concept is that he's the highest degree vertex in this graph.  --Dbenbenn 05:26, 5 Dec 2004 (UTC)

---

Shall we mention Alvin Goldman and John Searle? They have related books Knowledge in a Social World and The Construction of Social Reality. Aknxy 20:22, Oct 1, 2004 (UTC)

Knowledge
Folks, I have just created Knowledge with a link to here. Would someone like to build the section into a decent piece? Banno 21:40, August 5, 2005 (UTC)

 * Actually I was interessed in the difference between sociology of scientific knowledge (SKK), sociology of science and sociology of knowledge. As I am German but have to deal with English text - I am a bit confused. My question is: What is the difference between the last two concepts as in German there only excists an entry about sociology of knowledge whereas sociology of science seems to mean the same??? Thank you very much for helping me to understand the difference. Perditta 12.Nov.08 —Preceding unsigned comment added by 85.178.100.223 (talk) 09:02, 12 November 2008 (UTC)

Mannheim
I have tried to clear up the bit on Mannheim and relativism. I feel that the previous entry was not objective enough in claiming that relativism was a paradox for Mannheim since it applies a conception of truth which he did not think was viable to him. I have tried to show that elements of his thought are, to me and others, paradoxical nonetheless.

Foucault
The following sentence makes two points and does not cite any sources for them:

"This study still guides the sociology of knowledge and has been claimed to have sparked single-handedly much of postmodernism."

Fairly strong points that could do with sourcing —Preceding unsigned comment added by 81.106.149.39 (talk) 16:11, 12 November 2007 (UTC)

That which sparked post-modernism was Heidegger's reading of Nietzsche [see his 4 volume study of Nietzsche, esp. V.3/4] crossed with Dilthey's hermeneutics. The "Will to Power" meets the historically conditioned worldview as objectified in formalized language use as found in historical documents. In the case of Foucault: the language of "mental illness", the language of "punishment", the language of "sexuality", etc..```` —Preceding unsigned comment added by 161.185.150.45 (talk) 20:00, 9 May 2008 (UTC)

Latour
I think it is unfortunate that the section of Latour links to the wikipedia article on Social Construction.

Not that Latour don't use this term, but he uses it in the exact opposite of what that article defines it as. Not to show that science developes "because people agree to behave as if it exists or follow certain conventional rules", but to show that only by thurough contruction can science be precise enough to establish facts. He discusses this in "Reassembling the social: an introduction to Actor-network theory".

How do you suggest such nuances can be articulated in the wiki-page on socialogy of knowledge? (Monkikopimi (talk) 09:56, 18 September 2008 (UTC))

Knowledge ecology
I have added the knew section Knowledge ecology, which bring an interesting perspective, that to my opinion is relevant to this article. This section would benefit of some work. If you disagree about the relevance of this section, would you suggest other idea how to formulate the idea in this article? Thanks --Nabeth (talk) 13:50, 27 August 2009 (UTC)

Sociology of Knowledge and Scientific Knowledge
It's important to note there is a sociology of knowledge page AND a sociology of scientific knowledge page. I think the latter should be merged into the former as a subcategory, but if not, lets be keeping them properly distinct!! --Tomsega (talk) 16:13, 8 September 2009 (UTC)

 * yes they should be distinct. they should not be merged. --Buridan (talk) 17:58, 8 September 2009 (UTC)

Any mention of Giambattista Vico?
Vico's work in early 18th century prefigures the main concepts of sociology of knowledge and therefore deserves mention. In his book New ScienceThe New Science, Vico states that human history, the social realm, is man's creation. Whilst his influence was not large, he appears to be the first to make a clear distinction between epistemologies for natural world and the social world. He forms a dialectic of knowledge, society and language to inform his historical and sociological methods.ConBlanchet (talk) 16:52, 1 November 2015 (UTC)

Swidler
"Knowledge ecology, and its related concept information ecology has been elaborated by different academics and practitioners such as Thomas H. Davenport,[22] Bonnie Nardi,[23] or Swidler." Who is Swidler? Leonard? GangofOne (talk) 21:54, 4 November 2015 (UTC)

Perhaps they mean Ann Swidler? I don't know what she's done on 'knowledge ecology' but she co-authored a really interesting paper on the new sociology of knowledge. --Marguerite Duras In France (talk) 07:03, 3 December 2015 (UTC)

Legitimation Code Theory
This section makes statements about Legitimation Code Theory—how it emerged, whose work influenced it, what it's used for, where it's used—without actually explaining what it is, i.e. what sociological claims it makes and what sorts of research and theoretical assumptions go into those claims. --47.215.156.213 (talk) 21:11, 9 November 2017 (UTC)

title: Talk:Sociology of knowledge


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Beatrice Wood

Beatrice Wood (March 3, 1893 – March 12, 1998) was an American artist and studio potter involved in the Avant Garde movement in the United States; she founded and edited The Blind Man and Rongwrong magazines in New York City with French artist Marcel Duchamp and writer Henri-Pierre Roché in 1917. She had earlier studied art and theater in Paris, and was working in New York as an actress. She later worked at sculpture and pottery. Wood was characterized as the "Mama of Dada".

She partially inspired the character of Rose DeWitt Bukater in James Cameron's 1997 film, Titanic after the director read Wood's autobiography while developing the film. Beatrice Wood died nine days after her 105th birthday in Ojai, California.

Childhood
Beatrice Wood was born in San Francisco, California, the daughter of wealthy socialites. After the San Francisco earthquake of 1906, the family moved to New York. Despite her parents' strong opposition, Wood insisted on pursuing a career in the arts. Eventually her parents agreed to let her study painting. Because she was fluent in French, they sent her to Paris, where she studied acting at the Comédie-Française and art at the prestigious Académie Julian.

The onset of World War I forced Wood to return to the United States. She continued acting with a French Repertory Company in New York City, performing more than sixty roles in two years. She worked for several years performing on the stage.

Dada and the Avant-garde

Wood's involvement in the Avant Garde began with her introduction to Marcel Duchamp. He and his friend Henri-Pierre Roché, a man fourteen years her senior, met her in New York in 1916 while she was visiting the composer Edgard Varèse, who was hospitalized with a broken leg. The three worked together to create The Blind Man and subsequently Rongwrong, magazines that were two of the earliest manifestations of the Dada art movement in the United States. The publication was intended to defend the submission of a urinal by Duchamp who had submitted it under the name R. Mutt to the First Exhibition of the Society of Independent Artists in April 1917. Wood wrote the oft-quoted statement that appeared in the publication as an unsigned editorial: "As for plumbing, that is absurd. The only works of art America has given are her plumbing and her bridges." Wood also submitted to the exhibition and her piece 'Un peu d'eau dans du savon ', which she had made alongside Duchamp in his studio, was accepted and was displayed. The work was the image of a nude female figure rising from her bath, but because Wood attached an actual piece of soap to what she called the "tactical position", the work drew a great deal of attention and critical reaction.

Roché, Duchamp, and Jules et Jim
Though she was most involved with Roché, the two often spent time with Duchamp, creating a kind of love triangle. This was not, however, the inspriation for Roché's 1953 novel, Jules et Jim (novel) (or the 1962 film adaptation by François Truffaut). Jules et Jim was based on the triangle involving Roché, German writer Franz Hessel, and Helen Grund, who married Hessel. Roché alluded to the Wood-Roché-Duchamp triangle in his unfinished novel, Victor. Wood herself saw little resemblance between Jules et Jim and her relationship with Roché and Duchamp, writing in her 1985 autobiography, I Shock Myself: "Roché lived in Paris with his wife Denise, and had by now written Jules et Jim... Because the story concerns two young men who are close friends and a woman who loves them both, people have wondered how much was based on Roché, Marcel, and me. I cannot say what memories or episodes inspired Roché, but the characters bear only passing resemblance to those of us in real life! (p. 136)"

Arensbergs and their circle
Wood met the art patrons Walter and Louise Arensberg, who became her lifelong friends. From 1915 through 1920, they held regular gatherings at their apartment at 33 West 67th Street in Manhattan in which artists, writers, and poets were invited to gather, where they were given drinks, hors d'oeuvres, and engaged in intellectual discussions. Besides Duchamp, Roché, and her, the group included many other artists of the avant-garde: Edgard Varese, Charles Sheeler, Joseph Stella, Man Ray and Francis Picabia. Wood's relationship with these artists and others associated with the avant-garde movement of the early 20th century, earned her the designation as "Mama of Dada".

Drawings
Marcel Duchamp encouraged her to draw, inviting her to use his studio as a place in which to work. She later illustrated her autobiography, I Shock Myself. She signed her early drawings "Bea", her name in French, but after taking up pottery, she signed most of her work as "Beato", her nickname. In 2014, a series of her drawings were exhibited as part of the permanent collection of the Santa Barbara Museum of Art in Santa Barbara, California

Sculpture
Figures were an important part of the artist's work during the 1930s and 40s. She explored both vessel forms and sculpture throughout her career. As her skills increased, Wood consciously retained a naive, illustrative style to communicate her commentaries on life and love. She called these works her "sophisticated primitives". This approach makes clear her love of all types of non-Western folk and primitive art.

Ceramics career

While on a trip to hear J. Krishnamurti speak in the Netherlands, Wood bought a pair of baroque plates with a luster glaze. She wanted to find a matching teapot to go along with it, but was unsuccessful. Deciding to make the teapot herself, she enrolled in a ceramic class at Hollywood High School. Throughout her long career in ceramics, she never did make the matching teapot. This hobby turned into a passion which lasted another sixty years, and she studied with a number of leading ceramists including Gertrude and Otto Natzler. Ultimately, Wood developed a signature style of glazing, an all-over, in-glaze luster that draws the metallic salts to the surface of the glaze by starving the kiln of oxygen.

Collections
Wood's work is held in the permanent collections of the Smithsonian Institution, the Metropolitan Museum of Art, the National Museum of Women in the Arts, the Brooklyn Museum, the Museum of Modern Art, among others.

Ojai and longevity
In 1947, Wood felt her career was established enough for her to build a home. She settled in Ojai, California, in 1948 to be near the Indian philosopher J. Krishnamurti. She became a lifelong member of the Theosophical Society—Adyar. These associations greatly influenced her artistic philosophies. She also taught and lived on the same land as the Happy Valley School, now known as Besant Hill School.

At the age of 90, Wood became a writer, having been encouraged by her friend Anais Nin. Her best-known book is her autobiography, I Shock Myself (1985). When asked the secret to her longevity, she responded, "I owe it all to art books, chocolates, and young men." Wood was a lifelong vegetarian who abstained from alcohol and smoking.

Legacy and honors

 * In 1994, the Smithsonian Institution named Wood an "Esteemed American Artist".
 * Wood left her home and studio to the Happy Valley Foundation. In 2005, the foundation asked Kevin Virgil Wallace to transform it into The Beatrice Wood Center for the Arts.

Films inspired by Wood

"the first chapter describes almost literally the character I was already writing for 'Old Rose'... When I met her [Beatrice Wood] she was charming, creative and devastatingly funny... Of course, the film's Rose is only a refraction of Beatrice, combined with many fictional elements. James Cameron pays homage to her in the opening scene of his 1998 film Titanic. We see the film's heroine, 101, making ceramics, one of Beatrice Wood's favored mediums. James Cameron explains that he discovered it by reading her autobiography while preparing the film. He is enthusiastic about this rebellious and nonconformist spirit and tells the following anecdote of his interaction with Beatrice Wood: 'She was a bit of the inspiration for the character of Titanic. In fact, I called her and asked her the permission to interview her and use her as a sort of model for this character, even though Beatrice had no connection to the Titanic itself. She replied, 'I can't do that, I don't - 'I'm only 35'. She was 102 at the time'." According to her obituary in the Ojai Valley News, Wood awarded the Fifth Annual Beatrice Wood Film Award to Cameron.
 * Beatrice Wood: Mama of Dada: This documentary, by film maker Tom Neff, was released as a 16 mm film in Los Angeles on March 3, 1993, to coincide with Wood's 100th birthday.
 * Wood partially inspired the 101-year-old character of "Rose" in James Cameron's epic 1997 film, Titanic. According to Cameron, Bill Paxton's wife had loaned him a copy of I Shock Myself. As he started reading it, he realized that

Diaries
Beatrice Wood kept daily journals for 85 years. In 2011, Francis M. Naumann and his wife, Marie T. Keller, edited a selection of her journals involving her life in the world of art.

Other

 * Cameron, James. Titanic: James Cameron's Illustrated Screenplay. New York, Harper: 1998.
 * Laskas, Jeanne Marie. "Beatrice Wood: Breaking the Mold", in We Remember: Women Born at the Turn of the Century Tell the Stories of Their Lives in Words and Pictures. New York: William Morrow and Co., 1999.

title: Beatrice Wood


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Talk:Kayahan

Untitled
There is no mention of him in Turkish Music Genres and Artists so maybe this is bunk _____

Now there is an additon at his name Turkish Music Genres and Artists However It would be better to flesh out this entry. This artist may not have sufficient stature to earn a place on the list here. The criteria are being hammered out slowly. Generally speaking the goal is to have a list of useable length. Every Turkish artist can't be on the list so obviously there must be some discrimination over who belongs. ______________

This is sn encyclopedia. Some facts like where he was born, when, how he came to fame, his musical inffluences. Other notable facts about his life movies made, politics (could be very relavant). I don't know Kayahan but I do know encyclopedia articles. Brilliant prose is what everybody wants. Two16 ________

 * @Two16 Pls refrain from writing comments about articles or persons you have no idea. Thank you. --CeeGee 15:21, 5 April 2015 (UTC)

Copyediting
@User:Rms125a@hotmail.com! You tag some of your deletions with OR, I guess meaning OR. Those material are never OR. It is only due to lack of your knowledge in Turkish. Use of Google translator may not be sufficient for such copyediting. They are translated exactly from the original text, and the sources are given also. That means, what you've deleted in the article exists in the original text. What is expected is that you maybe copyedit for possible grammer errors and reword if needed. Your comment "cruft" is your POV. I hope someone with Turkish mother language, knowledge of high-level English language and WP editing capabilities can check all out.--CeeGee 17:54, 6 April 2015 (UTC)

title: Talk:Kayahan