{"id":1470,"date":"2018-05-13T20:48:33","date_gmt":"2018-05-13T17:48:33","guid":{"rendered":"http:\/\/yalpertem.com\/blog\/?p=1470"},"modified":"2023-05-06T14:19:50","modified_gmt":"2023-05-06T12:19:50","slug":"kozanoglu-cilali-imaj-devri-alintilar","status":"publish","type":"post","link":"https:\/\/yalpertem.com\/blog\/2018\/05\/13\/kozanoglu-cilali-imaj-devri-alintilar\/","title":{"rendered":"Kozano\u011flu, Cilal\u0131 \u0130maj Devri – Al\u0131nt\u0131lar"},"content":{"rendered":"

B\u0131\u00e7k\u0131n ve A\u011flak \u00e7\u0131km\u0131\u015f, Kozano\u011flu \u00fc\u015fenge\u00e7likten kitap yazmad\u0131\u011f\u0131 i\u00e7in (kendi Medyascope’da b\u00f6yle diyordu) s\u00f6yle\u015fmi\u015f Mirg\u00fcn Cabas ile, ne iyi etmi\u015f. Cilal\u0131 \u0130maj Devri, Acemi E\u011fitimi, Pop Ate\u015fi yak\u0131n tarihli k\u00fclt\u00fcrel olu\u015fumlar\u0131n tespitlerine ve yorumlar\u0131na dair yaz\u0131lm\u0131\u015f, heyecanla okudu\u011fum kitaplard\u0131. Gazetecilik, kent ya\u015fam\u0131na ilgi, g\u00fcndelik g\u00f6zlem, deneyim ve hafif de teorinin gizli tepkimesiyle g\u00fc\u00e7l\u00fc sezileri, bunun \u00fcst\u00fcne de ne\u015feli ve okur dostu bir dili kesi\u015ftirdi\u011fi i\u00e7in ayr\u0131ca g\u00fczel Kozano\u011flu okumak. Cilal\u0131 \u0130maj Devri, zaman\u0131nda 1980’leri anlama \u00e7abalar\u0131m i\u00e7in nirengi noktas\u0131 olmu\u015ftu. O zaman ald\u0131\u011f\u0131m notlar\u0131 tekrardan g\u00f6zden ge\u00e7irmek istedim B\u0131\u00e7k\u0131n ve A\u011flak’\u0131n geli\u015fiyle. Neredeyse t\u00fcm kitab\u0131n alt\u0131n\u0131 \u00e7izmi\u015fim.<\/p>\n

Kal\u0131n yaz\u0131l\u0131p k\u00f6\u015feli parantez i\u00e7lerine al\u0131nm\u0131\u015f k\u0131s\u0131mlarda al\u0131nt\u0131dan anlad\u0131\u011f\u0131m\u0131, neden al\u0131nt\u0131layabilece\u011fimi, sonradan bir bak\u0131\u015fta daha h\u0131zl\u0131ca bulabilece\u011fim veya y\u00fckledi\u011fim veritaban\u0131nda direkt arama sorgusuyla ula\u015fabilece\u011fim h\u00e2le getirme amac\u0131 g\u00fctm\u00fc\u015ft\u00fcm. \u00d6rne\u011fin, ilk al\u0131nt\u0131da oldu\u011fu \u00fczere “ideology” diye arat\u0131p, di\u011fer t\u00fcm kaynaklarla beraber bu al\u0131nt\u0131lar\u0131 da bulmak istemi\u015ftim. O zaman Zotero, tag’leme vb. falan da bilmiyordum, dandik bir web uygulamas\u0131 yapm\u0131\u015ft\u0131m b\u00f6yle istedi\u011fim gibi aramak i\u00e7in. B\u00f6ylesi bir y\u00f6ntem, iyi bir tez yaz\u0131lmas\u0131n\u0131 sa\u011flayamad\u0131, sinemac\u0131lar\u0131n hep dedi\u011fi gibi, “ne yapmayaca\u011f\u0131m\u0131z\u0131 \u00f6\u011frendik” ama bundan ders \u00e7\u0131karmad\u0131k.<\/p>\n

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”<\/p>\n

[End of ideology: ]<\/strong> \u201c80\u2019li y\u0131llar\u0131n ortalar\u0131ndan 90 k\u00fcsurlara uzanan s\u00fcre\u00e7te, T\u00fcrkiye ger\u00e7ekten \u00e7ok de\u011fi\u015fti. Cumhuriyet ideolojisinin n\u00fcfuz alan\u0131 darald\u0131. Ortaya \u00e7\u0131kan bo\u015flu\u011fu, d\u00fcnyan\u0131n kuzeyinde \u201cideolojiler \u00f6ld\u00fc\u201d slogan\u0131yla pazarlanan ve iyi has\u0131lat yapan tek tip ideolojinin yerli versiyonu doldurdu.\u201d (Koz, 2000: 7)<\/p>\n

[Change in utopias: from freedom-equality to financial pragmatism and its fortune: ]<\/strong> \u201c\u00d6zg\u00fcrl\u00fck ve e\u015fitlik projelerinin ufkundaki \u00fctopyalar, \u00f6zel operasyonlarla y\u0131prat\u0131ld\u0131. Onlar\u0131n yerini bir t\u00fcr finansal pragmatizmin servet \u00fctopyalar\u0131 ald\u0131.\u201d (Koz, 2000: 7)<\/p>\n

[Media have a great determining power: ]<\/strong> \u201cMedyan\u0131n toplumsal belirleyicili\u011fi \u00fcrk\u00fct\u00fcc\u00fc noktalara t\u0131rmand\u0131. \u0130leti\u015fim kanallar\u0131, \u201c\u00e7a\u011fda\u015f elitistler\u201din, de\u011fi\u015fimi sorgulamaktan ka\u00e7\u0131nan ve hep r\u00fczgar\u0131n y\u00f6n\u00fcnde seyreden fazla uyan\u0131k, hayli asabi bir g\u00fcruhun eline ge\u00e7ti.\u201d (Koz, 2000: 7)<\/p>\n

[Significant things: english, new ways of loving, business, consumption: ]<\/strong> \u201cDe\u011fi\u015fim, t\u00fcm toplumsal yap\u0131y\u0131 diklemesine yalad\u0131 s\u00fcp\u00fcrd\u00fc. Birbirlerine \u0130ngilizce k\u00fcfreden insanlar \u00e7\u0131kt\u0131 ortaya. Arabesk k\u00fclt\u00fcr, ilgin\u00e7 bir \u00e7e\u015fitlenme s\u00fcrecinden ge\u00e7ti. Ya\u015fanamayan a\u015fklar\u0131n bi\u00e7imi de\u011fi\u015fti. \u201cBusiness\u201d kavram\u0131 y\u00fcceltildi. T\u00fcketim g\u00fcc\u00fc, en tepedeki stat\u00fc sembol\u00fc haline geldi.\u201d (Koz, 2000: 7)<\/p>\n

[De facto bans on \u2018questioning and radicalism\u2019 ]<\/strong> \u201cVe i\u015flevini tamamlayan resmi yasaklar\u0131n yerini fiili yasaklar almaya ba\u015flad\u0131. De\u011fi\u015fim s\u00fcrecini, yeni d\u00fczeni sorgulama yasa\u011f\u0131, baz\u0131 uzla\u015fmalar\u0131 reddetme yasa\u011f\u0131, radikal d\u00fc\u015f\u00fcnme yasa\u011f\u0131…\u201d (Koz, 2000: 8)<\/p>\n

[Acts against these bans are condemned with being \u2018dinasour\u2019 & \u2018old-fashioned\u2019. The ones who proposed the packet of change, captured all the areas and bombardment of images started: ]<\/strong> \u201cBu yasaklar\u0131 delmenin cezas\u0131, \u201cdinozor\u201d damgas\u0131ndan ba\u015fl\u0131yor, ilkelli\u011fe, kafas\u0131zl\u0131\u011fa, muhafazakarl\u0131\u011fa hatta ter\u00f6ristli\u011fe kadar gidiyordu. Haz\u0131r de\u011fi\u015fim pakedini ustaca dayatanlar, t\u00fcm seslendirme kanallar\u0131n\u0131 ele ge\u00e7irmi\u015flerdi ve bu kanallardan yo\u011fun imaj bombard\u0131man\u0131 yap\u0131yorlard\u0131. De\u011fi\u015fimin b\u00f6ylesine itiraz\u0131 olanlar, bu bombard\u0131man\u0131n g\u00fcr\u00fclt\u00fcs\u00fcnde, cezalar\u0131n\u0131 temyiz bile edemediler.\u201d (Koz, 2000: 8)<\/p>\n

[Reality & Image were mixed up in: ]<\/strong> \u201cSonu\u00e7ta, tepeden imajlar ya\u011farken, ger\u00e7ekle imaj\u0131n birbirine kar\u0131\u015ft\u0131\u011f\u0131 y\u0131llar ya\u015fand\u0131.\u201d (Koz, 2000: 8)<\/p>\n

[Further on consumption of the images: ]<\/strong> \u201cDe\u011fi\u015fim ger\u00e7ek, ilan edilen sonu\u00e7lar birer imaj… De\u011fi\u015fim s\u00fcrecinin en kaba \u00f6zeti, a\u015fa\u011f\u0131 yukar\u0131 b\u00f6yle bir \u015fey i\u015fte. A\u015fk\u0131n, refah\u0131n, liderlerin, zaferlerin, her \u015feyin ama her \u015feyin imaj\u0131 \u00fcretildi, t\u00fcketime sunuldu. Ve yasaks\u0131z ya da daha az yasakl\u0131 bir d\u00f6nemin imaj\u0131 pazarlan\u0131rken, y\u00fckselen de\u011ferlerin kolundaki fiili yasaklar devreye sokuldu.\u201d (Koz, 2000: 8)<\/p>\n

[The unchanged: people still don\u2019t have a voice: ]<\/strong> \u201c\u0130nsanlar yine kendi seslerine sahip de\u011fil. Birileri, hayat\u0131 onlar\u0131n yerine seslendiriyor ve \u201cBak\u0131n, bu sizin sesiniz\u201d yutturmacas\u0131 iyi i\u015fliyor. Toplumun sesi bile bir imaj yaln\u0131zca.\u201d (Koz, 2000: 8)<\/p>\n

[Aim of the author: ]<\/strong> \u201cBu kitap da, de\u011fi\u015fenle de\u011fi\u015fmeyeni, imajla ger\u00e7e\u011fi ay\u0131klama \u00e7abas\u0131n\u0131n \u00fcr\u00fcn\u00fc. Yeni d\u00fczenle, y\u00fckselen de\u011ferlere m\u00fctevazi bir itiraz, hepsi bu.\u201d (Koz, 2000: 8)<\/p>\n

[New stars rising with the cooperation with new tendencies: ]<\/strong> \u201c \u201cCilal\u0131 imaj devri\u201d bir s\u00fcr\u00fc y\u0131ld\u0131z yaratt\u0131. Bu y\u0131ld\u0131zlar\u0131n kimileri ger\u00e7ek, kimileri birer imajd\u0131. Ortak y\u00f6nleri, ki\u015fisel niteliklerinin \u00f6tesinde, yeni toplumsal e\u011filimlerin omzunda y\u00fckselmeleriydi.\u201d (Koz, 2000: 8)<\/p>\n

[Social inclination moving with the engine of the images: ]<\/strong> \u201cKitab\u0131n baz\u0131 b\u00f6l\u00fcmlerinde, b\u00f6l\u00fcme ad\u0131n\u0131 veren y\u0131ld\u0131zlar ikinci planda, hatta isimleri bile pek ge\u00e7miyor. \u00c7\u00fcnk\u00fc y\u0131ld\u0131zlar\u0131 i\u015flevi yaln\u0131zca yasland\u0131klar\u0131 toplumsal e\u011filimleri somutlamaktan ibaret. Bu bir portreler kitab\u0131 de\u011fil, 80\u2019li y\u0131llar\u0131n ortalar\u0131ndan 90 k\u00fcsurlara, imajlar\u0131n motoruyla yol alan toplumsal e\u011filimlerin kitab\u0131.\u201d (Koz, 2000: 9)<\/p>\n

[[[[[Bi \u0130ngilizce Bi Bilgisayar, Biraz Korku, Biraz Hayal: TURGUT \u00d6ZAL -> Future 2001 \u0130nsans\u0131z Bankac\u0131l\u0131k]]]]]<\/strong><\/p>\n

[Who supports \u00d6zal? Dodgers, predatories, imaginary exporters etc. \u2013but it\u2019s not enough. 4 Key words: english, computer, fear and dream…] <\/strong>\u201cKimler destekler \u00d6zal\u2019\u0131? En kestirme cevap, \u201cvurguncular, talanc\u0131lar, hayali ihracat\u00e7\u0131lar, milyara milyar demeyenler\u201d s\u0131n\u0131flamas\u0131. Yanl\u0131\u015f bir cevap say\u0131lmaz ama onlar toplumun y\u00fczde yar\u0131m\u0131n\u0131, bilemediniz y\u00fczde birini olu\u015ftursunlar. Gerisi?\u201d, \u201c\u0130ngilizce, bilgisayar, korku ve hayal… \u00d6zal\u2019\u0131 uzun s\u00fcre ayakta tutan, \u201csabit taban\u201d olu\u015funcaya kadar partisini s\u00fcr\u00fckleyen ve belirleyiciliklerini dar bir \u00f6l\u00e7\u00fcde de olsa hala koruyabilen d\u00f6rt anahtar s\u00f6zc\u00fck.\u201d (Koz, 2000: 14)<\/p>\n

[Feathering their nest, hitting the jackpot, turning the corner, striking it rich: ]<\/strong> \u201c[MP was not wiped away with time]<\/strong> \u00c7\u00fcnk\u00fc \u00d6zal, partiyi d\u00f6rt e\u011filimin de\u011fil, tek e\u011filimin \u00fczerine bina etmi\u015fti. Sonu\u00e7ta duvara toslansa da, 24 Ocak karaklar\u0131n\u0131n uzant\u0131s\u0131ndaki bankerler d\u00f6nemiyle \u201cB\u00fcy\u00fck d\u00fc\u015f\u00fcn, b\u00fcy\u00fck kazan\u201d mant\u0131\u011f\u0131na \u0131s\u0131nm\u0131\u015f, kolayca k\u00f6\u015feyi d\u00f6nme hayallerine kap\u0131lm\u0131\u015f; 12 Eyl\u00fcl\u2019\u00fcn yard\u0131m\u0131yla, bireycili\u011fe set \u00e7eken toplumsal \u00e7er\u00e7eveden s\u0131y\u0131rm\u0131\u015f, televizyon ekranlar\u0131nda engin hayaller yakalam\u0131\u015f ve bu t\u00fcr hayallerin pek ho\u015f kar\u015f\u0131lanmad\u0131\u011f\u0131 eski g\u00fcnlere d\u00f6nme korkusuna kap\u0131lm\u0131\u015f insanlar\u0131n e\u011filimi. \u201cY\u0131rtma\u201d s\u00f6zc\u00fc\u011f\u00fcn\u00fcn yayg\u0131nla\u015fmas\u0131 bu g\u00fcnlere rastl\u0131yor i\u015fte. (Koz, 2000: 15)<\/p>\n

[\u2018Y\u0131rtma\u2019 seems easier, affects people more than \u2018k\u00f6\u015feyi d\u00f6nme\u2019 ]<\/strong> \u201c \u201cY\u0131rtma\u201d s\u00f6zc\u00fc\u011f\u00fc ger\u00e7ekten \u00f6nemli. Hamall\u0131ktan gelip milyarlar\u0131n \u00fczerine oturan insanlar\u0131n \u00f6yk\u00fcleri dilden dile dola\u015f\u0131p, k\u00f6\u015fe d\u00f6nme hayalleri geni\u015f bir \u201ctaban\u201d bulsa da, k\u00f6\u015fe d\u00f6nmeye soyunmak her yi\u011fidin harc\u0131 de\u011fildi \u00e7\u00fcnk\u00fc. Belli bir ili\u015fki altyap\u0131s\u0131, belli bir \u201cbizde her yol var\u201d altyap\u0131s\u0131 gerektiriyordu. Oysa \u2018y\u0131rtmak\u2019, bir ara a\u015fama olarak \u00e7o\u011fu insan i\u00e7in daha ger\u00e7ek\u00e7iydi. Onlar da \u00f6nce bu hedefe y\u00f6neldiler.\u201d (Koz, 2000: 15)<\/p>\n

[Demirel vs. \u00d6zal: english on the way to \u2018y\u0131rtma\u2019: ] \u201c<\/strong>\u0130ngilizce bilmenin \u00f6zel ayr\u0131cal\u0131k, ba\u015fl\u0131ba\u015f\u0131na stat\u00fc oldu\u011fu bir \u00e7evrede yeti\u015fen her insan gibi, b\u00f6yle konu\u015fmas\u0131 do\u011fald\u0131 belki. Ama do\u011fall\u0131\u011f\u0131 a\u015fan bir \u015fey vard\u0131, \u00d6zal, Demirel\u2019in k\u00f6yl\u00fc \u015fivesiyle yapt\u0131\u011f\u0131 oy avc\u0131l\u0131\u011f\u0131n\u0131, \u0130ngilizce s\u00f6zc\u00fckler kullanarak yap\u0131yordu. \u201cT\u00f6rnov\u0131r\u201dl\u0131, \u201cbel\u0131ns \u015fiit\u201dli c\u00fcmlelerin ard\u0131nda yatan buydu. \u00d6zal, T\u00fcrk halk\u0131n\u0131n yabanc\u0131 dil saplant\u0131s\u0131n\u0131 iyi yakalam\u0131\u015f ve y\u0131rtma umuduna giden yolun bir b\u00f6l\u00fcm\u00fcn\u00fc \u0130ngilizce ta\u015flar\u0131yla d\u00f6\u015femi\u015fti.\u201d (Koz, 2000: 15)<\/p>\n

[Computer: technology ]<\/strong> \u201cDemirel \u201cenerji\u201dnin adam\u0131yd\u0131. Barajlar, santraller yapt\u0131r\u0131yor, t\u00fckenmek bilmeyen enerjiyle oradan oraya ko\u015fu\u015fturuyordu. \u00d6zal ise enerjinin kan\u0131ksand\u0131\u011f\u0131, ikinci plana d\u00fc\u015ft\u00fc\u011f\u00fc, minimum enerjiyle maksimum i\u015f yapma \u00e7abalar\u0131n\u0131n \u00f6n plana \u00e7\u0131kt\u0131\u011f\u0131 d\u00f6nemin, y\u00fcksek teknoloji d\u00f6neminin adam\u0131.\u201d, \u201cOrta ve orta-alt s\u0131n\u0131flarda \u00e7ok tutulan \u201cBi \u0130ngilizce, bi bilgisayar, bu devirde ba\u015fka t\u00fcrl\u00fc y\u0131rtamazs\u0131n\u201d mant\u0131\u011f\u0131, politik kar\u015f\u0131l\u0131\u011f\u0131n\u0131 yarat\u0131c\u0131s\u0131nda, yani \u00d6zal\u2019da buldu.\u201d\u00a0 (Koz, 2000: 16)<\/p>\n

[Fear as \u00d6zal\u2019s strategy: ]<\/strong> \u201cKorkunun uzant\u0131s\u0131ndaki kokmaz bula\u015fmazl\u0131k havas\u0131 12 Eyl\u00fcl y\u00f6netiminden ona miras kalm\u0131\u015ft\u0131. \u201cRiskin sonu kader\u201d gibi bir ya\u015fam felsefesini her f\u0131rsatta \u00f6v\u00fcyordu ama kadercili\u011fin ve riskli giri\u015fimlere yatk\u0131nl\u0131\u011f\u0131n, bir toplumsal cesarete, \u201colursa olsun\u201d havas\u0131na d\u00f6n\u00fc\u015fmesini de istemiyordu. Tehditlerini \u00f6yle stratejik bir noktaya yerle\u015ftiriyordu ki, tav\u015fan burcunun korkmad\u0131\u011f\u0131 tek \u015fey \u00d6zal\u2019\u0131n tehditleri oluyordu.\u201d (Koz, 2000: 17)<\/p>\n

[Consumption, technology, getting rich and foreign goods: ]<\/strong> \u201cTeknolojik geli\u015fim, s\u0131n\u0131rs\u0131z t\u00fcketim, e\u015fi\u011finde bulunulan T\u00fcrk asr\u0131, kom\u015fu \u00fclkeleri elliye katlamak… Ve yabanc\u0131 sigaran\u0131n ka\u00e7ak\u00e7\u0131lardan temin edildi\u011fi, dolar\u0131n serbest\u00e7e al\u0131n\u0131p sat\u0131lamad\u0131\u011f\u0131, neskafenin en makbul hediye oldu\u011fu, ayr\u0131ca insanlar\u0131n birbirini \u00f6ld\u00fcrd\u00fc\u011f\u00fc g\u00fcnlere geri d\u00f6nmek… Bir yanda hayaller, bir yanda korku ve tam ortada \u00d6zal\u2019\u0131n tehditleri. \u00d6nceleri \u201cvurulursunuz, \u00f6ld\u00fcr\u00fcl\u00fcrs\u00fcn\u00fc\u201d korkusunun, zamanla \u201czengin olamazs\u0131n\u0131z, t\u00fcketemezsiniz\u201d korkusunun a\u011f\u0131r bast\u0131\u011f\u0131 tehditler.\u201d (Koz, 2000: 17)<\/p>\n

[MP stands on a slippery base, aims to get support from USA: ]<\/strong> \u201cBurada da ilk akla gelen dayanak noktas\u0131 yine ABD. Ve bu saptama herhalde yanl\u0131\u015f de\u011fil. Ama ABD\u2019yi \u00d6zal\u2019a destek verme konusunda ikna edecek ve ABD\u2019den gelen deste\u011fi ayakta durmak i\u00e7in yeterli k\u0131lacak bir g\u00fc\u00e7 daha gerekiyordu y\u00fckseli\u015f s\u00fcrecinde. O da bir t\u00fcr \u201cs\u0131n\u0131fsal kozmopolit k\u00fclt\u00fcr ittifak\u0131\u201dyd\u0131. Yani s\u0131n\u0131flar\u00fcst\u00fc arabesk k\u00fclt\u00fcr\u00fcn en zengin, en m\u00fcreffeh kesimiyle, kentlere ku\u015faklar boyu k\u00f6k salm\u0131\u015f sermaye \u00e7evrelerinin, \u00f6zellikle de finans kesimin ittifak\u0131…\u201d (Koz, 2000: 18)<\/p>\n

[Financial sector is growing in the world: ]<\/strong> \u201c\u00c7\u00fcnk\u00fc, d\u00fcnyada finans kesiminin a\u011f\u0131rl\u0131\u011f\u0131 artarken, bankerler d\u00f6neminin, borsa d\u00f6neminin, rant d\u00f6neminin temsilcisi olarak \u00d6zal sivrilmi\u015fti T\u00fcrkiye\u2019de. [commercial sector: ]<\/strong> Yaln\u0131zca bu kesimin de\u011fil, hem muhafazakar-dindar \u00e7evresinin, hem d\u0131\u015f pazarlara a\u00e7\u0131lma r\u00fcyas\u0131n\u0131n etkisiyle, ticaret kesiminin de deste\u011fini alm\u0131\u015ft\u0131. Ama \u00f6ncelik hep finans kesimindeydi, zaten ticaret kesimiyle finans kesimi aras\u0131nda \u00f6zel bir \u00e7eli\u015fki de yoktu.\u201d (Koz, 2000: 18-9)<\/p>\n

[Yuppies, trendsetters, capitalists, finance employees: ]<\/strong> \u201cBu nedenle, \u00d6zal\u2019\u0131n yak\u0131n\u0131nda, omuzunda, ulusal ve uluslararas\u0131 finans \u00e7evrelerinin temsilcileri vard\u0131 hep. \u0130ki ku\u015faktan milyarder, iyi e\u011fitimli bankac\u0131lar, hem i\u015fleriyle hem ya\u015fam bi\u00e7imleriyle stat\u00fc kazanm\u0131\u015f yat\u0131r\u0131m uzmanlar\u0131 filan. \u00d6zal\u2019\u0131n ithal mal\u0131 yuppieleri, prensleri de \u00e7o\u011funlukla devlet bankalar\u0131nda, devletin stratejik finans noktalar\u0131nda g\u00f6revlendirildiler. Merkez Bankas\u0131\u2019nda, Ziraat Bankas\u0131\u2019nda, \u0130MKB\u2019de, Kamu Ortakl\u0131\u011f\u0131 \u0130daresi\u2019nde… Onlar da k\u00fclt\u00fcrel a\u00e7\u0131dan, \u00f6zel finans kesimin k\u00f6kl\u00fc zenginleriyle benzer nitelikler ta\u015f\u0131yorlard\u0131. Her \u015feyleriyle \u201cin\u201d olmak bir yana, \u201cin\u201dleri yaratan insanlard\u0131.\u201d (Koz, 2000: 19)<\/p>\n

[Anatolian youngsters, \u00d6zal appeals like himself: ]<\/strong> \u201c[\u00d6zal] Safl\u0131kla alakas\u0131 bulunmayan bir Anadolu \u00e7ocu\u011fuydu. \u00dcstelik, finans a\u011f\u0131rl\u0131kl\u0131, ticaret destekli sistem, Kapal\u0131\u00e7ar\u015f\u0131\u2019da d\u00f6viz al\u0131p satacak, borsada vurgun kovalayacak, tahsilata \u00e7\u0131kacak, dahas\u0131 k\u00f6\u015fe d\u00f6nme hayallerinin pop\u00fclerle\u015fmesini sa\u011flayacak bir kesime, \u201colmazsa olmaz\u201d d\u00fczeyinde ihtiya\u00e7 g\u00f6steriyordu: \u00d6zal gibi, safl\u0131kla alakalar\u0131 olmayan, \u015fart de\u011filse bile tercihen \u00fclk\u00fcc\u00fc k\u00f6kenli, BMW\u2019nin teybine arabesk kaset koyarak ne\u015felerini bulan Anadolu \u00e7ocuklar\u0131. \u0130ttifak\u0131n di\u011fer kanad\u0131…\u201d (Koz, 2000: 19)<\/p>\n

[New right, End of Ideologies, Pragmatism: ]<\/strong> \u201cAna e\u011filim, yeni d\u00fcnya d\u00fczeni denen \u015fey ve y\u00fckselen sa\u011f de\u011ferlerdi. \u00d6zal, bunlar\u0131n temelinde ve hala var. \u0130deolojilerin yar\u0131 canl\u0131 halde mezara g\u00f6m\u00fcld\u00fc\u011f\u00fc bir d\u00f6nemde, t\u00fcccar zihniyetli pragmatizme tarihin en rahat at ko\u015fturma imkan\u0131n\u0131 yaratan r\u00fczgarlar\u0131 \u201cuyan\u0131k\u00e7a\u201d kucaklad\u0131.\u201d (Koz, 2000: 20)<\/p>\n

[Thatcherism, middle class: ]<\/strong> \u201cEn tipik uygulamas\u0131n\u0131 Thatcher d\u00f6neminin \u0130ngiltere\u2019sinde bulan bir sistemin temsilcisi \u00d6zal. Bir avu\u00e7 vurguncuyu, tefeciyi, sahtekar\u0131 de\u011fil, orta s\u0131n\u0131f\u0131n geni\u015f\u00e7e bir dilimini m\u00fcreffeh hale getiren, orta s\u0131n\u0131f\u0131n daha geni\u015f bir \u201ctutunamayanlar\u201d dilimiyle en yoksul s\u0131n\u0131f\u0131 birle\u015ftirip hi\u00e7 kaale almayan bir politikan\u0131n temsilcisi.\u201d<\/p>\n

\u0130\u015fte ANAP\u2019\u0131n k\u0131k\u0131rdan taban\u0131 da, 1983\u2019ten bu yana refah s\u0131\u00e7ramas\u0131 yapan, yoksullara kar\u015f\u0131 \u201corta-\u00fcst s\u0131n\u0131f\u0131n ihaneti\u201d tarihine yeni bir sayfa ekleyen o insan dilimi. Sistemin refaha sefer yapan ara\u00e7lar\u0131 genellikle finans kesimi hatt\u0131n\u0131 kulland\u0131klar\u0131 i\u00e7in, \u201cbu dilimin en b\u00fcy\u00fck dilimi\u201d, finans sekt\u00f6r\u00fcn\u00fcn merkezlerinde, b\u00fcy\u00fck kentlerde ya\u015f\u0131yor.\u201d (Koz, 2000: 22)<\/p>\n

[[Unu, Ya\u011f\u0131, \u015eekeri Bo\u015fver, Helvan\u0131n \u0130maj\u0131 Yeter: MESUT YILMAZ -> Entegre \u00e7\u0131kar organizasyonu ve medyan\u0131n korkutucu g\u00fcc\u00fc]]<\/strong><\/p>\n

[Cosmopitan culture, alliance: ] <\/strong>\u201cANAP\u2019\u0131n kurulu\u015funda ve y\u0131pranma s\u00fcrecine kar\u015f\u0131n varl\u0131\u011f\u0131n\u0131 s\u00fcrd\u00fcrebilmesinde \u00f6nemli rol oynayan \u201cs\u0131n\u0131fsal kozmopolit k\u00fclt\u00fcr ittifak\u0131\u201d, yani s\u0131n\u0131flar\u00fcst\u00fc arabesk k\u00fclt\u00fcr\u00fcn en zengin, en m\u00fcreffeh ve hayli karanl\u0131k kesimiyle kentli sermaye \u00e7evreleri aras\u0131ndaki ittifak, \u015fu \u00d6zal\u2019\u0131n k\u00f6pr\u00fc-kanal-eklem ba\u011f\u0131 i\u015flevini \u00fcstlendi\u011fi ittifak \u00e7at\u0131rdamaya ba\u015flad\u0131\u011f\u0131 anda o elbiseye adam aranmaya ba\u015flam\u0131\u015ft\u0131. Aray\u0131\u015fa ge\u00e7enler, kentlilerdi.\u201d (Koz, 2000: 27-8)<\/p>\n

[Hitting the jackpot, turning the corner \u2013> over! ]<\/strong> \u201c\u00d6yle ya, sistem oturmu\u015ftu art\u0131k. Babalar\u0131n, hayali ihracat\u00e7\u0131lar\u0131n, \u00e7ek-senet tahsilat\u00e7\u0131lar\u0131n\u0131n gazete man\u015fetlerindeki, k\u00f6\u015fe d\u00f6nme hayallerindeki a\u011f\u0131rl\u0131klar\u0131 iyice kaybolmu\u015ftu. Onlar elbette yok edilmeyeceklerdi ama eski konumlar\u0131na, geleneksel alanlar\u0131na \u00e7ekilmeleri gerekiyordu. Finans a\u011f\u0131rl\u0131kl\u0131 ekonomik d\u00fczen, onlar olmadan da i\u015fleyebilir hale gelmi\u015fti.\u201d (Koz, 2000: 28)<\/p>\n

[State & Capital consolidation: ]<\/strong> \u201cSermaye kesimi, devletin kollad\u0131\u011f\u0131 bir kesim de\u011fil art\u0131k, d\u00fcped\u00fcz orta\u011f\u0131. Mevcut iktidarla aras\u0131 bozulabilir, gerginlikler \u00e7\u0131kabilir, ba\u015fka iktidar adaylar\u0131na g\u00f6z k\u0131rp\u0131labilir. Normaldir, kazan\u00e7 d\u00fcnyas\u0131d\u0131r bu. Aslolan, iktidarlar de\u011fi\u015fse de \u015firket-devlet \u00fczerindeki etkinin, ortakl\u0131k anla\u015fmas\u0131n\u0131n bozulmamas\u0131n\u0131 sa\u011flayacak bir mekanizma kurmak, d\u00fczenin de\u011ferlerini savunacak bir birimi devreye sokmakt\u0131r. Yani entegre tesislerin \u00fc\u00e7\u00fcnc\u00fc aya\u011f\u0131n\u0131, medyay\u0131…\u201d (Koz, 2000: 29)<\/p>\n

[Media serving interests of state & capital: ]<\/strong> \u201cTelevizyon kanallar\u0131 ve gazete-dergi piyasas\u0131na egemen kurulu\u015flar, medya \u00e7a\u011f\u0131nda, \u201centegre \u00e7\u0131kar kollama organizasyonlar\u0131\u201dn\u0131n en kritik aya\u011f\u0131 belki de. \u00c7\u00fcnk\u00fc, toplumsal engellere g\u00f6\u011f\u00fcs germe g\u00f6revi onlara d\u00fc\u015f\u00fcyor. Bu nedenledir ki, organizasyonun ilk iki aya\u011f\u0131, devlet ve sermaye \u00e7evreleri, \u00f6zellikle de finans \u00e7evreleri medyay\u0131 ku\u015fatma alt\u0131na al\u0131yor. \u015eirket-devletin be\u015f kanall\u0131 televizyonu var. \u00d6zel televizyon yay\u0131nc\u0131l\u0131\u011f\u0131na getirilen yasa\u011f\u0131 a\u015fabilmi\u015f ilk kurulu\u015f, \u00d6zal Ailesi-\u0130mar Bankas\u0131 ortakl\u0131\u011f\u0131. Ancak, bu yasa\u011f\u0131n \u00e7\u0131kar organizasyonu a\u00e7\u0131s\u0131ndan pek bir anlam\u0131 yok. \u00c7\u00fcnk\u00fc, teknolojinin maliyeti, finans \u00e7evrelerine yaslanmayan bir kurulu\u015fun g\u00f6r\u00fcnt\u00fcl\u00fc yay\u0131nc\u0131l\u0131\u011fa ge\u00e7mesine zaten izin vermiyor.\u201d (Koz, 2000: 29)<\/p>\n

[Bombardment of the \u2018new values\u2019: ]<\/strong> \u201cBu kamuflaj i\u015fi, g\u00fc\u00e7l\u00fc bir altyap\u0131 gerektiriyor, var. Bir tak\u0131m yeni de\u011ferlerin, derinli\u011fi olmayan kavramlar\u0131n yayg\u0131nla\u015ft\u0131r\u0131lmas\u0131n\u0131, seri halde \u00fcretilip, toplumun \u00fczerine bombard\u0131man yoluyla ya\u011fd\u0131r\u0131lmas\u0131n\u0131 gerektiriyor. M\u00fcmk\u00fcn…\u201d (Koz, 2000: 30)<\/p>\n

[Compromise, \u2018conventionalism\u2019: ] <\/strong>\u201c\u015eirketle\u015fen devletin ve sermaye \u00e7evrelerinin \u00e7\u0131kar\u0131na i\u015fleyen bir mekanizma i\u00e7in en b\u00fcy\u00fck tehlike ne olabilir? Ku\u015fkusuz, toplumsal muhalefet. O zaman, muhalefet, \u201ck\u00f6r\u00fc k\u00f6r\u00fcne bir anlay\u0131\u015f\u201d damgas\u0131n\u0131 yemeli medyadan. Muhalefetin alternatifi olarak y\u00fckseltilecek kavram, k\u00f6p\u00fcrt\u00fclecek de\u011fer de \u201cuzla\u015fma\u201d ad\u0131 alt\u0131nda, \u201cuzla\u015fmac\u0131l\u0131k\u201d \u00f6vg\u00fcs\u00fc olmal\u0131.\u201d (Koz, 2000: 30)<\/p>\n

[West, consumption, urban values, media: ]<\/strong> \u201cIl\u0131ml\u0131l\u0131k ve uzla\u015fma sayesinde ya\u015fand\u0131\u011f\u0131 s\u00f6ylenen bu de\u011fi\u015fimin y\u00f6n\u00fc Bat\u0131, bu bir<\/strong>. Medya arac\u0131l\u0131\u011f\u0131yla \u00f6zlem haline getirilen \u201ct\u00fcketime g\u00f6re stat\u00fc\u201d temelindeki ya\u015fam bi\u00e7imi, kentlerdeki ili\u015fki a\u011f\u0131na daha uygun, bu iki<\/strong>. Kentliler, k\u0131rsal alanlarda ya\u015fayan insanlara g\u00f6re de\u011fi\u015fim s\u00f6ylemini daha kolay benimseyebilirler, bu \u00fc\u00e7<\/strong>. Ortada kentli sermaye \u00e7evrelerinin ve kent k\u00f6kenli medya y\u00f6neticilerinin a\u011f\u0131rl\u0131k koyma operasyonu var, bu d\u00f6rt<\/strong>. Demek ki kent de\u011ferlerinin y\u00fcceli\u011fi ve egemenli\u011fi de savunulmal\u0131.\u201d (Koz, 2000: 31)<\/p>\n

[New managers: ]<\/strong> \u201cYeni d\u00fczenin, y\u00fckselen de\u011ferlerin \u015firketlerdeki yans\u0131mas\u0131 nedir? Gen\u00e7, iyi e\u011fitimli, ihtirasl\u0131, y\u00fcz\u00fc Bat\u0131\u2019ya d\u00f6n\u00fck y\u00f6neticiler. O zaman, \u015firketle\u015fen devlet de bu ku\u015faktan bir y\u00f6neticiye verilmeli. D\u00fcnyay\u0131 medyan\u0131n \u00fcretti\u011fi g\u00f6zl\u00fcklerle izlemek zorunda kalan gen\u00e7 ku\u015faklar\u0131n yaratt\u0131\u011f\u0131 oy potansiyeli de g\u00f6z \u00f6n\u00fcnde bulundururlarsa, demek ki gen\u00e7lik ve dinamizmin alt\u0131na da kal\u0131n \u00e7izgiler \u00e7ekilmeli.\u201d (Koz, 2000: 31)<\/p>\n

[[Her Yola Gelen Karizmatik Amele: \u0130BRAH\u0130M TATLISES -> Arabeskin hayat hikayesi ve K\u00fcrtlerin toplumsal y\u00fckseli\u015fi]]<\/strong><\/p>\n

[Summary of IBO\u2019s existence in relation to arabesk: ] <\/strong>\u201c\u0130brahim Tatl\u0131ses bir hikaye: Hayat\u0131, arabeskin hayat hikayesi gibi. \u0130brahim Tatl\u0131ses bir simge: K\u00fcrtlerin toplumsal y\u00fckseli\u015finin simgesi. \u0130brahim Tatl\u0131ses bir ses: Ama ne ses… Evet \u0130brahim Tatl\u0131ses\u2019in hayat hikayesi, arabeskin hayat hikayesi gibi bir \u015fey. Ve her iki hikaye de yaz\u0131la yaz\u0131la kabak tad\u0131 vermi\u015f durumda. Neyse ki, \u201cAllah uzun \u00f6m\u00fcrler versin\u201d deyip dememek bir tercih meselesi, arabesk de hayatta \u0130brahim Tatl\u0131ses de hayatta ve hikaye dinamik bir hikaye. Yeni b\u00f6l\u00fcmlerle uzay\u0131p gidiyor.\u201d (Koz, 2000: 37)<\/p>\n

[Regarding the squatters, until arabesk: there is a production \u2018about\u2019 them, now, there is a production \u2018for\u2019 them]<\/strong> (Koz, 2000: 38-9)<\/p>\n

[Minibus music: ] <\/strong>\u201cGecekondu mahallelerinden hat alan minib\u00fcslerde dinlendi\u011fi i\u00e7in minib\u00fcs m\u00fczi\u011fi denen yeni dalga, ezikli\u011fi, d\u0131\u015flanm\u0131\u015fl\u0131\u011f\u0131, garibanl\u0131\u011f\u0131 seslendiriyor. Ger\u00e7ek ac\u0131 ve hayat gariban mahallelerine \u00e7ok fazla \u015fey vaat etmiyor. Ama minib\u00fcs m\u00fczi\u011findeki ac\u0131 ve umutsuzluk, ger\u00e7ek\u00fcst\u00fcn\u00fcn boyutlar\u0131n\u0131 zorluyor. \u201cBen zaten her ac\u0131n\u0131n tiryakisi olmu\u015fum\/ Hi\u00e7bir zaman bitmeyen dert ile yo\u011frulmu\u015fum\u201d \u015fark\u0131s\u0131n\u0131n dilden dile dola\u015ft\u0131\u011f\u0131 bir ortamda, umut menzili \u201cBu \u0131sd\u0131rab\u0131m bir g\u00fcn bitecek\u201d \u015fark\u0131s\u0131n\u0131n s\u0131n\u0131rlar\u0131n\u0131 a\u015fam\u0131yor \u00f6rne\u011fin. Kentteki \u00fcretim ili\u015fkilerinin ve kentteki yerle\u015fimin k\u0131y\u0131s\u0131na oturan, i\u00e7 ili\u015fkilerinde ise tam \u201ciki arada bir derede\u201d a\u015famas\u0131n\u0131 ya\u015fayan yoksul insanlar\u0131n d\u00fcnyas\u0131nda, tutunacak bir dal oluyor bu \u015fark\u0131lar.\u201d (Koz, 2000: 40)<\/p>\n

[Orhan Gencebay: not a great opressed, a bit career-oriented: ]<\/strong> \u201c…zaten gecekondu mahalleleri hen\u00fcz kendi m\u00fcziklerini \u00fcretemiyorlar, onlar i\u00e7in \u00fcretiliyor. \u201cOrhan Abi\u201dnin delikanl\u0131l\u0131\u011f\u0131, durgun ama etkili ve garibanl\u0131ktan uzak tavr\u0131, gecekondu mahallelerinde sayg\u0131 uyand\u0131rd\u0131\u011f\u0131 gibi, orta s\u0131n\u0131ftan kentlilerde de ilgi uyand\u0131r\u0131yor.\u201d (Koz, 2000: 40)<\/p>\n

[Squatters from 60s to 70s: ]<\/strong> \u201c60\u2019l\u0131 y\u0131llar\u0131n sonunda 70\u2019li y\u0131llar\u0131n sonuna kadar bir s\u00fcr\u00fc \u015fey de\u011fi\u015fecek ama kentlilerle gecekondu k\u00fclt\u00fcr\u00fc aras\u0131ndaki farkl\u0131l\u0131k yine de \u00e7at\u0131\u015fmaya d\u00f6n\u00fc\u015fmeyecek. D\u00f6nemin ko\u015fullar\u0131, \u201cOnlar bizden iyi kazan\u0131yor\u201d muhabbetini \u201cO i\u015f\u00e7iler bir zamlar alm\u0131\u015f, vallahi zengin oldular\u201da \u00e7evirecek, hepsi bu.\u201d (Koz, 2000: 40)<\/p>\n

[Ferdi Tayfur rises in late 70s, screecher style, fits to minibus music, changes in Gencebay route: ]<\/strong> \u201cK\u00fc\u00e7\u00fck kentlerde genelev \u00e7ayc\u0131l\u0131\u011f\u0131ndan y\u0131ld\u0131zl\u0131\u011fa s\u0131\u00e7rayan Tayfur\u2019un kendisi olsun, ayn\u0131 d\u00f6nemde parlamaya ba\u015flayan M\u00fcsl\u00fcm G\u00fcrses gibi di\u011fer yeniler olsun, gurbet\u00e7i-gecekonducu tipine daha yak\u0131n isimler. Gencebay\u2019a k\u0131yasla, \u00e7ok daha gariban bir ge\u00e7mi\u015fe sahipler. Bu, gecekondu mahallelerinin kendi m\u00fcziklerini \u00fcretme a\u015famas\u0131na ge\u00e7meleri demek.\u201d (Koz, 2000: 41)<\/p>\n

[Arabesk in Late 70s: second generation squatters, Sardonic, but not hostile attributions (k\u0131ro, keko, hanzo), arabesk is now a sector, many casettes…] <\/strong>(Koz, 2000: 41-2)<\/p>\n

[12 September: intellectuals start daily life culture discussions, claiming pre-1980 as highly \u2018ideologic\u2019 and missing some values, art magazins boom, \u2018arabesk debates\u2019: ]<\/strong> \u201c12 Eyl\u00fcl\u2019\u00fcn dayatt\u0131\u011f\u0131 politik suskunluk, sanat dergilerinin k\u0131sa s\u00fcren alt\u0131n \u00e7a\u011f\u0131n\u0131 ba\u015flat\u0131yor. Ve ayd\u0131nlar, bir dolayl\u0131 politik tart\u0131\u015fma yolu olarak, g\u00fcndelik ya\u015fam k\u00fclt\u00fcr\u00fc \u00fczerine yo\u011funla\u015f\u0131yorlar. Dahas\u0131, 12 Eyl\u00fcl \u00f6ncesinde<\/em> her \u015feye ideolojik bakt\u0131klar\u0131 d\u00fc\u015f\u00fcncesine kap\u0131l\u0131p baz\u0131 de\u011ferleri iyice es ge\u00e7tikleri kayg\u0131s\u0131na d\u00fc\u015f\u00fcyorlar. Bu de\u011ferlerin ba\u015f\u0131nda burjuva ya\u015fam bi\u00e7imini \u015fekillendiren kent de\u011ferleri geliyor. Ve bir arabesk tart\u0131\u015fmas\u0131d\u0131r gidiyor.\u201d (Koz, 2000: 42)<\/p>\n

[Lahmacun-\u00e7i\u011f k\u00f6fte-arabesk, intellectuals divide to 3 fractions: ]<\/strong> \u201c \u201cDo\u011fal bir olgudur\u201d diyenler, kendilerinde izin verme yetkisi g\u00f6r\u00fcp \u201cb\u0131rakal\u0131m dinlesinler\u201d ho\u015fg\u00f6r\u00fcs\u00fcne vuranlar ve s\u0131k\u0131 anti-arabesk\u00e7iler, ki a\u011f\u0131rl\u0131k \u00fc\u00e7\u00fcnc\u00fc kesimde.\u201d (Koz, 2000: 42)<\/p>\n

[Winds of nostalgia: Old stories of \u0130stanbul, Beyo\u011flu, Levantenler, \u015eirket-i Harbiye ships: ] <\/strong>\u201cYitip giden o ya\u015fam bi\u00e7iminin katilleri i\u00e7in bast\u0131r\u0131lan \u201caran\u0131yor\u201d ilanlar\u0131ndaki foto\u011fraf haz\u0131r zaten: Arabesk k\u00fclt\u00fcr. Ekonomik g\u00f6\u00e7, k\u0131rsal yoksulluk gibi olgular, 70\u2019li y\u0131llar\u0131n dosyalar\u0131na kitlenip, arabesk k\u00fclt\u00fcr yayl\u0131m ate\u015fine tutuluyor. O g\u00fczelim kent ya\u015fam\u0131n\u0131 mahveden, lahmacun kokular\u0131 ve ac\u0131 dolu, karamsar m\u00fczikleriyle ortal\u0131\u011f\u0131 katan kabasaba insanlar a\u015fa\u011f\u0131land\u0131k\u00e7a a\u015fa\u011f\u0131lan\u0131yor. A\u00e7\u0131k\u00e7a \u201cBen lahmacuna kar\u015f\u0131y\u0131m arkada\u015f\u201d diyenler var art\u0131k…. epeyce destekleyici buluyor\u201d (Koz, 2000: 42-3)<\/p>\n

[Variances in arabesk, it grows real fast: ]<\/strong> \u201cEvet, 80\u2019li y\u0131llarla birlikte arabeskte dinamik bir de\u011fi\u015fim, kafa kar\u0131\u015ft\u0131r\u0131c\u0131 bir \u00e7e\u015fitlenme ba\u015fl\u0131yor. Kadercilik ufak \u00e7atlaklar veriyor \u00f6nce. Kentlere iyice yerle\u015fen, kendilerine tart\u0131\u015f\u0131lmaz ya\u015fama alanlar\u0131 edinen eskimi\u015f gurbet\u00e7iler, ki art\u0131k gurbet\u00e7i falan de\u011fil kent halk\u0131n\u0131n par\u00e7as\u0131 durumundalar, Allah ne verirse o kimli\u011fe ve o konuma raz\u0131 olma kadercili\u011fini k\u0131r\u0131yorlar. Kendilerine yeni kimlik, yeni de\u011ferler veriyorlar. Yaln\u0131zca para ve refah de\u011fil art\u0131k istedikleri. Bir ba\u015fka hayata uzanmak da istiyorlar. Televizyon dizilerindeki, Ni\u015fanta\u015f\u0131\u2019ndaki, Ba\u011fdat Caddesi\u2019ndeki gibi. Do\u011fal sonucu olan g\u00f6rece iyimserli\u011fin kolunda, umutlu bir aray\u0131\u015f bu. Kara sevdalar ho\u015flanmaya, b\u00fcy\u00fck a\u015fklar \u00e7\u0131kmaya, kahveler kafeye d\u00f6n\u00fc\u015f\u00fcyor, gecekondu mahallesi olma \u00f6zelli\u011fini yitiren birinci ku\u015fak \u201ceski k\u00f6yl\u00fc\u201d yerle\u015fim b\u00f6lgelerinde.\u201d (Koz, 2000: 43-4)<\/p>\n

[Luxury and \u2018y\u0131rtma\u2019 in squatters: ]<\/strong> \u201cY\u0131llar\u0131n insan ve deneyim birikimi, 24 Ocak kararlar\u0131n\u0131n d\u00fczledi\u011fi f\u0131rsatlar zeminiyle birle\u015fince, eski gurbet\u00e7ilerin i\u00e7inden k\u00fclt\u00fcrlerini l\u00fcks mahallelere ta\u015f\u0131yan epey insan \u00e7\u0131k\u0131yor. Belki daha \u00f6nemlisi, hep birlikte de\u011fil, \u201ci\u015f bilerek\u201d teker teker y\u0131rtma \u015fans\u0131n\u0131n do\u011fdu\u011fu g\u00f6r\u00fcl\u00fcyor. Birinci ku\u015fak gecekondu mahalleleri metropollerin ortas\u0131nda kald\u0131\u011f\u0131 i\u00e7in, gayr\u0131menkule dayal\u0131 rant refah\u0131n\u0131 yakal\u0131yor baz\u0131lar\u0131. Bu refah, finans sekt\u00f6r\u00fcn\u00fcn geli\u015fimine paralel olarak, menkul de\u011fer yat\u0131r\u0131mlar\u0131yla katmerleniyor.\u201d (Koz, 2000: 44)<\/p>\n

[There is still migration: ]<\/strong> \u201cAncak, di\u011fer yandan, g\u00f6\u00e7 s\u00fcr\u00fcyor. \u00dc\u00e7\u00fcnc\u00fc, d\u00f6rd\u00fcnc\u00fc ku\u015fak gecekondu mahalleleri \u00e7evreliyor kentleri. Bu mahallelerin sakinleri, rant refah\u0131n\u0131n uza\u011f\u0131nda, hayli ezik, hayli yoksul ve yoksun, k\u0131rsal de\u011ferlere yak\u0131n insanlar.\u201d [so, for arabesk music, there are different target audiences; hope and despair must stay together, market grows meanwhile]<\/strong> (Koz, 2000: 44)<\/p>\n

[Intellectuals still can not see that Arabesk is not only pessimistic, hopeless, \u2018ezik\u2019; it met with hope and optimism in 80s. Some intellectuals see it, some not: ]<\/strong> \u201c…ama garibanlar s\u0131n\u0131f\u0131n\u0131 a\u015farak s\u0131n\u0131flar\u00fcst\u00fc hale geldi\u011fi, m\u00fczi\u011fi a\u015farak bir ya\u015fam k\u00fclt\u00fcr\u00fc haline geldi\u011fi 80\u2019lerin ortas\u0131nda yayg\u0131n kabulle kar\u015f\u0131lanacak.\u201d (Koz, 2000: 45)<\/p>\n

[Intellectuals, bourgeois values and their encounter with arabesk: ]<\/strong> \u201cAyd\u0131nlar i\u00e7in g\u00f6r\u00fc\u015f mesafesinin en \u00e7ok artt\u0131\u011f\u0131 yer, Bodrum. Burjuva de\u011ferlerine s\u0131ms\u0131k\u0131 sar\u0131lm\u0131\u015f ayd\u0131nlar, yitirdikleri, daha do\u011frusu yitirdiklerini d\u00fc\u015f\u00fcnd\u00fckleri kent ya\u015fant\u0131s\u0131n\u0131 sahil kasabalar\u0131nda bulmaya \u00e7al\u0131\u015f\u0131rken, en sevdikleri ka\u00e7amak mekanlar\u0131nda arabeskin \u00f6nc\u00fc kuvvetleriyle kar\u015f\u0131la\u015facaklar. Ve anlayacaklar ki, arabesk b\u00fcy\u00fcm\u00fcs, baba evi olan mahalleleri terk edip hayata at\u0131lm\u0131\u015f durumda ve yan\u0131ba\u015flar\u0131nda. K\u0131zmakta hakl\u0131 olduklar\u0131 noktalar var elbetteki ama yapacak bir \u015fey yok.<\/p>\n

\u00c7\u00fcnk\u00fc daha sofistike, daha estetik, daha \u201cho\u015f\u201d bir hayal kovalarken, burjuva ya\u015fam bi\u00e7iminin g\u00fczergah\u0131na girmi\u015fler. S\u0131n\u0131flar\u00fcst\u00fc arabesk k\u00fclt\u00fcr\u00fcn m\u00fcreffeh kesimi de, paran\u0131n keyfini s\u00fcrmek ve yeni kimlik edinmek ad\u0131na ayn\u0131 g\u00fczergahta ilerliyor. Sosyal tarihin kural\u0131 bu, k\u00f6kl\u00fc burjuvalar ka\u00e7acak, ekonomik a\u00e7\u0131dan s\u0131n\u0131f atlay\u0131p k\u00fclt\u00fcrel a\u00e7\u0131dan s\u0131n\u0131f atlayamayan yeni zenginler kovalayacak. Lokantadan lokantaya, mahalleden mahalleye, yazl\u0131ktan yazl\u0131\u011fa… Hele 50\u2019lerin, 60\u2019lar\u0131n komedi filmlerine malzeme, \u201cPek bir modereniz canum\u201d diyen hac\u0131a\u011falar\u0131n tekt\u00fckl\u00fc\u011f\u00fcnden, 80\u2019lerin arabesk k\u00f6kenli taze m\u00fcreffeh kalabal\u0131\u011f\u0131na ge\u00e7ilmi\u015fse b\u00fcy\u00fck sorunlar da \u00e7\u0131kacak. Bu ka\u00e7\u0131n\u0131lmaz bir \u015fey.\u201d (Koz, 2000: 45)<\/p>\n

[The nicknames: zonta, maganda, entel: ]<\/strong> \u201cBeyo\u011flu\u2019nu arabesk k\u00fclt\u00fcr\u00fcn garibanlar\u0131na kapt\u0131rmay\u0131 hazmedemeyenler, ki Beyo\u011flu\u2019ndan s\u0131k\u0131l\u0131p hicret edenler de kendileridir, ayn\u0131 k\u00fclt\u00fcr\u00fcn BMW\u2019li, alt\u0131n k\u00fcnyeli insanlar\u0131yla Bebek\u2019te, Ortak\u00f6y\u2019de kar\u015f\u0131la\u015fmaya ba\u015flay\u0131nca ciddi s\u00fcrt\u00fc\u015fmeler \u00e7\u0131k\u0131yor ortaya. Eskinin ezik gurbet\u00e7ilerine \u201ck\u0131ro, hanzo\u201d denirken, kendilerinde belli bir g\u00fc\u00e7 g\u00f6ren \u201980-\u201990 model arabesk k\u00fclt\u00fcr insanlar\u0131na \u201czonta\u201d ve \u201cmaganda\u201d denmeye ba\u015fl\u0131yor. Bu yak\u0131\u015ft\u0131rmalara, \u201centel\u201d s\u0131fat\u0131yla cevap veriliyor. Oysa entel, \u00f6zellikle gen\u00e7 ayd\u0131nlar\u0131n y\u0131llard\u0131r birbirlerine ili\u015ftirip durduklar\u0131 ve hi\u00e7 kimsenin \u00fczerine al\u0131nmad\u0131\u011f\u0131 bir s\u0131fat.\u201d (Koz, 2000: 46)<\/p>\n

[Who\u2019s entel, Who\u2019s maganda? ]<\/strong> \u201cVe kim entel, kim maganda birbirine kar\u0131\u015f\u0131yor. Hayat\u0131nda kitap okumam\u0131\u015f insanlara, \u015fiveleri Anadolu\u2019dan herhangi bir b\u00f6lgeyi \u00e7a\u011fr\u0131\u015ft\u0131rmad\u0131\u011f\u0131 i\u00e7in entel dendi\u011fi oluyor. Kendi halinde gariban insanlar, l\u00fcks\u00e7e bir caddede y\u00fcr\u00fcd\u00fcklerinde \u201cAmaan, magandalar geldi\u201d a\u015fa\u011f\u0131lamas\u0131na \u00e7arp\u0131yorlar. \u201cGodu\u011fumun entelleri\u201d zaman zaman ac\u0131mas\u0131zca d\u00f6v\u00fcl\u00fcyor. K\u00f6yl\u00fc hizmet\u00e7i rolleriyle y\u00fck\u00fcn\u00fc tutan ANAP\u2019l\u0131 bir komedyen, Atak\u00f6y\u2019deki bar\u0131n\u0131n kap\u0131s\u0131na \u201cMaganda Giremez!\u201d uyar\u0131s\u0131n\u0131 as\u0131yor. Fiziksel \u00e7at\u0131\u015fmaya \u00e7ok seyrek d\u00f6n\u00fc\u015fse de, so\u011fuk sava\u015f gerilimi i\u00e7inde bir karambold\u00fcr gidiyor yani.\u201d (Koz, 2000: 46)<\/p>\n

[Arabesk vs. Anti-Arabesk sector, class mobility, reverse of the pre-1980: ]<\/strong> \u201cArabesk s\u00f6zc\u00fc\u011f\u00fcn\u00fcn sa\u011fanak halinde kullan\u0131m\u0131 ve arabesk k\u00fclt\u00fcrden insanlar\u0131n refah yoluyla metropol hayat\u0131na kar\u0131\u015fmalar\u0131, arabesk muhabbetini ayd\u0131nlar\u0131n tekelinden \u00e7\u0131kar\u0131p pop\u00fclerle\u015ftiriyor. Kentli orta s\u0131n\u0131ftan \u00f6ylesine insanlar da ona buna arabesk diyip, \u00e7i\u011fk\u00f6fte, lahmacun esprilerine \u00e7ok g\u00fcl\u00fcyorlar. Ve i\u015f bir noktada, y\u0131llar \u00f6ncesiyle 180 derece ters y\u00f6nde bir s\u0131n\u0131fsal tepkiye d\u00f6n\u00fc\u015f\u00fcyor. Kentli orta s\u0131n\u0131flar, arabesk k\u00fclt\u00fcr\u00fc \u201cmilyarder ay\u0131lar\u201d\u0131n hayat\u0131 olarak g\u00f6rmeye ba\u015fl\u0131yor. Ekonomik a\u00e7\u0131dan s\u0131n\u0131f atlamayla k\u00fclt\u00fcrel a\u00e7\u0131dan s\u0131n\u0131f atlama birbirine kar\u0131\u015ft\u0131r\u0131l\u0131p, \u201csosyete arabesk oldu\u201d deniyor. Ve bu tepkinin kar\u015f\u0131s\u0131nda, k\u00fc\u00e7\u00fck \u00e7apl\u0131 da olsa, yine y\u0131llar \u00f6ncesinin tam tersi bir geli\u015fme ya\u015fan\u0131yor. Arabeskin sekt\u00f6rle\u015fmesine kar\u015f\u0131n, anti-arabesk sekt\u00f6r do\u011fuyor. Hani \u015fu \u201cMaganda Giremez!\u201d barlar\u0131 gibi, gazete ilanlar\u0131ndaki \u201cAnti-Arabesk Tatil\u201d vaatleri gibi. (Koz, 2000: 47)<\/p>\n

[Urban culture, urban values\u00a0 are nourished by consuming and investment: ]<\/strong> \u201cAncak, arabesk k\u00fclt\u00fcre, daha do\u011frusu bu k\u00fclt\u00fcr\u00fcn baz\u0131 vagonlar\u0131na en b\u00fcy\u00fck darbe, yanlardan de\u011fil tepeden gelecek. De\u011fi\u015fim, \u00e7a\u011f atlama, h\u0131zl\u0131 geli\u015fim, globalle\u015fme filan denirken bir \u201cy\u00fckselen de\u011ferler\u201d kavram\u0131 at\u0131lacak ortaya. ANAP i\u00e7indeki zengin arabesk kesimle yapt\u0131\u011f\u0131 ittifak\u0131 fesheden kentli sermaye \u00e7evreleri, onlarla kolkola gezen medya prensleri ve baz\u0131 liberal ayd\u0131nlar, y\u00fckselen de\u011ferlerin kent de\u011ferleri oldu\u011funu, k\u00f6yl\u00fcl\u00fcl\u00fc\u011f\u00fcn tamamen devreden \u00e7\u0131kmas\u0131 gerekti\u011fini s\u00f6yleyecekler. Bu, liberallik ad\u0131na tepeden inmeci bir tav\u0131r. \u00c7\u00fcnk\u00fc k\u00f6yl\u00fcl\u00fckle kentlili\u011fi ay\u0131ran \u00e7izgi, t\u00fcketim ve yat\u0131r\u0131m kal\u0131plar\u0131ndan ge\u00e7iyor, kent de\u011ferlerinin savunucular\u0131na bak\u0131l\u0131rsa.\u201d (Koz, 2000: 47)<\/p>\n

[If you consume, you are urbanite. Otherwise you are villager]<\/strong> (Koz, 2000: 48)<\/p>\n

[Various arabesk examples with the 80s: ] <\/strong>\u201cOrhan-Ferdi d\u00f6neminin ard\u0131ndan h\u0131zl\u0131 bir \u00e7e\u015fitlenme ba\u015fl\u0131yor. Arabeskin, b\u00fcy\u00fck kentler d\u0131\u015f\u0131ndaki as\u0131l t\u0131rman\u0131\u015f\u0131 da ayn\u0131 d\u00f6nemde ya\u015fan\u0131yor yine. Gaziantep\u2019de \u0130M\u00c7 benzeri bir kaset yap\u0131mc\u0131lar\u0131 sitesi kurulurken, b\u00fcy\u00fck kentlere \u201cne i\u015f olsa yapar\u0131m\u201dc\u0131larla birlikte arabesk kral\u0131 adaylar\u0131 da ak\u0131yor.\u201d (Koz, 2000: 48)<\/p>\n

[Child stars of arabesk: ]<\/strong> \u201cSihirli form\u00fcl\u00fcn ba\u015far\u0131l\u0131 uygulay\u0131c\u0131lar\u0131ndan biri, K\u00fc\u00e7\u00fck Emrah. Evet, k\u00fc\u00e7\u00fck y\u0131ld\u0131zlar furyas\u0131… Pe\u015finde ayn\u0131 talih ku\u015funu kovalayan k\u00fc\u00e7\u00fck \u015fark\u0131c\u0131lar ordusuyla birlikte yap\u0131mc\u0131lara milyarlar kazand\u0131ran Emrah, iyimserlik-k\u00f6t\u00fcmserlik harman\u0131nda da \u00f6l\u00e7\u00fcy\u00fc tutturabilen bir y\u0131ld\u0131z. Arabeske d\u0131\u015far\u0131dan bakanlar, onu yaln\u0131zca \u201cAc\u0131lar\u0131n \u00c7ocu\u011fu\u201d \u015fark\u0131lar\u0131yla ve imaj\u0131yla de\u011ferlendiriyorlar. Oysa Emrah, Ac\u0131lar\u0131n \u00c7ocu\u011fu\u2019nun ard\u0131ndan \u015fark\u0131y\u0131 patlat\u0131yor: \u201cNe\u015feli, ne\u015feli, ben yine bug\u00fcn ne\u015feliyim.\u201d Hatta be\u011fendi\u011fi k\u0131za teklifte bile bulunuyor, \u201cBiricik sevgilim ol\u201d….\u201d (Koz, 2000: 49)<\/p>\n

[Ahmet Kaya catches the \u2018protest\u2019 side, K\u0131saparmak is consistent with the regime: ]<\/strong> \u201cBirinci ve ikinci ku\u015fa\u011f\u0131n tercihi piyanist \u015fant\u00f6rlere y\u00f6nelirken, d\u0131\u015f ku\u015fak gecekondu mahallelerinin kenti g\u00f6ren ama kent ya\u015fant\u0131s\u0131n\u0131, \u00f6n \u00f6nemlisi t\u00fcketimi payla\u015famayan gen\u00e7li\u011fi \u00f6zg\u00fcn m\u00fczi\u011fe y\u00f6neliyor. \u00d6zg\u00fcn m\u00fczik\u00e7i ya da \u201cdevrimci arabesk\u00e7i\u201d, ne denirse densin. Ahmet Kaya bu kitlenin \u201chi\u00e7 olmazsa \u015fark\u0131larda isyan\u201d talebini iyi yakal\u0131yor. Ard\u0131ndan isyana te\u015fvik etmedi\u011fi i\u00e7in d\u00fczene daha uygun g\u00f6r\u00fcnen ikinci \u00f6zg\u00fcn m\u00fczik kral\u0131 Fatih K\u0131saparmak gelecek. D\u0131\u015flanm\u0131\u015fl\u0131\u011f\u0131n, yok say\u0131lm\u0131\u015fl\u0131\u011f\u0131n ve yoksullu\u011fun \u00e7\u00f6z\u00fcm\u00fcn\u00fc solda de\u011fil \u0130slam\u2019da g\u00f6renler i\u00e7in \u0130slamc\u0131 \u00f6zg\u00fcn m\u00fczik, ya da \u201c\u0130slami arabesk\u201d de \u00fcretilecek.\u201d (Koz, 2000: 50)<\/p>\n

[Dynamic life of arabesk: ]<\/strong> \u201cArabeskin dinamik hayat hikayesi ve \u015fimdilik vard\u0131\u011f\u0131 nokta bu i\u015fte. Bir bile\u015fim: Umut, umutsuzluk, boyun e\u011fme, isyan, \u0130ngilizce, T\u00fcrk\u00e7e, lahmacun, fried chicken, adidas, devrim, \u0130slam, yeralt\u0131, yer\u00fcst\u00fc, kara sevda, ho\u015flanma, manita, kara toprak, isyankarl\u0131k, boyun e\u011fme… Her \u015fey var.\u201d (Koz, 2000: 51)<\/p>\n

[80s, squatter warmed up to the city: ]<\/strong> \u201cKente iyice \u0131s\u0131nan, garibanl\u0131ktan \u015f\u00f6yle b\u00f6yle y\u0131rtan y\u0131llanm\u0131\u015f gurbet\u00e7iler, k\u00f6kenleriyle e\u011flenmelerine imkan verecek bir simge aramaktad\u0131r. En garibanlar ise, zirvede kendilerinden birini, dahas\u0131 s\u0131f\u0131rdan nerelere gelinebilece\u011fini kan\u0131tlayacak birini… \u0130brahim Tatl\u0131ses, t\u00fcm talepleri kar\u015f\u0131lar ve \u00f6yle bir \u201ck\u0131ro\u201d rol\u00fc oynar, \u201ck\u0131rolu\u011fu\u201d \u00f6yle bir t\u00fcketim maddesi haline getirir gi, bu kadar olur. Bir y\u0131lba\u015f\u0131 gecesi, eski ad\u0131yla Spor ve Sergi Saray\u0131\u2019ndaki \u201cbelediye e\u011flencesi\u201dnde, Bedrettin Dalan\u2019\u0131n verdi\u011fi \u00f6d\u00fcl\u00fc al\u0131r, plaketin \u00fcst\u00fcndekileri okuyamama rol\u00fc yapar. Salon y\u0131k\u0131lacakt\u0131r neredeyse.\u201d (Koz, 2000: 52)<\/p>\n

[50s to 60s, Adanal\u0131 riches; then Karadenizli comedies, 80s: East\u2019s upheaval: ]<\/strong> \u201c80\u2019li y\u0131llarda, yeni ekonomik d\u00fczenin Kapal\u0131\u00e7ar\u015f\u0131\u2019ya verdi\u011fi rol\u00fcn de etkisiyle, Do\u011fulular\u0131n y\u00fckselme s\u00fcreci ba\u015flad\u0131. Yeni parlayan i\u015fadamlar\u0131n\u0131n i\u00e7inde bir s\u00fcr\u00fc Do\u011fulu, a\u011f\u0131rl\u0131kl\u0131 olarak da K\u00fcrt k\u00f6kenli zengin vard\u0131. Yeralt\u0131 d\u00fcnyas\u0131nda Karadenizlilerin egemenli\u011fini k\u0131ran da yine Do\u011fulular ve yine a\u011f\u0131rl\u0131kl\u0131 olarak K\u00fcrt k\u00f6kenli \u201cdelikanl\u0131lar\u201dd\u0131.\u201d (Koz, 2000: 54)<\/p>\n

[Many art forms are dead, comedy series and Kurdish types: ]<\/strong> \u201cTiyatronun ve gazinolar\u0131n krize d\u00fc\u015ft\u00fc\u011f\u00fc, sineman\u0131n olmakla olmamak aras\u0131nda gidip geldi\u011fi, televizyonun \u201ci\u015fi bitirdi\u011fi\u201d bir ortamd\u0131. Art\u0131k hemen her komedi dizisinde Do\u011fu-G\u00fcneydo\u011fu aksan\u0131yla konu\u015fan tipler vard\u0131. Ancak, t\u00fcccar Kayserili, fabrikat\u00f6r Adanal\u0131, m\u00fcteahhit Karadenizli tiplemelerin kar\u015f\u0131l\u0131\u011f\u0131, K\u00fcrt i\u015fadam\u0131 de\u011fildi, g\u00fcld\u00fcr\u00fc d\u00fcnyas\u0131nda. En yayg\u0131n tipleme, hafiften belal\u0131, hayli cahil, \u00e7i\u011fk\u00f6fteye d\u00fc\u015fk\u00fcn arabesk sanat\u00e7\u0131lar\u0131 ya da \u015fark\u0131c\u0131 adaylar\u0131yd\u0131.\u201d (Koz, 2000: 55)<\/p>\n

[Conclusion: ]<\/strong> \u201cBaz\u0131lar\u0131na, \u0130brahim Tatl\u0131ses\u2019in sesini be\u011fenme hakk\u0131 tan\u0131nmaz. Ya pop\u00fclizmle su\u00e7lan\u0131rlar ya ayd\u0131n fantezilerinin kuyru\u011funda sa\u00e7malamakla. \u0130yi de adam baz\u0131 t\u00fcrk\u00fcleri \u00e7ok g\u00fczel s\u00f6yl\u00fcyor. Ne yapacaks\u0131n\u0131z? E\u011fer \u201ck\u0131ro zannedilme\u201d kompleksiniz yoksa ve \u0130brahim Tatl\u0131ses\u2019in hi\u00e7bir \u015feyine katlanamama hakk\u0131n\u0131z\u0131 kullanm\u0131yorsan\u0131z, \u201cT\u00fcrkmen Gelini\u201d t\u00fcrk\u00fcs\u00fcn\u00fc bir dinleyin, n\u2019olur.\u201d (Koz, 2000: 55-6)<\/p>\n

[Tele-Kart Alamayanlar\u0131n K\u0131rm\u0131z\u0131 Kartl\u0131 Sesi: AHMET KAYA -> Kentli Yoksullar\u0131n Menzilsiz \u0130syan\u0131, Yoksulluktan Beter Yoksunluk]<\/strong><\/p>\n

[Kaya\u2019s discovery of ignored people\u2019s music: ]<\/strong> \u201cYok say\u0131lan insanlar\u0131n, yok say\u0131lan bir e\u011filimin m\u00fczi\u011fini ke\u015ffetti Ahmet Kaya. Yaratmad\u0131, ke\u015ffetti. O m\u00fczik, s\u00f6zleriyle, ritmiyle, temalar\u0131yla, estetik d\u00fczeyiyle zaten vard\u0131. Bir yorumcu bekleniyordu…\u201d (Koz, 2000: 57)<\/p>\n

[How to protest? ]<\/strong> \u201c70\u2019li y\u0131llardan miras bir ma\u011fduriyet hissini i\u00e7inden atamayan \u201ceskiler\u201de pek seslenmedi o m\u00fczik. 70\u2019lerin sonunu 80\u2019lerin sonuna tercih edecek yepyeni bir ku\u015fa\u011f\u0131 yakalad\u0131. Yoksul mahallelerin, sofraya k\u0131y\u0131s\u0131ndan k\u00f6\u015fesinden ili\u015febilme umudunu bile yitirmi\u015f, K\u00fc\u00e7\u00fck Emrah\u2019tan dinledikleri \u201cNas\u0131l isyan etmem\u201d \u015fark\u0131s\u0131n\u0131 bir ad\u0131m ge\u00e7ip \u201cnas\u0131l isyan ederim\u201d derdine d\u00fc\u015fm\u00fc\u015f gen\u00e7lerini kapt\u0131 g\u00f6t\u00fcrd\u00fc.\u201d (Koz, 2000: 57)<\/p>\n

[Literature of poverty was forbidden: ]<\/strong> \u201cYoksulluk var ama edebiyat\u0131 yasak. \u00c7\u00fcnk\u00fc birileri esteti\u011fi ke\u015ffetmi\u015f. \u201cVurun garda\u015flar vurun\u201d t\u00fcr\u00fc mar\u015flardan, devrimci ozanlar\u0131n dinlandi\u011fi gecelerden bin pi\u015fman insanlar bunlar. Muhalefete evet ama pop\u00fcler s\u00f6ylemle muhalefete, sloganc\u0131l\u0131\u011fa hay\u0131r! Yoksulluk edebiyat\u0131 da reddedilen \u015feyler aras\u0131nda.\u201d (Koz, 2000: 57)<\/p>\n

[Aesthetics of Kaya: intellectuals\u2019 compromise with new right: ]<\/strong> \u201cMarjinalli\u011fi ge\u00e7ici bir konum de\u011fil asli kimlik olarak benimseyen, \u201c\u00f6nce bizim de\u011ferler\u201d diyen bu muhalif, ger\u00e7ekten muhalif ayd\u0131n grubunun \u201ciktidar\u201dla, yeni sa\u011f de\u011ferlerle istemeden uzla\u015fmaya girdi\u011fi bir nokta i\u015fte \u201cAhmet Kaya esteti\u011fi\u201d…\u201d (Koz, 2000: 58)<\/p>\n

[ANAP aims to camouflage poverty: ]<\/strong> \u201cANAP burcu iktidar zihniyetinin derdi estetik mestetik de\u011fil. \u00d6yle olsa Fatih K\u0131saparmak hi\u00e7 yarat\u0131lmayacak. Onlar\u0131n derdi, yoksullu\u011fun ve muhalif e\u011filimlerin kamuflaj\u0131nda. Devir imajlar devri ya, varolan \u015feyler de yokmu\u015f gibi g\u00f6sterilecek. Bu nedenledir ki, \u00f6nce Ba\u015fbakan sonra Cumhurba\u015fkan\u0131 Turgut \u00d6zal, her f\u0131rsatta \u201cfukaral\u0131k edebiyat\u0131 yapmay\u0131n\u201d diye basbas ba\u011f\u0131racak.\u201d (Koz, 2000: 58)<\/p>\n

[There are people who speak of poverty: ]<\/strong> \u201cYoksulluktan s\u00f6z eden \u201cetkili \u00e7evreler\u201d yok mu? Elbette ki var. Enflasyon canavar\u0131n\u0131n halk\u0131 nas\u0131l ezdi\u011fini, 12 Eyl\u00fcl sonras\u0131nda baz\u0131 insanlar\u0131n nas\u0131l d\u00f6necek k\u00f6\u015fe b\u0131rakmad\u0131\u011f\u0131n\u0131 her f\u0131rsatta s\u00f6yleyen, yazanlar da var. Ama onlar i\u00e7in, k\u00f6\u015feyi d\u00f6nenler adlar\u0131yla sanlar\u0131yla somut insanlar, yoksul kesim ise soyut bir kitle, bu ba\u011flamda…\u201d (Koz, 2000: 58)<\/p>\n

[Intellectuals attack: ]<\/strong> \u201cHep muhalif-taze marjinal ayd\u0131nlar, iktidar \u00e7evreleri ve Cumhuriyet ku\u015fa\u011f\u0131ndan k\u00fclt\u00fcr m\u00fcfetti\u015fleri, Ahmet Kaya\u2019n\u0131n \u00e7\u0131k\u0131\u015f\u0131n\u0131 ge\u00e7 fark ettiler, fark ettikleri anda da sald\u0131r\u0131ya ge\u00e7tiler.\u201d (Koz, 2000: 59)<\/p>\n

[Kaya as a sociological case, K\u00fcrk\u00e7\u00fc: ]<\/strong> \u201cErtu\u011frul K\u00fcrk\u00e7\u00fc\u2019n\u00fcn yapt\u0131\u011f\u0131 \u201cyetki s\u0131n\u0131rlamas\u0131\u201dna pek ra\u011fbet eden olmad\u0131: \u201cM\u00fczikal kalite a\u00e7\u0131s\u0131ndan bakt\u0131\u011f\u0131m\u0131zda Ahmet Kaya\u2019n\u0131n m\u00fczi\u011fini be\u011fenmeyebiliriz. Ama ba\u015fka hi\u00e7bir m\u00fczi\u011fin de\u011fil de bunun duyarl\u0131k yaratmas\u0131, bir sosyolojik vaka. Bu nedenle, bizim be\u011fenmeme gibi bir yetkimiz oldu\u011funu da sanm\u0131yorum. O m\u00fczi\u011fi dinlememeyi tercih edebiliriz ama o m\u00fczi\u011fin bir kimli\u011fe denk d\u00fc\u015ft\u00fc\u011f\u00fcn\u00fc bilmek zorunday\u0131z. Bu m\u00fczik, yaln\u0131zca ba\u015fkald\u0131rmay\u0131 de\u011fil, ezikli\u011fi, yenikli\u011fi, k\u0131r\u0131kl\u0131\u011f\u0131 anlatt\u0131\u011f\u0131 zaman da sahici.\u201d\u201d (Koz, 2000: 59)<\/p>\n

[Realistic music corresponding to an identity: ]<\/strong> \u201cBir kimli\u011fe denk d\u00fc\u015fen, \u201csahici\u201d m\u00fczik… \u00d6zg\u00fcn m\u00fczik denen \u015feyi, ticari giri\u015fim noktas\u0131ndan sosyal olgu noktas\u0131na ta\u015f\u0131yan lokomotif, ger\u00e7ekten de, kitleselle\u015fmi\u015f bir kimli\u011fi tam olarak sarmalamas\u0131.\u201d (Koz, 2000: 59)<\/p>\n

[The youth who is ignored by media are affected by it, but media does not speak of them: ]<\/strong> \u201cO kitle de medyan\u0131n etki alan\u0131 i\u00e7inde. Ama medyan\u0131n \u00e7izdi\u011fi \u201c\u015fimdiki gen\u00e7ler\u201d tablolar\u0131nda, silik \u00e7izgilerle dahi yer bulam\u0131yor. Fukaral\u0131k edebiyat\u0131 \u00e7a\u011fd\u0131\u015f\u0131, \u201cout\u201d bir \u015fey ya…\u201d (Koz, 2000: 59)<\/p>\n

[The music of the \u2018ignored\u2019, not in a discouraged way: ] <\/strong>\u201cAhmet Kaya\u2019n\u0131n m\u00fczi\u011fi, o noktan\u0131n m\u00fczi\u011fi i\u015fte. Yoksullu\u011fu, yoksunlu\u011fu, ezikli\u011fi, k\u0131r\u0131kl\u0131\u011f\u0131 anlatan bir m\u00fczik. Ama, ezikli\u011fi anlat\u0131rken ezik de\u011fil. Olgudan yoruma gitmek yerine, olgular\u0131 haz\u0131r yorumlara uydurmay\u0131 tercih edenlerin yaz\u0131p \u00e7izdikleri gibi bezgin, umutsuz bir m\u00fczik hi\u00e7 de\u011fil.\u201d (Koz, 2000: 60)<\/p>\n

[New aims\/missings for the poors, revolutionism: ] <\/strong>\u201cDevrimcilik, solculuk, yoksulluk, \u00f6zg\u00fcrl\u00fck, e\u015fitlik, insanl\u0131k, \u201cparasal kesim\u201d, ezilmek… Altyap\u0131s\u0131 ta\u015f \u00e7atlasa yirmi kelimeyi ge\u00e7meyen ama G\u00fclhane Park\u0131 konserinde Ahmet Kaya\u2019n\u0131n \u201cBurada aslanlar gibi devrimciler dururken…\u201d s\u00f6z\u00fcyle y\u00fczbin ki\u015fiyi aya\u011fa kald\u0131ran bir devrimcilik: \u00d6zg\u00fcn m\u00fczi\u011fin yoksul mahallelere da\u011f\u0131tt\u0131\u011f\u0131 yeni kimlik i\u015fte. Ve yeni \u00f6zlemler.\u201d (Koz, 2000: 61)<\/p>\n

[The new, long-awaited protest: ] <\/strong>\u201cAnti-arabesk yakla\u015f\u0131m, pop\u00fclizmin reddi, sloganc\u0131l\u0131\u011f\u0131n sonu, fukaral\u0131k edebiyat\u0131n\u0131n terki, \u00e7a\u011fda\u015fla\u015fma, otomasyon, yeni d\u00fczen, \u00e7a\u011f atlama filan derken, ses duyurma menzilleri mahallelerini a\u015famayan yoksul insanlar\u0131n \u00f6zlemleri de bu i\u015fte. Ba\u015fkald\u0131rmaya niyetlenip de yol bulamayan, kendilerine de devrim umutlar\u0131na da g\u00fcvenemeyen insanlar\u0131n \u00f6zlemleri.\u201d (Koz, 2000: 61)<\/p>\n

[Only \u2018\u00f6zg\u00fcn\u2019 music adopted the leftists: ]<\/strong> \u201cM\u00fczikalite a\u00e7\u0131s\u0131nda de\u011ferli \u015fark\u0131lar m\u0131yd\u0131, duygu s\u00f6m\u00fcr\u00fcs\u00fc ve vicdan ticareti \u00fczerine mi kurulmu\u015flard\u0131? Cevaplar\u0131 kesin kan\u0131tlar \u00fczerine oturtulamayacak sorular. Ama sapla saman\u0131n birbirine kar\u0131\u015ft\u0131\u011f\u0131 bir Ecevit d\u00f6neminde, \u00f6nceleri \u201cbizim \u00e7ocuklar\u201d muamelesi g\u00f6r\u00fcp ard\u0131ndan \u201coh olsun ter\u00f6ristlere\u201d denizine yuvarlanan insanlar i\u00e7in, gazete-dergi sayfalar\u0131nda, barlarda, eski arkada\u015flar\u0131nca a\u015fa\u011f\u0131lanan, \u00f6zg\u00fcr seksi bile ke\u015ffedemeden \u00f6ld\u00fckleri i\u00e7in an\u0131lar\u0131na sayg\u0131 g\u00f6sterilme gere\u011fi duyulmayan y\u00fczlerce yitik insan i\u00e7in daha d\u00fczg\u00fcn \u015fark\u0131lar\u0131 daha az detone olarak s\u00f6yleyen de \u00e7\u0131kmad\u0131 y\u0131llarca, \u00f6zg\u00fcn m\u00fczik\u00e7iler hari\u00e7. O d\u00f6nemde yiten insanlar\u0131n an\u0131lar\u0131n\u0131 bu d\u00f6nemin de\u011ferleriyle okkalayanlar, arkada\u015flar\u0131na bir \u201cya\u015fasalard\u0131, d\u0131\u015far\u0131da olsalard\u0131\u201d \u015fans\u0131 bile tan\u0131mayanlar, \u00f6zg\u00fcn m\u00fczi\u011fi bol bol a\u015fa\u011f\u0131lama hakk\u0131 g\u00f6rd\u00fcler kendilerinde. Haklar\u0131 yoktu. Oysa, Ahmet Kaya ve di\u011fer \u00f6zg\u00fcn m\u00fczik\u00e7ilere, \u201cBizim ge\u00e7mi\u015fimizin m\u00fczi\u011fi \u015f\u00f6yle yap\u0131lmal\u0131\u201d deme haklar\u0131 olabilirdi. Kimlik de\u011fi\u015ftirmeyip kimlik yenileselerdi…\u201d (Koz, 2000: 62)<\/p>\n

[\u2018\u00d6zg\u00fcn\u2019 music disturbed many people, who stayed out of its sphere of influence: ]<\/strong> \u201cBu noktalar\u0131n pek \u00fczerinde durulmad\u0131 ve Vitamin\u2019in \u00f6zg\u00fcn m\u00fczikle kafa bulan b\u00f6l\u00fcmleri baz\u0131lar\u0131nca \u00e7ok be\u011fenildi, ki o baz\u0131lar\u0131 da hayli kalabal\u0131k bir kitle olu\u015fturuyordu. \u00c7\u00fcnk\u00fc \u00f6zg\u00fcn m\u00fczik, az g\u00f6r\u00fcl\u00fcr bir rahats\u0131z etme g\u00fcc\u00fcne sahipti. J\u00fcbile yapm\u0131\u015f solcular\u0131, \u201cdevrim yoluna ticaret kar\u0131\u015ft\u0131\u201d diyen solcular\u0131, pop\u00fclizmden \u00e7ekinen marjinalleri, Cumhuriyet k\u00fclt\u00fcr\u00fcne kar\u015f\u0131 cephe al\u0131rken yeni bir tepeden inmecilik k\u00fclt\u00fcr\u00fc yaratan liberalleri, \u201ck\u0131ro g\u00f6r\u00fcnmeme\u201d kompleksine kap\u0131lm\u0131\u015f k\u0131rsal k\u00f6kenli kentlileri, \u201ceyvah ter\u00f6r!\u201d tav\u015fanlar\u0131n\u0131, \u201cfakirler ayaklanacak\u201d korkusundan hala s\u0131yr\u0131lamam\u0131\u015f m\u00fcreffeh muhit sakinlerini, m\u00fczi\u011fe fazla akademik yakla\u015fanlar\u0131… Kendi etki alan\u0131 d\u0131\u015f\u0131nda kalanlar\u0131n neredeyse tamam\u0131n\u0131 rahats\u0131z ediyordu \u00f6zg\u00fcn m\u00fczik.\u201d (Koz, 2000: 63)<\/p>\n

[[[[Evlere \u201cYa\u015fanamayan A\u015fk\u201d Servisi Yap\u0131l\u0131r: SEZEN AKSU -> Pop\u00fcler Sineman\u0131n \u00d6l\u00fcm\u00fc ve Y\u0131ld\u0131zlar\u0131n Yeni Dili]]]]<\/strong><\/p>\n

[Aksu filled the place of Ye\u015fil\u00e7am: ]<\/strong> \u201cPop\u00fcler sineman\u0131n kolu kanad\u0131 k\u0131r\u0131ld\u0131 T\u00fcrkiye\u2019de, a\u011flatan a\u015fk filmlerinin bo\u015faltt\u0131\u011f\u0131 g\u00f6zya\u015f\u0131 \u00e7ukurlar\u0131nda Sezen Aksu var art\u0131k. (Koz, 2000: 79)<\/p>\n

[Change in the star-jargon: ] <\/strong>\u201c \u201cStar dili\u201d, starlar\u0131n jargonu de\u011fi\u015fti. Yeni dili en iyi kullananlardan biri, belki de en iyi kullanan Sezen Aksu\u2019ydu yine.\u201d (Koz, 2000: 79)<\/p>\n

[There was Ye\u015fil\u00e7am until late 70s: ] <\/strong>\u201cEvet, T\u00fcrkiye\u2019de pop\u00fcler sinema vard\u0131 70\u2019lerin sonuna kadar. En ba\u015fta da her derde deva a\u015fk filmleri. \u015eu zengin o\u011flan-fakir k\u0131zl\u0131, \u015fark\u0131c\u0131l\u0131, k\u00f6rl\u00fc filmler… A\u011flamak isteyeni a\u011flat\u0131r, g\u00fclmek isteyeni g\u00fcld\u00fcr\u00fcrlerdi. Ye\u015fil\u00e7am, k\u00f6t\u00fc film yapma sanat\u0131ndan \u00f6rnekler sunar, sinema salonlar\u0131 dolup ta\u015fard\u0131.\u201d (Koz, 2000: 79)<\/p>\n

[Ye\u015fil\u00e7am 60s-70s: ] \u201c <\/strong>\u201cNadide\u201d ger\u00e7ekten iyi filmler bir yana, Ye\u015fil\u00e7am \u00fcretiminin b\u00fcy\u00fck b\u00f6l\u00fcm\u00fc sanatsal a\u00e7\u0131dan hi\u00e7bir de\u011fer ta\u015f\u0131mayan ama kal\u0131plara, ucuzlu\u011fa, y\u00fczeyselli\u011fe, mant\u0131ks\u0131zl\u0131\u011fa kar\u015f\u0131n s\u0131cak ve esprili filmlerden olu\u015fuyordu. S\u0131cak filmlerdi ger\u00e7ekten. \u201c\u00dcst balkon\u201ddan bak\u0131nca duygu s\u00f6m\u00fcr\u00fcs\u00fc \u00fczerine, perdeye yak\u0131n \u201cs\u0131radan\u201d koltuk bak\u0131\u015f\u0131yla da \u201ctemiz duygular\u201d, insanlara yak\u0131n gelen bir duygusall\u0131k \u00fczerine oturtulurlard\u0131 \u00e7\u00fcnk\u00fc. En karambol komedi filmlerinde bile, \u00f6zellikle de finale yak\u0131n sahnelerde \u00f6ylesine duygusal tiradlar \u00e7ekilirdi ki, bu i\u015fin piri de Sadri Al\u0131\u015f\u0131k\u2019t\u0131 galiba, film s\u00fcresince d\u00f6nm\u00fc\u015f onca dolaba, s\u00f6ylenmi\u015f onca yalana ra\u011fmen her \u015fey bir anda temize \u00e7\u0131k\u0131verir, g\u00f6zleri dolu bir ileti\u015fim kuruluverirdi filmle seyirci aras\u0131nda.\u201d (Koz, 2000: 80)<\/p>\n

[Intellectuals give special importance to cinema in 80s: ]<\/strong> \u201cSinema zevki, baz\u0131 \u00e7evrelerde, belki hi\u00e7bir zaman olmad\u0131\u011f\u0131 kadar stat\u00fc sembol\u00fc haline geldi. Kamera arkas\u0131na ge\u00e7ebilme hayaliyle yat\u0131p kalkan gen\u00e7 ayd\u0131nlar\u0131n say\u0131s\u0131 yine hi\u00e7bir zaman yakalanamam\u0131\u015f bir noktaya uzand\u0131. T\u00fcrkiye\u2019de ger\u00e7ekten iyi filmler yap\u0131lmaya ba\u015fland\u0131. Ama arabesk film r\u00fczgar\u0131n\u0131n dinmesiyle birlikte, pop\u00fcler sinema susuverdi, o film bitti. [not interested in ordinary people] <\/strong>\u201cS\u0131radan insanlar\u201d filmi ayd\u0131nlar taraf\u0131ndan \u00e7ok be\u011fenildi, s\u0131radan insanlar i\u00e7in film yap\u0131lmaz oldu. Bir d\u00f6nemin seri \u00fcretim temposunun ard\u0131nda, \u201cel yap\u0131m\u0131\u201d \u00f6zeniyle haz\u0131rlanm\u0131\u015f, ger\u00e7ekten nitelikli ama orta ve alt s\u0131ralara herhangi bir \u00f6zde\u015fle\u015fme pay\u0131 b\u0131rakmayan filmler kald\u0131. [garbage model films] <\/strong>Bir de, daha \u00e7ok video pazar\u0131 i\u00e7in \u00e7ekilen, anlams\u0131z bak\u0131\u015fma \u015fampiyonu mankenlerin ba\u015frollerini kapt\u0131klar\u0131, TRT d\u0131\u015f\u0131nda hemen hi\u00e7bir \u00f6zel ve t\u00fczel ki\u015fili\u011fe hitap etmeyen bant yumaklar\u0131.\u201d (Koz, 2000: 80)<\/p>\n

[Apart from comedies, no film can fulfill the theaters: ]<\/strong> \u201cBirka\u00e7 komedi filmi d\u0131\u015f\u0131nda hi\u00e7bir T\u00fcrk filmi salon dolduramad\u0131 y\u0131llar boyunca. Do\u011fru, salon doldurmak bir yana, salon bulmak da ba\u015fl\u0131ba\u015f\u0131na bir sorundu, hatta \u00f6ncelikli sorun gibi g\u00f6r\u00fcn\u00fcyordu ama kabul etmek gerekiyor ki, salon bulabilenler de pek i\u015f yapacak t\u00fcrden de\u011fildi.\u201d (Koz, 2000: 81)<\/p>\n

[Cinema to music\/tv series: ] <\/strong>\u201cBir zamanlar salonlar\u0131 dolduran insanlar\u0131n ileti\u015fim talepleri havada kalmad\u0131 ama. M\u00fczik ve televizyon dizileri taraf\u0131ndan payla\u015f\u0131ld\u0131. \u00d6zde\u015fle\u015fme ihtiyac\u0131n\u0131 vurdulu k\u0131rd\u0131l\u0131 filmlerle kar\u015f\u0131layanlar i\u00e7in, \u00f6zellikle de \u00e7ocuklar i\u00e7in \u00e7ok geni\u015f bir d\u00fcnya kuruyordu televizyon. [violence on tv]<\/strong> Her g\u00fcn her kanalda birka\u00e7 y\u00fcz ki\u015fi dayak yiyor, onlarca ki\u015fi \u00f6l\u00fcyordu.\u201d (Koz, 2000: 81)<\/p>\n

[From Ye\u015fil\u00e7am stars to Brazilian series and Sezen: sad love stories, pure emotions : ]<\/strong> \u201cPop\u00fcler sineman\u0131n h\u00fcz\u00fcnl\u00fc a\u015fklar ve temiz duygular meydan\u0131 ise biraz Brezilya dizileri biraz da h\u00fcz\u00fcnl\u00fc a\u015fk \u015fark\u0131c\u0131lar\u0131nca payla\u015f\u0131ld\u0131. T\u00fcrkanlar\u0131n, H\u00fclyalar\u0131n, Filizlerin, Ekremlerin, Edizlerin, Ayhanlar\u0131n yerini, hayatta ve ayakta kalanlar\u0131n nitelikli filmleri pek i\u015f yapmazken, N\u00fcketler, Nil\u00fcferler, Kayahanlar ald\u0131. \u015eark\u0131c\u0131l\u0131 filmlerden kalan miras payla\u015f\u0131l\u0131rken, en b\u00fcy\u00fck pay da Sezen Aksu\u2019ya d\u00fc\u015ft\u00fc. Gelecek programda ya da \u201cpek yak\u0131nda\u201d T\u00fcrkan\u2019\u0131n, H\u00fclya\u2019n\u0131n yeni filmini arayanlar, gazete ilanlar\u0131na \u00e7evirmi\u015flerdi heyecanlar\u0131n\u0131. Sezen\u2019in yeni kasedi i\u00e7in…\u201d (Koz, 2000: 81)<\/p>\n

[Love relations changed: ]<\/strong> \u201cYa\u015fanan a\u015fk ili\u015fkilierinin bi\u00e7imi az, \u00f6zlenen a\u015fk ili\u015fkilerinin bi\u00e7imi ise \u00e7ok de\u011fi\u015fmi\u015fti. \u00c7ok de\u011fi\u015feni seslendiren kazanacakt\u0131, Sezen Aksu \u00f6yle yapt\u0131.\u201d [1-1 love affairs]<\/strong> \u201cBire bir ili\u015fkiler, ili\u015fki i\u00e7i hesapla\u015fmalar ve f\u0131rt\u0131nalar ses vermeliydi. Ona buna de\u011fil, kar\u015f\u0131s\u0131ndakine kan\u0131tlamal\u0131yd\u0131 insan kendisini. \u201cAram\u0131zda ya\u015fanacak, yar\u0131m kalan bir \u015feyler var\u201d d\u00f6nemiydi.\u201d (Koz, 2000: 82)<\/p>\n

[Incomplete things about love, love which is read\/watched: ]<\/strong> \u201c\u00c7o\u011fu ger\u00e7ek hayatta da yar\u0131m kalan bir \u015feyler vard\u0131. Sezen Aksu \u015fark\u0131lar\u0131ndaki a\u015fklar\u0131n ikinci yar\u0131s\u0131na \u00e7\u0131kamamaktan dolay\u0131 de\u011fil, hi\u00e7 ba\u015flayamamaktan dolay\u0131 yar\u0131m kalan \u015feyler. Tan\u0131\u015fmak, \u00e7\u0131kmak, s\u0131k s\u0131k bulu\u015fmak, hatta arada bir sevi\u015fmek kesmiyordu yeni d\u00f6nemin insanlar\u0131n\u0131. Okuduklar\u0131, televizyondan seyrettikleri, \u015fark\u0131lardan dinledikleri o a\u015fklar\u0131 ya\u015famak istiyorlard\u0131 ve Sezen Aksu, onlar i\u00e7in s\u00f6yl\u00fcyordu.\u201d (Koz, 2000: 82)<\/p>\n

[Courage, sudden decisions, leaving: <\/strong>] \u201cCesaretin ve ani kararlar\u0131n apayr\u0131 bir yeri vard\u0131 \u015fark\u0131lardaki uzak hayat par\u00e7ac\u0131klar\u0131n\u0131n i\u00e7inde. Gitmek, \u00e7ekip gitmek…\u201d [acting \u2018as if\u2019]<\/strong> \u201c \u201cYak ne varsa, her \u015feyi yak\u201d \u015fark\u0131s\u0131 e\u015fli\u011finde her \u015feyi yak\u0131p gidebilmek, o, b\u00fcsb\u00fct\u00fcn istenen ve b\u00fcsb\u00fct\u00fcn imkans\u0131z depard\u0131 i\u015fte. Ya\u015fanamayan a\u015fklar\u0131n haliyle cesaret edilemeyen k\u0131r\u0131k tatminleri Sezen Aksu\u2019nun kasetlerinde bir \u201cm\u0131\u015f gibi\u201d duygulanmas\u0131yla ula\u015f\u0131yordu insanlara.\u201d (Koz, 2000: 83)<\/p>\n

[Duygu Asena feminism, \u2018practical girl art feminism\u2019] <\/strong>\u201c…Duygu Asena ekol\u00fc \u201cpratik k\u0131z sanat feminizmi\u201dnin kad\u0131nlar\u0131 i\u00e7in de anlaml\u0131yd\u0131 bu \u015fark\u0131lar. \u201cAaa, ne eksi\u011fimiz varm\u0131\u015f erkeklerden\u201d itiraz\u0131na, sorular\u0131n kazmas\u0131yla kaydade\u011fer bir hafriyat derinli\u011fi kazand\u0131ramayan ama o m\u00fctevazi temel \u00fczerinde iyiniyetle adlar\u0131n\u0131 arayan, daha \u00f6zg\u00fcr ili\u015fkiler arayan, annelerinin ula\u015famad\u0131\u011f\u0131n\u0131 arayan kad\u0131nlar a\u00e7\u0131s\u0131ndan da, altyap\u0131lar\u0131ndaki kadar g\u00f6z ya\u015fart\u0131c\u0131, hayal menzillerinin ula\u015fabildi\u011fi kadar e\u015fit ve modern ili\u015fkiler ses buluyordu Sezen Aksu s\u00f6ylerken.\u201d (Koz, 2000: 83)<\/p>\n

[The joys of Ye\u015fil\u00e7am, stupid\/funny\/romantic vignettes-like songs: ]<\/strong> \u201cYa \u201cAda Vapuru\u201d, \u201cLunapark\u201d, \u201cHadi Bakal\u0131m Kolay Gelsin\u201d?… Eee, pop\u00fcler T\u00fcrk sinemas\u0131n\u0131n b\u0131rakt\u0131\u011f\u0131 bo\u015flu\u011fu doldurmak kolay de\u011fildi. Eski a\u015fk filmlerinin olmazsa olmaz ne\u015feli sahneleri vard\u0131 hani, a\u011fa\u00e7lar aras\u0131nda kovalama sahnesi, Ada\u2019da e\u015fe\u011fe binme sahnesi, deniz k\u0131y\u0131s\u0131nda bal\u0131k yeme sahnesi, lunapark sahnesi… Sezen Aksu\u2019nun ne\u015feli, hareketli \u2013isteyen kusura bakabilir- en oturan s\u00f6zc\u00fckle zaman zaman \u201cyav\u015fak\u201d \u015fark\u0131lar\u0131 da eski a\u015fk filmlerindeki o kli\u015fe sahnelere denk d\u00fc\u015f\u00fcyordu herhalde.\u201d (Koz, 2000: 85)<\/p>\n

[Identifiable male characters in sex films, physically disadvantaged, not like \u2018jeune\u2019s: \u201cIf they do, we can do it too\u201d]<\/strong> (Koz, 2000: 85)<\/p>\n

[Also, Sezen is easy to be identified: ]<\/strong> \u201cAma kad\u0131nlar i\u00e7in, makul bir hayal menzilinden bak\u0131l\u0131nca \u00f6zde\u015fle\u015fmeye hayli uygundu…. Yine yerle\u015fik standartlara d\u00f6n\u00fcl\u00fcrse, pek g\u00fczel say\u0131lamayacak ama belli \u00f6l\u00e7\u00fcde ho\u015f, en \u00f6nemlisi itici olmayan, kad\u0131nlara \u201conun ya\u015fad\u0131\u011f\u0131 a\u015fklar\u0131 ben de ya\u015fayabilirim\u201d dedirtecek bir tip.\u201d (Koz, 2000: 85-6)<\/p>\n

[Sezen used the media very well: ]<\/strong> \u201c\u015euursuz kahkahalar atan, anlams\u0131z konu\u015fmalar yapan, kendi \u00e7\u0131lg\u0131nl\u0131\u011f\u0131n\u0131 pazarlamaya \u00e7al\u0131\u015f\u0131rken her hareketiyle s\u0131r\u0131tan \u00e7\u0131lg\u0131nlardan olmad\u0131 Sezen Aksu. \u00d6l\u00e7\u00fcl\u00fc \u00e7\u0131lg\u0131nl\u0131\u011f\u0131n\u0131 ustaca pazarlad\u0131. De\u011fi\u015fik bir sa\u00e7 bi\u00e7imi, iki de\u011fi\u015fik mimik, do\u011fal bir dille kamula\u015ft\u0131r\u0131lan yar\u0131 \u00e7\u0131lg\u0131n dostluk-arkada\u015fl\u0131k ili\u015fkileri… Sezen Aksu bunlar\u0131 kulland\u0131, dahas\u0131 medyay\u0131 \u00e7ok iyi kulland\u0131. Medyan\u0131n, dinleyici kitlesiyle y\u00fczy\u00fcze gelme alan\u0131 oldu\u011funu hakk\u0131yla kavrayabilmi\u015fti \u00e7\u00fcnk\u00fc.\u201d (Koz, 2000: 86)<\/p>\n

[Arabesk->what is lived, Sezen->what can not be lived: ] <\/strong>\u201cArabesk, abartma pay\u0131n\u0131 son milimine kadar kullanarak da olsa, \u201cya\u015fanan\u201d ili\u015fkilerin m\u00fczi\u011fiyle zirveler yarat\u0131rken, \u201cya\u015fanamayan\u201d ili\u015fkilerin zirvesine Sezen Aksu \u00e7\u0131kt\u0131 i\u015fte. \u0130\u00e7inden gelenlerle piyasan\u0131n istediklerini, bir nota ondan bir nota bundan, ak\u0131ll\u0131ca \u00f6rerek…\u201d (Koz, 2000: 88)<\/p>\n

[[[[Son Model \u0130deal Kad\u0131n: LEYLA ALATON -> Yuppie Ku\u015fa\u011f\u0131 ve Rekabet\u00e7i \u00dctopyalar]]]]<\/strong><\/p>\n

[Middle 80s and 90s-> yuppie time, not like 68s: ]<\/strong> \u201cSay\u0131sal yakla\u015f\u0131m, konu yuppieler oldu\u011funa g\u00f6re daha oturan s\u00f6zc\u00fckle dijital yakla\u015f\u0131m, 80\u2019lerin ortas\u0131ndan 90 k\u00fcsurlara uzanan s\u00fcreci yuppielere b\u0131rakmaz elbet. Ama d\u00f6nem onlar\u0131n d\u00f6nemi, \u00e7\u00fcnk\u00fc en \u00e7ok onlar\u0131n sesi duyuluyor. 68\u2019liler gibi zar zor ele ge\u00e7irdikleri megafonlar\u0131n arkas\u0131nda g\u0131rtlak patlatmalar\u0131 gerekmiyor. Birileri mikrofonu tutuyor, yuppieler konuluyor, ses d\u00fczeni de m\u00fcthi\u015f… (Koz, 2000: 89)<\/p>\n

[Media & yuppies: ]<\/strong> \u201c68\u2019liler, d\u00f6nemi kendi d\u00f6nemlerine d\u00f6n\u00fc\u015ft\u00fcr\u00fcrken s\u0131k\u0131 bir m\u00fccadele vermi\u015flerdi. Yuppielerin d\u00f6nemi \u00f6nlerine serildi, onlar kendi aralar\u0131nda rekabete giri\u015ftiler yaln\u0131zca. Ve yuppielerin \u00f6n\u00fcn\u00fc a\u00e7an en etkili ara\u00e7, medya, sonu\u00e7ta \u00f6yle bir gen\u00e7lik portresi \u00e7izdi ki 80\u2019ler ve 90 k\u00fcsurlar i\u00e7in: Sanki t\u00fcm gen\u00e7ler yuppie ama baz\u0131lar\u0131 daha yuppie. (Koz, 2000: 90)<\/p>\n

[In Turkey, yuppies are not real \u2018competetive\u2019 yuppies, they are yuppies with the heritage from their fathers: ]<\/strong> \u201cYuppieli\u011fin orijinal anlam\u0131n\u0131, y\u00fckselmek i\u00e7in verilen, h\u0131rs y\u00fckl\u00fc \u201cher yol m\u00fcbah\u201d katk\u0131l\u0131 kavga dolduruyor b\u00fcy\u00fck \u00f6l\u00e7\u00fcde ve \u00fcst y\u00f6netim koltuklar\u0131, orta s\u0131n\u0131ftan gen\u00e7lere de a\u00e7\u0131k. Oysa, ikinci planda bu s\u0131n\u0131ftan yuppieler bar\u0131nd\u0131rmakla birlikte, T\u00fcrk yuppielerin \u00f6n saflar\u0131 do\u011fu\u015ftan y\u00fcksek u\u00e7anlara, patron \u00e7ocuklar\u0131na kal\u0131yor.\u201d (Koz, 2000: 91)<\/p>\n

[New right, business: ]<\/strong> \u201cYeni sa\u011f\u0131n d\u00fcnya genelindeki en azg\u0131n d\u00f6nemiydi. ANAP 24 Ocak kararlar\u0131n\u0131n uzant\u0131s\u0131ndaki d\u0131\u015fa a\u00e7\u0131lma operasyonunu geni\u015fleterek s\u00fcrd\u00fcr\u00fcrken, d\u0131\u015fa a\u00e7\u0131lan kap\u0131dan yeni de\u011ferler girdi i\u00e7eri. Bunlardan biri, geleneksel ticaret, sanayi gibi kavramlar\u0131n \u00fczerine \u00e7\u0131kan genel bir \u201cbusiness\u201d kavram\u0131yd\u0131, bu kavram\u0131n g\u00fc\u00e7 kazanma ivmesiydi. Ve T\u00fcrkiye\u2019nin de\u011fi\u015fen de\u011ferleri i\u00e7inde, business, hayattaki en hakiki m\u00fcr\u015fit olma yolunda h\u0131zla ilerliyordu.\u201d (Koz, 2000: 91)<\/p>\n

[\u00d6zal\u2019s princes, state, yuppies: ]<\/strong> \u201cANAP iktidar\u0131, ku\u015fkusuz her zaman belli bir stat\u00fcye sahip olmu\u015f \u201cparan\u0131n g\u00fcc\u00fc\u201dne, \u00e7ok daha y\u00fcksek stat\u00fc tan\u0131yacak yeni de\u011ferleri yeti\u015ftirirken, devletin kritik finans noktalar\u0131na da devlet yuppielerini yeti\u015ftirdi. \u201cPrensler\u201ddi bunlar. ABD\u2019den ithal edilmi\u015f ama yerli mal\u0131, kent k\u00f6kenli, h\u0131rsl\u0131 adamlard\u0131. Bir d\u00f6nem adlar\u0131ndan \u00e7ok s\u00f6z ettiler. Ayn\u0131 d\u00f6nemde, \u00f6zel sekt\u00f6r de kendi yuppielerini piyasaya s\u00fcr\u00fcyordu yava\u015f yava\u015f. \u0130yi e\u011fitilmi\u015f ve kendilerini \u201cbusiness\u201da adam\u0131\u015f gen\u00e7ler a\u015fa\u011f\u0131dan yukar\u0131ya h\u0131zla y\u00fckselirken, patronlar\u0131n \u00e7ocuklar\u0131 da, en pop\u00fcler yuppieler rezervasyonunu doldurmak \u00fczere tepeden en \u00fcstteki koltuklara iniyorlard\u0131, babalar\u0131n\u0131n yan\u0131na.\u201d (Koz, 2000: 92)<\/p>\n

[Time of wealth, earn more, \u2018I love rich\u2019: ]<\/strong> \u201cSistem o de\u011ferleri yaymak i\u00e7in i\u015fliyordu. Ku\u015faklar dolusu televizyon reklam\u0131, yak\u0131\u015f\u0131kl\u0131, haval\u0131, paral\u0131, \u201cgalip\u201d i\u015fadam\u0131 g\u00f6r\u00fcnt\u00fcleri e\u015fli\u011finde \u201cKazan\u0131n, daha \u00e7ok kazan\u0131n, i\u015finizi b\u00fcy\u00fct\u00fcn, i\u015fimizde ba\u015far\u0131 \u00f6nemlidir\u201d sloganlar\u0131yla inletiyordu ortal\u0131\u011f\u0131. T\u00fcrkiye\u2019nin ipleri, a\u00e7\u0131k a\u00e7\u0131k \u201cBen zenginleri severim\u201d diyen birinin elindeydi. Medyan\u0131n \u00e7izdi\u011fi ideal gen\u00e7 tipi, yat\u0131r\u0131mc\u0131l\u0131\u011f\u0131n ve bol kazanc\u0131n nimetlerini erken ke\u015ffeden, kazanmaya oynayan gen\u00e7 tipiydi. \u201cPara saadet getirmez\u201d makam\u0131ndan z\u00fc\u011f\u00fcrt tesellileri bile tarih olmaya y\u00fcz tutmu\u015ftu, servet en b\u00fcy\u00fck stat\u00fcyd\u00fc art\u0131k.\u201d (Koz, 2000: 93)<\/p>\n

[Urban values & bourgeois life praised: ]<\/strong> \u201cDi\u011fer yandan, yine medyada \u00fcs tutmu\u015f ve i\u00e7i pek doldurulamayan bir liberalizme sar\u0131lan ayd\u0131nlar\u0131n da deste\u011fiyle, bir \u201ckent de\u011ferleri\u201d s\u00f6ylemi \u00e7\u0131km\u0131\u015ft\u0131 ortaya. Yabanc\u0131 dil bilmek, b\u0131y\u0131kl\u0131 olmamak filan gibi standartlar\u0131n e\u015fli\u011finde, burjuva de\u011ferlerine ve burjuva ya\u015fant\u0131s\u0131na \u00f6vg\u00fcler d\u00fcz\u00fcl\u00fcyordu. \u00d6v\u00fclen, geleneksel burjuva inceliklerinin \u00f6tesinde, burjuvazinin sat\u0131n alma ve \u201cula\u015fma\u201d g\u00fcc\u00fcyd\u00fc asl\u0131nda. Ve, ger\u00e7ekten t\u00fcm inceliklerin uza\u011f\u0131nda kalm\u0131\u015f yeni zenginlere duyulan tepki, bu \u00f6vg\u00fcleri anla\u015f\u0131l\u0131r k\u0131lmaya yetmiyordu.\u201d (Koz, 2000: 93)<\/p>\n

[Yuppies, they got\/were everything! ] <\/strong>\u201cSporcuydular, dans\u00e7\u0131yd\u0131lar, gen\u00e7tiler, dinamiktiler, ak\u0131ll\u0131yd\u0131lar, \u015f\u0131kt\u0131lar, \u201cgusto\u201d sahibiydiler. \u201cEn \u015f\u0131k giyinen, en zarif, en g\u00fczel, en yak\u0131\u015f\u0131kl\u0131\u201d anketlerinde \u00fcst s\u0131ralar i\u00e7in onlar kap\u0131\u015f\u0131yordu. 80\u2019lerin sonu-90\u2019lar\u0131n ba\u015f\u0131 d\u00f6neminde, yuppie burcunun y\u00fckselen y\u0131ld\u0131z\u0131 patron \u00e7ocuklar\u0131n\u0131n \u00fczerine vurmu\u015ftu ki, m\u00fcthi\u015f parlak bir d\u00f6nemdi.\u201d (Koz, 2000: 94)<\/p>\n

[\u0130shak Alaton on left: ]<\/strong> \u201cHani, \u201cd\u00fcnyam\u0131zdaki h\u0131zl\u0131 de\u011fi\u015fim s\u00fcreci\u201d edebiyat\u0131n\u0131n, radikalizmi \u00f6\u011f\u00fctmek i\u00e7in \u00e7i\u011fneyip durdu\u011fu \u201cilkel, k\u00f6t\u00fc sol-\u00e7a\u011fda\u015f, uzla\u015fmac\u0131 iyi sol\u201d kal\u0131plar\u0131 vard\u0131r ya, \u0130shak Alaton ikinci kal\u0131b\u0131n T\u00fcrkiye ba\u015f m\u00fcmessillerindendir. Patron \u00e7ocu\u011fu yuppielere babalar\u0131 aras\u0131ndaki rol payla\u015f\u0131m\u0131nda kendi ku\u015fa\u011f\u0131na d\u00fc\u015fen bilge rol\u00fcn\u00fc oynar bu kal\u0131b\u0131n \u00fczerinde.\u201d (Koz, 2000: 96)<\/p>\n

[[[[Piyasa \u0130\u015fi Sivriliklerin Fakir Ku\u015fu: ENG\u0130N ARDI\u00c7 -> \u201cKendi Tarihini Kendin Yap\u201d ve Tabu Y\u0131kma Pazar\u0131]]]]<\/strong><\/p>\n

[People who adapted the post-1980: double sided intellectuals, emphasising the history in pairs: ]<\/strong> \u201cBir grup ayd\u0131n bunlar, her \u015feye ra\u011fmen ayd\u0131n tan\u0131mlamas\u0131n\u0131 hak eden insanlar. \u015e\u00f6yle b\u00f6yle bir on y\u0131ll\u0131k s\u00fcre\u00e7te, kendi tarihlerini kendileri yapt\u0131lar. Arabeskten burjuva de\u011ferlerine, Talat Pa\u015fa\u2019dan Evren Pa\u015fa\u2019ya, \u0130smet \u0130n\u00f6n\u00fc\u2019den Erdal \u0130n\u00f6n\u00fc\u2019ye, Do\u011fu Avrupa\u2019dan Do\u011fu Anadolu\u2019ya, Pera\u2019dan Topkap\u0131 Otogar\u0131\u2019na, bir ge\u00e7mi\u015fe bir bug\u00fcne dokuna dokuna ge\u00e7inirken, tarih yapma deyimini hep \u00e7ifte vurguyla seslendirdiler.\u201d (Koz, 2000: 99)<\/p>\n

[From left to liberalism, made their own history: ]<\/strong> \u201cSol ge\u00e7mi\u015f istikametten gelip, i\u00e7i tam doldurulamayan bir asabi liberalizm istikametine giden grup\u00e7uklar\u0131n\u0131n k\u0131sa tarihini yapt\u0131lar, bu bir.\u201d (Koz, 2000: 99)<\/p>\n

[Made, changed the history according to them: ]<\/strong> \u201c\u0130kinci vurgu ise daha bir kulak t\u0131rmalay\u0131c\u0131, daha bir vicdan y\u0131prat\u0131c\u0131yd\u0131. Tarihi, yak\u0131n tarihi ve \u00e7ok yak\u0131n tarihi, tezlerine uyacak bi\u00e7imde, d\u00f6nemin simgelerinden g\u00fcnl\u00fck kur uygulamas\u0131 gibi, her g\u00fcn yeniden imal ettiler.\u201d (Koz, 2000: 99)<\/p>\n

[People are unable to talk politics, so talk about ART. Even political glances are significant. Daily life, popular culture: ]<\/strong> \u201cD\u0131\u015far\u0131da kalanlar ve hen\u00fcz i\u00e7eri girmemi\u015f olanlar i\u00e7in, evlerdeki \u00fc\u00e7er be\u015fer ki\u015filik tedirgin de\u011ferlendirmeler say\u0131lmazsa, eski tart\u0131\u015fma kanallar\u0131n\u0131n tamam\u0131 t\u0131kanm\u0131\u015ft\u0131. Rahat rahat tart\u0131\u015fmak bir yana, k\u00fc\u00e7\u00fck \u201ctart\u0131\u015f\u0131rm\u0131\u015f gibi\u201d tatminleri bile yeterli olacakt\u0131. Sanat dergilerine y\u00fcklenildi. Milliye Sanat ya da G\u00f6steri\u2019de yay\u0131mlanan bir yaz\u0131n\u0131n tek c\u00fcmlesindeki, \u00fcst\u00fc sekiz kat \u00f6rt\u00fcyle kaplanm\u0131\u015f bir politik ima, sessiz heyecanlarla kar\u015f\u0131lan\u0131yordu. Mecra sanat dergileri olunca ve daha bir s\u00fcre a\u00e7\u0131k politik tart\u0131\u015fmalar yap\u0131lamayaca\u011f\u0131 anla\u015f\u0131l\u0131nca, g\u00fcndelik hayata, pop\u00fcler k\u00fclt\u00fcre meyledildi. En g\u00f6zde konu, arabeskti. \u00c7o\u011funlu\u011fun bo\u015fluk nedeniyle ve \u201c\u015fimdilik, mecburen\u201d kayd\u0131yla dald\u0131\u011f\u0131 bu alan, \u015fimdilik kayd\u0131n\u0131 k\u0131sa s\u00fcrede siliverdi. G\u00fcndelik ya\u015fam k\u00fclt\u00fcr\u00fc tart\u0131\u015fmalar\u0131n\u0131n, 12 Eyl\u00fcl b\u0131\u00e7a\u011f\u0131nca dayat\u0131lan bir mecburiyet de\u011fil, y\u0131llar boyunca hep ihmal edile gelmi\u015f bir mecburiyet oldu\u011fu kavrand\u0131. Mevzu, sarm\u0131\u015ft\u0131.\u201d (Koz, 2000: 100-1)<\/p>\n

[Talking about the coup, pros\/cons: ]<\/strong> \u201cSarm\u0131\u015ft\u0131 ama herkesi de\u011fil. Bu minval \u00fczre tart\u0131\u015fmalara dalman\u0131n, darbecilerin ekme\u011fine ya\u011f s\u00fcrece\u011fini s\u00f6yleyenler \u00e7\u0131kt\u0131. On y\u0131l sonras\u0131n\u0131n bak\u0131\u015f\u0131yla fazlaca k\u00fct g\u00f6r\u00fcnen ama o g\u00fcn\u00fcn mant\u0131\u011f\u0131yla ve o g\u00fcn\u00fcn ortam\u0131nda az\u0131c\u0131k hakl\u0131, hayli eksik de\u011ferlendirmelerdi. Hakl\u0131l\u0131k, mecburi sessizlik ortam\u0131n\u0131n, bask\u0131lar\u0131n, i\u015fkecelerin direnilmez kader gibi g\u00f6r\u00fclmesine, bu boyun e\u011fi\u015fin zamanla duyars\u0131zl\u0131\u011fa d\u00f6n\u00fc\u015fmesine duyulan tepkiyle i\u00e7 i\u00e7eydi. Eksiklik ise, ba\u015fkalar\u0131n\u0131 duyars\u0131z bulanlar\u0131n da, geride duran bo\u015fluklar y\u00fcz\u00fcnden, ayn\u0131 etkisizli\u011fe mahkum kalmalar\u0131ndan kaynaklan\u0131yordu. Bir de, g\u00fcndelik ya\u015fam k\u00fclt\u00fcr\u00fc tart\u0131\u015fmalar\u0131n\u0131n sol duyarl\u0131l\u0131\u011fa alternatif olu\u015fturdurdu\u011fu d\u00fc\u015f\u00fcncesinden.\u201d (Koz, 2000: 101)<\/p>\n

[Intelectuals, (some) hate arabesk, kebap: ]<\/strong> \u201cBu ele\u015ftiriler, a\u011f\u0131rl\u0131\u011f\u0131n\u0131 kent ya\u015fam\u0131 ve arabest k\u00fclt\u00fcr\u00fcn olu\u015fturdu\u011fu tart\u0131\u015fmalar\u0131n \u00f6n\u00fcn\u00fc kesemedi. Yeni tart\u0131\u015fma zemininde farkl\u0131 g\u00f6r\u00fc\u015fler at\u0131ld\u0131 ortaya. Arabeski ve gecekondu k\u00fclt\u00fcr\u00fcn\u00fc, \u201ckendili\u011finden\u201d geli\u015fmi\u015f bir olgu olarak de\u011ferlendirip, \u201ctart\u0131\u015fmac\u0131\u201d konumunu tercih edenler vard\u0131. Kendilerinde \u00f6zel ayd\u0131n yetkileri g\u00f6r\u00fcp, bu kuruntulu yetkileri anlams\u0131z bir ho\u015fg\u00f6r\u00fcyle birle\u015ftirenler, \u201cb\u0131rakal\u0131m dinlesinler\u201d diyenler vard\u0131. Ve y\u0131llar sonra birbirine d\u00fc\u015fman kesilecek iki k\u00f6k aras\u0131ndaki, Cumhuriyet k\u00fclt\u00fcr\u00fcn\u00fc ya\u015fatmaya \u00e7al\u0131\u015fan ayd\u0131nlarla, kendi tarihini kendin yap ayd\u0131nlar\u0131n\u0131n ilk a\u015famas\u0131 aras\u0131ndaki k\u00fcf\u00fcr ittifak\u0131 vard\u0131. Arabeske, kebaba, lahmacuna, \u201ck\u00f6yden indim \u015fehire\u201d ku\u015faklar\u0131na yenilmez yutulmaz hakaretler ya\u011fd\u0131ran bir ittifak.\u201d (Koz, 2000: 101)<\/p>\n

[Nostalgia fashion, early 90s: ] <\/strong>\u201cAnti-arabesk yakla\u015f\u0131m ve 90\u2019lar\u0131n ba\u015f\u0131nda, yeni d\u00fcnya d\u00fczeni edebiyat\u0131n\u0131n T\u00fcrk versiyonunda ANAP\u2019l\u0131 tav\u015fan burcunun diline tak\u0131lacak \u201ckent de\u011ferleri\u201d, ki solun burjuva k\u00fclt\u00fcr\u00fcne bak\u0131\u015f\u0131ndan hayli farkl\u0131 bir \u015feydi bu kent de\u011ferleri tantanas\u0131, k\u00fcfredilene kar\u015f\u0131 \u201cg\u00f6klere \u00e7\u0131kar\u0131lan\u201d\u0131n aray\u0131\u015f\u0131n\u0131 yaratt\u0131. Sonu\u00e7, nostalji modas\u0131yd\u0131.\u201d (Koz, 2000: 102)<\/p>\n

[Main theme of nostalgia: old \u0130stanbul, relationships-love-nights-grace: ]<\/strong> \u201cNostalji edebiyat\u0131n\u0131n b\u00fcy\u00fcs\u00fcne kap\u0131lanlar, bilmedikleri, ya\u015famad\u0131klar\u0131, daha \u00f6nce hayalini bile kurmad\u0131klar\u0131 d\u00f6nemleri hasretle anar oldular. Eski \u0130stanbul\u2019da ili\u015fkilerin, a\u015fklar\u0131n, gecelerin gizemi ve letafetiydi ana tema.\u201d (Koz, 2000: 102)<\/p>\n

[Nostalgia, Beyo\u011flu: ]<\/strong> \u201cKentlerdeki yeni ya\u015fam\u0131n \u201canti\u201dsini, eski Beyo\u011flu simgeliyordu ve o simge \u00e7arp\u0131c\u0131 olsun diye \u00f6yle bir Beyo\u011flu anlat\u0131l\u0131yordu ki… Bir tek serserinin, bir tek gariban\u0131n ge\u00e7medi\u011fi, kravats\u0131z erke\u011fin, parf\u00fcms\u00fcz kad\u0131n\u0131n g\u00f6r\u00fclmedi\u011fi, hi\u00e7 k\u00fcf\u00fcr edilmeyen, hi\u00e7 hadise \u00e7\u0131kmayan, s\u00fctten \u00e7\u0131km\u0131\u015f ka\u015f\u0131k bir Beyo\u011flu… Herkesin giremedi\u011fi caddelerin ni\u00e7in \u00f6zlendi\u011fi sorusu bir yana, aynas\u0131yla me\u015fhur tarihi Beyo\u011flu Karakolu\u2019nun ni\u00e7in varoldu\u011fu, Galata G\u00fcmr\u00fck Emaneti\u2019nden \u015futlanma Kad\u0131rgal\u0131 K\u00f6r Emin\u2019in H\u0131rs\u0131z Panani\u2019yi nerede b\u0131\u00e7aklad\u0131\u011f\u0131 gibi y\u00fczlerce soruyu cevaplayamayacak bir tabloydu \u00e7izilen. \u201cBeyo\u011flu\u2019nda kravats\u0131z adam g\u00f6rd\u00fcm, az daha d\u00fc\u015f\u00fcp bay\u0131l\u0131yordum\u201d spotuyla pazarlanan yaz\u0131 dizileri bile haz\u0131rland\u0131 ve \u201cm\u00fc\u015fteri\u201d buldu. Kendi tarihini kendin yap ayd\u0131nlar\u0131 anlad\u0131lar ki, tarihle oynamak zor bir \u015fey de\u011fildir. \u00c7ok sevinmi\u015f olmal\u0131lar.\u201d (Koz, 2000: 103)<\/p>\n

[Against villagers, enemies of left: ]<\/strong> \u201cKentleri mahveden k\u00f6yl\u00fcl\u00fc\u011fe kar\u015f\u0131 burjuva ya\u015fam bi\u00e7imini savunal\u0131m derken burjuva ideolojisinin \u201c2000\u2019lere do\u011fru\u201d model, revize edilmi\u015f bi\u00e7imini benimseyivermi\u015flerdi. Kentlerin geleneksel dokusunu savunma noktas\u0131ndan k\u00f6yl\u00fc d\u00fc\u015fmanl\u0131\u011f\u0131 noktas\u0131na, \u201ckentli olmayan solculuk\u201d ele\u015ftirisinden \u201csa\u011f-sol \u00f6nemli de\u011fil, i\u015f ki k\u00f6yl\u00fcler susturulsun\u201d noktas\u0131na ve zamanla sol d\u00fc\u015fmanl\u0131\u011f\u0131 noktas\u0131na gelmi\u015flerdi. Bu d\u00fcnyan\u0131n kuzeyini kaplayan \u201cideolojiler \u00f6ld\u00fc\u201d g\u00fcr\u00fclt\u00fclerinin ba\u011fr\u0131ndaki, yeni sa\u011f k\u00f6kenli bir tek tip ideolojinin, tart\u0131\u015fmay\u0131 sevmeyen bir garip liberalizmin merkez noktas\u0131yd\u0131 ayn\u0131 zamanda.<\/p>\n

[Monotone media, single ideology, end of ideologies which crushed the individual: ] <\/strong>\u201cGazeteler, dergiler, televizyon kanallar\u0131 dolusu kalemin, sesin hep ayn\u0131 \u015feyleri s\u00f6yler olmas\u0131ndan hi\u00e7 s\u00fcphelenmediler. Bireyi ezen ideolojilerden kurtulma bayram\u0131 ilan ettiler, kal\u0131plar\u0131n k\u0131r\u0131ld\u0131\u011f\u0131n\u0131 m\u00fcjdelediler. Bu nas\u0131l kal\u0131p k\u0131r\u0131lmas\u0131yd\u0131 ki, her zaman her yerde hep ayn\u0131 laflar s\u00f6ylenir, hep o tek ideoloji savunulur olmu\u015ftu. Yapt\u0131klar\u0131, \u201chalk\u00e7\u0131l\u0131k\u201d okunun pop\u00fclizmini, yeni bir \u201cbirey s\u00f6ylemi\u201d pop\u00fclizmine d\u00f6n\u00fc\u015ft\u00fcrmekti ve bireyin b\u00fcsb\u00fct\u00fcn yitip gitti\u011fini ya g\u00f6rm\u00fcyorlard\u0131 ya g\u00f6remiyorlard\u0131.\u201d (Koz, 2000: 105)<\/p>\n

[Populism & Elitism: ]<\/strong> \u201cAncak kendileri de ileri derecede elitist ve ayn\u0131 derecede pop\u00fclisttiler maleself. Bir ayr\u0131m noktas\u0131 vard\u0131 ki, mesele o noktan\u0131n civar\u0131nda gezinmemekti zaten. B\u00f6yle bir ayr\u0131m\u0131 yap\u0131p, o temelde tav\u0131r belirledikten sonra, ha iki ad\u0131m \u00e7\u0131k\u0131lm\u0131\u015f elitist olunmu\u015f, ha iki ad\u0131m a\u015fa\u011f\u0131 inilip pop\u00fclist olunmu\u015f, fark etmiyordu. Pop\u00fclizmle elitizmin i\u00e7i\u00e7eli\u011fini hatta farks\u0131zl\u0131\u011f\u0131n\u0131 bilmezler miydi? Herhalde bilirlerdi.\u201d (Koz, 2000: 105)<\/p>\n

[Single ideology: ]<\/strong> \u201cHem, kimbilir ka\u00e7 kez s\u00f6z\u00fc ge\u00e7ti, o malum tek tip ideolojiyi ve yine malum de\u011ferleri, tart\u0131\u015f\u0131lmaz \u015feylermi\u015f gibi, her konuya vak\u0131f ayd\u0131n havalar\u0131nda toplumun \u00fczerine serpmeye \u00e7al\u0131\u015f\u0131rken, hem de burjuva de\u011ferlerini savunmaya \u00e7al\u0131\u015f\u0131rken, pop\u00fclist s\u00f6ylemin koltu\u011funda fazlas\u0131yla elitist, fazlas\u0131yla tepeden inmeciydiler. G\u00fcndelik ya\u015famla ilgili de\u011ferlendirmeler yapma i\u015fi hi\u00e7bir zaman yetmedi onlara. Kendi do\u011frular\u0131n\u0131, kendi tercihlerini aktarmakla da yetinemediler.\u201d (Koz, 2000: 105)<\/p>\n

[Conflictive: ]<\/strong> \u201c\u00dcstelik, kentli n\u00fcfus oran\u0131n\u0131n art\u0131\u015f\u0131n\u0131, de\u011fi\u015fimin k\u0131van\u00e7 duyulacak simgesi olarak alk\u0131\u015flayanlarla, kentlerin yeni sakinlerine k\u00fcfredenler ayn\u0131 insanlard\u0131.\u201d (Koz, 2000: 106)<\/p>\n

[The intelligentsia sees the 70s only with \u2018violence\u2019: ] <\/strong>\u201c70\u2019li y\u0131llar, kendi tarihini kendin yap ayd\u0131nlar\u0131n\u0131n, tarih imal etme, ger\u00e7ekleri sapt\u0131rma operasyonlar\u0131na en a\u011f\u0131r bi\u00e7imde maruz kalan d\u00f6nemdi zaten. Onlara bak\u0131l\u0131rsa, ipini koparan k\u00f6yl\u00fcn\u00fcn devrimcilik ad\u0131na ortaya at\u0131ld\u0131\u011f\u0131, ideolojik kal\u0131plar\u0131n d\u00fc\u015f\u00fcnme-\u00f6\u011frenme ufkunu tamamen kapatt\u0131\u011f\u0131 bir \u015fiddet d\u00f6nemiydi 70\u2019li y\u0131llar.\u201d (Koz, 2000: 107)<\/p>\n

[However, in the 80s, all the jobs that need qualified production were employed by the leftists of the 70s: ]<\/strong> \u201cOnca hataya, vahameti sonradan anla\u015f\u0131lan onca s\u0131\u011fl\u0131\u011fa ra\u011fmen, 70\u2019li y\u0131llar\u0131n solundan gitmi\u015f insanlar, gazetecisinden ressam\u0131na mimar\u0131ndan reklamc\u0131s\u0131na, romanc\u0131s\u0131ndan akademisyenine, 80\u2019lerin ve 90\u2019lar\u0131n nitelikli \u00fcretim isteyen alanlar\u0131nda egemenlik kurmu\u015flard\u0131.\u201d (Koz, 2000: 108)<\/p>\n

[Criticising the 70s with the formalism of left: ]<\/strong> \u201cB\u0131y\u0131k kal\u0131nl\u0131\u011f\u0131na ideolojik anlam kazand\u0131rma ve parka modas\u0131, naiv bir bi\u00e7imcilik de\u011fil de \u00e7apulculukmu\u015f gibi; sol \u015feride m\u00fcstehzi bak\u0131\u015flar f\u0131rlatan yeni ku\u015faklar, maddi de\u011ferleriyle daha bir stat\u00fckoculuk kokan Levi\u2019s 501\u2019leri, k\u00f6\u015feli g\u00f6zl\u00fckleri, Nike\u2019lar\u0131 parkan\u0131n, dik yakal\u0131 siyah kazaklar\u0131n yerine koymam\u0131\u015f gibi.\u201d (Koz, 2000: 108)<\/p>\n

[Attacks to left, as if they were \u2018emotionless\u2019: ]<\/strong> \u201cG\u00fcndelik ili\u015fkilerdeki s\u0131n\u0131rlay\u0131c\u0131l\u0131\u011fa ra\u011fmen ve mutsuz siyasi evlilikler ger\u00e7e\u011finin yan\u0131nda, 12 Eyl\u00fcl\u2019\u00fcn hemen ard\u0131ndan i\u00e7eri girmi\u015f gen\u00e7 insanlar\u0131 cezaevi kap\u0131s\u0131nda bekleyen kar\u0131lar\u0131-kocalar\u0131, sevgilileri g\u00f6kten d\u00fc\u015fm\u00fc\u015f gibi, anne-babalar\u0131 i\u00e7eride ya\u015flanan, kendileri d\u0131\u015far\u0131da b\u00fcy\u00fcyen \u00e7ocuklar g\u00f6kten d\u00fc\u015fm\u00fc\u015f gibi. Hi\u00e7bir solcu hi\u00e7bir insan\u0131 sevmemi\u015f gibi.\u201d (Koz, 2000: 108)<\/p>\n

[Sexual life as a status\/standing: ]<\/strong> \u201cCinselli\u011fe \u00f6rg\u00fctsel s\u0131n\u0131rlar \u00e7ekmenin yanl\u0131\u015fl\u0131\u011f\u0131na eyvallah da, cinsel ya\u015fam\u0131 bir stat\u00fc sembol\u00fcne d\u00f6n\u00fc\u015ft\u00fcrmek sanki daha matah bir \u015feymi\u015f gibi.\u201d (Koz, 2000: 108)<\/p>\n

[Left as schlemiel\/dummy\/pigeon\/foolish: ]<\/strong> \u201cVarolan\u0131 kabullenmek ya da iktidar\u0131n sundu\u011fu haz\u0131r de\u011fi\u015fim paketini kucaklamak yerine, bamba\u015fka bir d\u00fcnya d\u00fc\u015flemek, herkesin e\u015fit ve \u00f6zg\u00fcr oldu\u011fu bir d\u00fcnyan\u0131n ger\u00e7ekle\u015febilirli\u011fini, belki sab\u0131rs\u0131zca ve fazla iyimserce kan\u0131tlamaya \u00e7al\u0131\u015fmak enayilikmi\u015f gibi.\u201d (Koz, 2000: 108)<\/p>\n

[Criticising \u2018reading\u2019: ]<\/strong> \u201cYorum zenginli\u011fi ve tart\u0131\u015fma derinli\u011fi noktalar\u0131nda \u00f6nemli sorunlar ya\u015fanmakla birlikte, onbinlerce kitap, onbinlerce dergi okunmazm\u0131\u015f, onlarca dergi yay\u0131mlanmazm\u0131\u015f gibi. Kitaplar ve dergiler bas\u0131l\u0131rken, toplant\u0131lar d\u00fczenlenir platformlar \u00e7at\u0131l\u0131rken, devletin t\u00fcm izin verme, hak tan\u0131ma mekanizmalar\u0131n\u0131 a\u015fan bir cesaretle y\u00fcr\u00fcnmemi\u015f, unutulmaz 141. ve 142. maddeler resmen de\u011filse de fiilen delik de\u015fik edilmemi\u015f gibi.\u201d (Koz, 2000: 108)<\/p>\n

[Criticise the left, but not question the change: ]<\/strong> \u201cKal\u0131plar\u0131n i\u00e7ine s\u0131k\u0131\u015fmakla su\u00e7lad\u0131klar\u0131 solun bir kesimi, \u201cgeriye do\u011fru de\u011fi\u015fim olur mu, olmaz m\u0131\u201d tart\u0131\u015fmalar\u0131 yaparken, belki de \u00f6zel ge\u00e7mi\u015flerinin sonucuydu, onlar \u201ch\u0131zl\u0131 de\u011fi\u015fim s\u00fcreci\u201d dedikleri \u015feyin \u00f6z\u00fcn\u00fc sorgulamak istemediler hi\u00e7. Hangi de\u011fi\u015fim, ne y\u00f6nde de\u011fi\u015fim, kimlere neler getiren kimlerden neler g\u00f6t\u00fcren bir de\u011fi\u015fim? Bu sorulardan ustaca ka\u00e7man\u0131n ve \u00e7a\u011fda\u015f imajlar\u0131n verdi\u011fi c\u00fcretle, i\u015fi d\u00fcmd\u00fcz bir \u201cde\u011fi\u015fimden yana m\u0131s\u0131n\u0131z, de\u011fil misiniz\u201d ayr\u0131m\u0131na g\u00f6t\u00fcrd\u00fcler. \u0130nsanlara yine bu c\u00fcretle, kolayca muhafazakar damgas\u0131 vurdular.\u201d (Koz, 2000: 109)<\/p>\n

[Common features of these intellectuals: ]<\/strong> \u201cEn ba\u015ftaki gibi: Sol ge\u00e7mi\u015f istikametinden gelip, i\u00e7i tam doldurulamayan bir asabi liberalizm istikametine giden ayd\u0131nlard\u0131 bunlar. Medyadaki konumlar\u0131 sayesinde, zaman zaman hayli pop\u00fcler olabilen bir grup ayd\u0131n. Ve isimleri de malum…\u201d (Koz, 2000: 111)<\/p>\n

[[[[Sabah Veriyor, Tiraj-Man Geliyor: ZAFER MUTLU -> T\u00fcrkiye Cumhuriyeti\u2019nden Yeltsin \u201cBo\u015f\u201dlu\u011fu ve Y\u00fckselen De\u011ferler]]]]<\/strong><\/p>\n

[Sabah as the newspaper of the rising values]<\/strong> (Koz, 2000: 113)<\/p>\n

[Winds blowing in the world: ]<\/strong> \u201cMesele, \u201cd\u00fcnyam\u0131zda esen r\u00fczgarlar\u201d meselesi. Malum r\u00fczgarlar, kimini daha az kimini daha \u00e7ok, t\u00fcm medya kurumlar\u0131n\u0131 etkiledi.\u201d (Koz, 2000: 114)<\/p>\n

[In sabah, one may find all the tendencies\/values of the country: ] <\/strong>\u201cEvet, ger\u00e7ekten de\u011fi\u015fenleri, asl\u0131nda de\u011fi\u015fmeyenleri, de\u011fi\u015fim ad\u0131na pazarlanan her \u015feyi, t\u00fcm yeni de\u011ferleri r\u00fczgar y\u00f6n\u00fcndeki t\u00fcm toplumsal e\u011filimleri, neredeyse eksiksiz bi\u00e7imde bulabilirsiniz Sabah sayfalar\u0131nda.\u201d (Koz, 2000: 114)<\/p>\n

[Common points of Sabah & Yeltsin, new world order: ]<\/strong> \u201cSabah\u2019la Yeltsin\u2019i birle\u015ftiren noktalar az de\u011fil ve Yeltsin\u2019e duyulan hayranl\u0131k haybeye de\u011fil. Sabah da Yeltsin de, pragmatizmi bile a\u015fan bir bo\u015flu\u011fun temsilcileri. Lafza bak\u0131l\u0131rsa, demokratlar. Ama Sabah\u2019\u0131n s\u0131n\u0131r \u00f6tesi operasyonlara verdi\u011fi deste\u011fin, Meclis\u2019te a\u011f\u0131zdan \u00e7\u0131kan K\u00fcrt\u00e7e bir c\u00fcmleye kar\u015f\u0131 man\u015fetten ald\u0131\u011f\u0131 tavr\u0131n, Yeltsin milliyet\u00e7ili\u011fiyle birle\u00e7ti\u011fi noktada \u00e7ok standartl\u0131l\u0131\u011f\u0131n \u00e7a\u011fda\u015f \u00f6rneklerini sunarlar. Ve Sabah da, Yeltsin\u2019in kahramanl\u0131\u011f\u0131 da yeni d\u00fcnya d\u00fczeni denen \u015feye yaslan\u0131r.\u201d (Koz, 2000: 115)<\/p>\n

[Good, bad, real; left: ]<\/strong> \u201cFarks\u0131zla\u015fma s\u00fcrecinin bir sonucuydu bu. Il\u0131ml\u0131, uyumlu, uzla\u015fmac\u0131 ve tek tip ideoloji \u00e7er\u00e7evesinde, kendilerini ortada ya da sa\u011fda tan\u0131mlayanlardan olabildi\u011fince farks\u0131z, haliyle zarars\u0131z solcular \u201ciyi sol\u201d, daha radikal, daha derinlemesine d\u00fc\u015f\u00fcnenler ise \u201ck\u00f6t\u00fc sol\u201d bak\u0131\u015flar\u0131na muhatap oluyorlard\u0131 art\u0131k. Bu bak\u0131\u015flar\u0131n sese d\u00f6n\u00fc\u015ft\u00fc\u011f\u00fc noktada, birka\u00e7 ayr\u0131 s\u0131fat ili\u015ftiriyordu sol \u00e7e\u015fitlerine. Zafer Mutlu iyi sol demedi de, uyan\u0131k bir ifadeyi, \u201cger\u00e7ek sol\u201d tamlamas\u0131n\u0131 tercih etti.\u201d (Koz, 2000: 116-7)<\/p>\n

[Urban values, consumption: ]<\/strong> \u201cYeni de\u011ferlerin s\u00f6zc\u00fcleri de, kentli t\u00fcketicilerden ald\u0131klar\u0131 destekle, i\u015fi \u00f6nce \u201cne kadar t\u00fcketirseniz o kadar kentlisiniz\u201d muhabbetine, daha sonra da \u201ckent de\u011ferleri\u201d s\u00f6ylemine vurdular. En pahal\u0131, en g\u00f6steri\u015fli ya\u015fayan, evine teknolojinin nimetlerinden maksimum say\u0131da sokabilenler \u201cen kentli\u201dydi bu bak\u0131\u015fla.\u201d, [more economic power, greater status]<\/strong>\u00a0 (Koz, 2000: 117)<\/p>\n

[English, Sabah\u2019s supplement \u2013 TV Guide, lifestyle etc: ]<\/strong> \u201cY\u00fckselen de\u011ferlere ters d\u00fc\u015fmeyen her toplumsal e\u011filimi ba\u015far\u0131yla yakalam\u0131\u015f Sabah\u2019\u0131n, ki bu kesinlikle kinaye de\u011fil, toplumsal \u0130ngilizce hastal\u0131\u011f\u0131ndan yararlanmamas\u0131 d\u00fc\u015f\u00fcn\u00fclemez elbette. Man\u015fetlerinden haberlerine kadar…\u201d (Koz, 2000: 118)<\/p>\n

[Image of \u2018plurality\u2019]<\/strong> \u201cOlumlu-olumsuz y\u00f6nleriyle pop\u00fcler etkisini yitiren Cumhuriyet gelene\u011fi ger\u00e7e\u011finin yerini, yeni bir ger\u00e7ekle de\u011fil, imajlar\u0131n ku\u015fatt\u0131\u011f\u0131 bir bo\u015flukla alan de\u011ferlerin gazetesidir Sabah. Farks\u0131zla\u015fma s\u00fcrecinde, \u201c\u00e7okseslilik\u201d siyasi \u00f6z\u00fcn\u00fc nas\u0131l b\u0131rakm\u0131\u015fsa, Sabah\u2019\u0131n k\u00f6\u015felerindeki \u00e7okseslilik de, benzer tellerden \u00e7alan yazarlar\u0131n asgari farkl\u0131l\u0131klar\u0131yla, bir imajdan ibarettir. Sabah\u2019\u0131n destekledi\u011fi liberler, birer politik imajd\u0131r. Yeni d\u00fcnya d\u00fczeninin \u201cglobal\u201d nimetleri, finansal-fiziksel g\u00fcc\u00fc olmayan \u00fclkeler i\u00e7in birer imajd\u0131r yaln\u0131zca. Milyarlar savrularak sat\u0131n al\u0131nan \u201cgusto\u201dlar\u0131n imaj olmalar\u0131 gibi…\u201d (Koz, 2000: 119)<\/p>\n

[[[[Reklam\u0131 \u00c7ok Ama Piyasada Pek Bulunmuyor: B\u0130REY -> Neo-Pop\u00fclizmin Simgeleri ve De\u011fi\u015fim \u0130maj\u0131]]]]<\/strong><\/p>\n

[Rise of the individual: ] <\/strong>\u201cDe\u011fi\u015fim, \u00e7a\u011fda\u015fla\u015fma, y\u00fckselen de\u011ferler ve yeni d\u00fczen ad\u0131na a\u011fz\u0131n\u0131 a\u00e7an herkes, bireyden s\u00f6z etti. \u0130nsanlar s\u00fcr\u00fcleri terk ediyordu art\u0131k, \u00e7obanlar\u0131n devri bitiyordu. Ya\u015fanan, bireyin y\u00fckseli\u015f s\u00fcreciydi.\u201d (Koz, 2000: 121)<\/p>\n

[Individual as a symbol of neo-populism: ]<\/strong> \u201cKe\u015fke hakl\u0131 olsalard\u0131, ke\u015fke bireycilik de\u011fil birey y\u00fckselseydi ger\u00e7ekten ve birey s\u00f6zc\u00fc\u011f\u00fc, neo-pop\u00fclizmin evire \u00e7evire kulland\u0131\u011f\u0131 bir simgeye d\u00f6n\u00fc\u015fmeseydi.\u201d (Koz, 2000: 121)<\/p>\n

[Erosion of union\/solidarity: ]<\/strong> \u201cT\u00fcrkiye i\u00e7in, pop\u00fclizmin kelime kar\u015f\u0131l\u0131\u011f\u0131n\u0131 \u00e7ok \u00e7ok a\u015fan bir anlamla y\u00fckl\u00fc \u201chalk\u00e7\u0131l\u0131k\u201d, hayli y\u0131prand\u0131 80\u2019lerin ikinci yar\u0131s\u0131ndan ba\u015flayarak. Bir pop\u00fclist politika torbas\u0131 niteli\u011findeki halk\u00e7\u0131l\u0131k s\u00f6yleminin evriminde, imtiyazs\u0131z s\u0131n\u0131fs\u0131z kayna\u015fm\u0131\u015f kitlenin yerini alan birlik, beraberlik, el ele istikbale y\u00fcr\u00fcmek temalar\u0131 tamamen etkisiz kalmad\u0131 ama \u00f6nemli \u00f6l\u00e7\u00fcde cazibe erozyonuna u\u011frad\u0131. Klasik pop\u00fclist s\u00f6ylemin, ba\u015f taraftan su almas\u0131yd\u0131 bu. Erozyonla a\u00e7\u0131lan alan bo\u015f kalmad\u0131. Neo-pop\u00fclizm, yeni simgesiyle bu alan\u0131 dolduruverdi: Birey.\u201d (Koz, 2000: 121)<\/p>\n

[Number of the \u2018individuals\u2019 did not increase: ]<\/strong> \u201c \u201cFerd\u201d olman\u0131n pek muhabbetle kar\u015f\u0131lanmad\u0131\u011f\u0131 d\u00f6nemde, ba\u015far\u0131l\u0131 bir politik sonu\u00e7tu, ferd say\u0131s\u0131 d\u00fc\u015f\u00fckt\u00fc. De\u011ferler de\u011fi\u015fimiyle dil de\u011fi\u015fiminin ortak \u00fcr\u00fcn\u00fc olan \u201c\u00e7ok say\u0131da birey piyasaya s\u00fcr\u00fclm\u00fc\u015ft\u00fcr\u201d ilanlar\u0131n\u0131n d\u00f6neminde ise, yine ba\u015far\u0131l\u0131 bir politik sonu\u00e7tu, birey oran\u0131 a\u015fa\u011f\u0131 yukar\u0131 ayn\u0131 d\u00fczeyde kald\u0131.\u201d (Koz, 2000: 122)<\/p>\n

[Induce\/persuade strategy: ]<\/strong> \u201cEvet, yine ba\u015far\u0131l\u0131 bir politik sonu\u00e7tu. \u00c7\u00fcnk\u00fc, bireye verilen \u00f6nemden s\u00f6z etmek, ger\u00e7ekten bireylerin olu\u015fmas\u0131n\u0131 arzulamak anlam\u0131na gelmiyordu ki. O bir \u201ckafalama stratejisi\u201dydi yaln\u0131zca. Do\u011fru, bireycilik y\u00fckseliyordu ama y\u0131k\u0131lan duvarlar\u0131n alt\u0131ndan birey \u00e7\u0131kmam\u0131\u015f, \u201cd\u00fcnyada esen r\u00fczgarlar\u201d T\u00fcrkiye\u2019ye \u201cdaha \u00e7ok birey\u201d ortam\u0131n\u0131 ta\u015f\u0131yamam\u0131\u015ft\u0131. \u0130deolojilerin bo\u015f tabutlar\u0131 \u00f6n\u00fcnde her g\u00fcn cenaze t\u00f6reni d\u00fczenleyenlerin d\u00f6nemi, tek bir ideolojiyi pazarlamaya \u00e7al\u0131\u015fanlar\u0131n de\u011ferleri, tam aksine, varolan bireyleri de \u00e7a\u011fda\u015f s\u00fcr\u00fclere katabilme derdindeydi.\u201d (Koz, 2000: 122)<\/p>\n

[End of Ideologies: ]<\/strong> \u201cOysa, neo-pop\u00fclizmin y\u0131ld\u0131zlar\u0131 bunun tersini iddia ediyordu. Onlara bak\u0131l\u0131rsa, ideolojiler mera, \u00e7a\u011fd\u0131\u015f\u0131 politik liderler \u00e7oban, ideolojilere kap\u0131lanlar ise s\u00fcr\u00fcyd\u00fc. \u0130nsanlar\u0131n d\u00fc\u015f\u00fcnce ufkundan konu\u015fma bi\u00e7imlerine, k\u00f6r\u00fc k\u00f6r\u00fcne inand\u0131klar\u0131 ideolojilerin denizinde yutulup gitmi\u015fti y\u0131llarca, geriye insan \u00fcretiminde kullan\u0131lan eski kal\u0131plar kalm\u0131\u015ft\u0131.\u201d (Koz, 2000: 122)<\/p>\n

[They are partly right about ideologies\u2019 smash of the people: ]<\/strong> \u201cBir ideolojiyi benimsemek, birey olabilme hakk\u0131ndan b\u00fct\u00fcn\u00fcyle feragat etmek mi? Elbette ki hay\u0131r. Ancak, ge\u00e7mi\u015f d\u00f6nemlerde, \u00f6zellikle 70\u2019li y\u0131llarda, ideolojilerin bireyi ezdi\u011fi de, bir \u00f6l\u00e7\u00fcde ger\u00e7ek. Yani, neo-pop\u00fclizmin y\u0131ld\u0131zlar\u0131, ge\u00e7mi\u015fteki ideoloji-birey ili\u015fkilerini de\u011ferlendirirken, tamamen denemese bile k\u0131smen hakl\u0131lar.\u201d (Koz, 2000: 122)<\/p>\n

[They also have neoliberal ideology: ]<\/strong> \u201cAma yeni d\u00f6nemde bireyin y\u00fckseli\u015fe ge\u00e7ti\u011fini iddia ederken de, k\u0131smen de\u011fil tamamen haks\u0131zlar. \u0130deolojiler kefene t\u0131k\u0131lmaya \u00e7al\u0131\u015f\u0131l\u0131rken, nimetleri \u00f6ve \u00f6ve bitirilemeyen, yumu\u015fak bir metazoriyle hayat\u0131n i\u00e7ine monte edilmek istenen, monte edilen \u201cgemisini kurtaran kaptanizm\u201d ideolojisi mi bireye omuz veriyor? Hayli klasik ve ayn\u0131 \u00f6l\u00e7\u00fcde ge\u00e7erli ayr\u0131mla, o bireycili\u011fin y\u00fckseli\u015fi, bireyin de\u011fil.\u201d (Koz, 2000: 122-3)<\/p>\n

[Images camouflage the reality, image of individual: ]<\/strong> \u201cVe imajlar\u0131n ger\u00e7ekleri kamufle etti\u011fi, \u201cm\u0131\u015f gibi\u201dnin prim yapt\u0131\u011f\u0131 d\u00f6nemde, bu b\u00fcy\u00fck sessizli\u011fi y\u0131rtmak i\u00e7in, sessizler ad\u0131na ba\u015fkalar\u0131nca \u00e7\u0131kar\u0131lan g\u00fcr\u00fclt\u00fcler… Neo-pop\u00fclizm, bu yapay seslendirme st\u00fcdyosunda \u00fcslendi i\u015fte. Kendi sesi olmayan insanlara birey denemeyece\u011fini iyi biliyorlard\u0131. Bu nedenle, \u201cbirey imajlar\u0131\u201d ad\u0131na konu\u015ftular hep.\u201d (Koz, 2000: 123)<\/p>\n

[Rise of individual; depoliticization, insensitivity, ruthlessness, silence, better lives: ]<\/strong> \u201cDepolitizasyon, duyars\u0131zl\u0131k, hatta ac\u0131mas\u0131zl\u0131k ve sessizlik gibi g\u00f6r\u00fcnen \u015feyler hep bireyin y\u00fckseli\u015fini simgeliyordu, onlara bak\u0131l\u0131rsa. \u0130nsanlar \u201cBir birey olduk, eski kal\u0131plar\u0131 reddediyoruz art\u0131k\u201d diyorlard\u0131 ve daha iyi ya\u015famak istiyorlard\u0131.\u201d (Koz, 2000: 123)<\/p>\n

[Ideology of consumption: ]<\/strong> \u201cOysa eskiden hi\u00e7 olmazsa birka\u00e7 ideolojinin kal\u0131plar\u0131yla bo\u011fu\u015fulurken, yeni de\u011ferler tek ideolojiyi dayatt\u0131lar tepeden. \u0130deolojik kal\u0131plar\u0131n yerini ise t\u00fcketim kal\u0131plar\u0131 ald\u0131. T\u00fcketim kal\u0131plar\u0131na g\u00f6re stat\u00fc kovalayan insanlar nas\u0131l birey olabiliyorlarsa…\u201d (Koz, 2000: 124)<\/p>\n

[How ads create differance: ]<\/strong> \u201cG\u00fcndelik ili\u015fkilerde belirleyici bir rol kapan televizyon reklamlar\u0131, \u00fcr\u00fcnlerin fark\u0131 \u00fczerinden seslenme stratejisini yedek kul\u00fcbesine oturttular \u00e7o\u011funlukla. \u00dcr\u00fcnlerin, t\u00fcketicileri nas\u0131l farkl\u0131la\u015ft\u0131rd\u0131klar\u0131 noktas\u0131na y\u00fcklenildi.\u201d (Koz, 2000: 124)<\/p>\n

[Being different: ]<\/strong> \u201c \u201cO art\u0131k farkl\u0131, farkl\u0131 olun, fark\u0131n\u0131z fark edilecek\u201d sloganlar\u0131 kullan\u0131ld\u0131. Nas\u0131l farkl\u0131 olunabiliyordu? T\u00fcrk tra\u015f kremi pazar\u0131n\u0131n neredeyse yar\u0131s\u0131n\u0131 elinde bulunduran firman\u0131n, y\u0131lda bilmemka\u00e7 milyon t\u00fcp t\u00fcketilen tra\u015f kremini kullanarak \u00f6rne\u011fin. \u015eu bankaya para yat\u0131rarak, bu arabay\u0131 gazlayarak, falanca deodorant\u0131, filanca blucini alarak, birey kimli\u011fini, \u201cfarkl\u0131 insan\u201d stat\u00fcs\u00fcn\u00fc kolayca kucaklayabilirdiniz.\u201d (Koz, 2000: 124)<\/p>\n

[Images & Politicians: ]<\/strong> \u201c\u0130yi bir liderin modaya uygun g\u00f6mlek giymesi gerekiyordu. Mesut Y\u0131lmaz, Baykal\u2019la blucinleri \u00e7ekip pikni\u011fe gitmedi ama \u00e7izgili ti\u015f\u00f6rtlerle foto\u011fraflar \u00e7ektirdi. K\u0131rk y\u0131ll\u0131k Demirel, Hawai g\u00f6mlekleriyle poz verdi. \u0130n\u00f6n\u00fc, spor ceketin i\u00e7ine kravats\u0131z kareli g\u00f6mle\u011fi \u00e7ekti, \u00f6\u011frencilerin aras\u0131na kar\u0131\u015ft\u0131. Demode kasketi \u00e7ok ele\u015ftirilen Ecevit\u2019e pembe e\u015fofmanlar e\u015fli\u011finde, Belgrad Orman\u0131\u2019ndaki jogging parkurunun yolu g\u00f6sterildi, kabul etmedi neyse ki. Sonra s\u0131ra bilgisayarlar\u0131n ba\u015f\u0131nda poz vermeye geldi. Ve bu zincir b\u00f6yle devam etti.\u201d (Koz, 2000: 126)<\/p>\n

[What\u2019s the alternative? ]<\/strong> \u201c\u00c7\u00fcnk\u00fc se\u00e7menlerin sekiz-dokuz y\u0131l\u0131, \u00f6zel laboratuvarlarda hassasiyetle \u00fcretilip a\u011f\u0131zlar\u0131na s\u00fcr\u00fclen iki sloganla ge\u00e7ti. \u201cNe zekiyim, ne \u00e7a\u011fda\u015f\u0131m, ne g\u00fczel soruyorum\u201d dedirten ama \u00f6z\u00fcnde, sistemin mant\u0131\u011f\u0131na s\u0131k\u0131\u015f\u0131p kalan iki sloganc\u0131k. \u0130lki 1983\u2019ten 1991\u2019e kadar idare eden \u201calternatifleri ne\u201d sorusu. Her t\u00fcrl\u00fc ele\u015ftiriye kar\u015f\u0131 \u201calternatifleriniz ne, alternatifleri ne\u201d deniyor, i\u015f bitiyordu. Sonra, 1991\u2019de, ikinci slogan yarat\u0131ld\u0131: \u201cKaynak nerede, kayna\u011f\u0131 nereden bulacaks\u0131n\u0131z?\u201d, \u201cBu papa\u011fanl\u0131\u011f\u0131n neo-pop\u00fclist yorumu, insanlar\u0131n s\u00fcr\u00fclerden ayr\u0131l\u0131p bireylik mertebesine y\u00fckselmeleri, her \u015feyi \u00f6zg\u00fcrce sorgulamalar\u0131yd\u0131.\u201d (Koz, 2000: 126-7)<\/p>\n

”<\/p>\n

Can Kozano\u011flu, Cilal\u0131 \u0130maj Devri: 1980\u2019lerden 90\u2019lara T\u00fcrkiye ve Starlar\u0131, \u0130leti\u015fim Yay\u0131nlar\u0131, 2000.<\/p>\n","protected":false},"excerpt":{"rendered":"

B\u0131\u00e7k\u0131n ve A\u011flak \u00e7\u0131km\u0131\u015f, Kozano\u011flu \u00fc\u015fenge\u00e7likten kitap yazmad\u0131\u011f\u0131 i\u00e7in (kendi Medyascope’da b\u00f6yle diyordu) s\u00f6yle\u015fmi\u015f Mirg\u00fcn Cabas ile, ne iyi etmi\u015f. Cilal\u0131 \u0130maj Devri, Acemi E\u011fitimi, Pop Ate\u015fi yak\u0131n tarihli k\u00fclt\u00fcrel olu\u015fumlar\u0131n tespitlerine ve yorumlar\u0131na dair yaz\u0131lm\u0131\u015f, heyecanla okudu\u011fum kitaplard\u0131. Gazetecilik, kent ya\u015fam\u0131na ilgi, g\u00fcndelik g\u00f6zlem, deneyim ve hafif de teorinin gizli tepkimesiyle g\u00fc\u00e7l\u00fc sezileri, bunun … Continue reading Kozano\u011flu, Cilal\u0131 \u0130maj Devri – Al\u0131nt\u0131lar<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[33,31,222],"tags":[398,396,397],"class_list":["post-1470","post","type-post","status-publish","format-standard","hentry","category-alinti","category-deneme","category-kent","tag-1980ler","tag-can-kozanoglu","tag-cilali-imaj-devri"],"aioseo_notices":[],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p9WYIs-nI","jetpack-related-posts":[{"id":163,"url":"https:\/\/yalpertem.com\/blog\/2017\/03\/14\/romanci-ve-roman\/","url_meta":{"origin":1470,"position":0},"title":"Romanc\u0131 ve Roman","author":"yalpertem","date":"14 March 2017","format":"image","excerpt":"","rel":"","context":"In "edebiyat"","block_context":{"text":"edebiyat","link":"https:\/\/yalpertem.com\/blog\/category\/edebiyat\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/yalpertem.com\/blog\/wp-content\/uploads\/2017\/03\/orhan-pamuk-saf-ve-dusunceli-romanci-min-200x300.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":1216,"url":"https:\/\/yalpertem.com\/blog\/2018\/04\/19\/baker-gundelik-hayatin-imajlari\/","url_meta":{"origin":1470,"position":1},"title":"Baker, G\u00fcndelik Hayat\u0131n \u0130majlar\u0131 (Simmel, Benjamin, Vertov)","author":"yalpertem","date":"19 April 2018","format":false,"excerpt":"\" Her sosyoloji, bir zamanlar bir toplumsal tip tan\u0131mlan\u0131rken o tipin toplumsal \u00e7evresinin \u00f6nem ta\u015f\u0131mas\u0131 anlam\u0131nda, g\u00fcndelik hayat\u0131n sosyolojisidir. 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