Türkiye’de Gangster ve Trap Hip Hop  Müzik: Yeni Nesil Rap Müziğin “Mahalle”si

Karanfil İlknur

doi:https://dx.doi.org/10.26650/JECS2021-994962

Araştırma Makalesi

DOI :10.26650/JECS2021-994962 IUP :10.26650/JECS2021-994962 Tam Metin (PDF)

Türkiye’de Gangster ve Trap Hip Hop Müzik: Yeni Nesil Rap Müziğin “Mahalle”si

Türkiye’de Hip Hop müzik, 2010’ların ikinci yarısında yükselişe geçerek ilk kez pop müziği geride bırakıp zirveye ulaşmıştır. Trap olarak bilinen alt türünün çıkışıyla Hip Hop müzik gençler arasında daha popüler hale gelmiştir (Kadıoğlu & Sözeri-Özdal, 2020: 7). Amerika’da Afro-Amerikan gettolarında gelişen bu müzik türü Türkiye’de yerelleşerek varoş da denen kenar mahalle kültürünü odağına almaktadır. Türkiye’de gangster ve trap Hip Hop kültürü, alt sınıfın kenar mahallelerinde toplumsal eşitsizliğin ürünü olan sınıfsal sıkışmışlıkla boğuşan genç erkeklerin yaşayışından kaynağını almıştır. Bu genç erkeklerin şiddete ve yasadışı yollara başvurarak hayatta kalmaları, ardından para kazanmayı bu yolla başararak bağımsızlaşmaları bu müziğin ana anlatısını oluşturmaktadır. Bu çalışmanın amacı, kenar mahallelerde vücut bulan toplumsal eşitsizliğe bir karşılık olarak buradaki gençleri temsilen bu şarkılarda mahalle söyleminin nasıl kurulduğunu analiz etmektir. Bu çalışmada, Türkiye’deki dört popüler yeni nesil rap şarkısı seçilerek bunların sözleri incelenecektir. Ezhel’in popülerleşmesine en fazla katkıda bulunan “Şehrimin Tadı” şarkısı, Gazapizm’in “Heyecanı Yok” adlı şarkısı, Khontkar’ın ise “İşler Legal”, “Kime Ne” ve “Hiçbir Şeyim Yok” şarkıları en çok dinlenen ve mahalle kavramını en iyi yansıttığı düşünülen şarkılar olduğundan çalışma için seçilmiştir. Seçilen şarkı sözlerinin açık kodlamaya dayalı söylem analizi yapılmıştır.

Anahtar Kelimeler: Hip Hop müzik, Gangster rap, Trap Hip Hop, Popüler kültür, Sınıfsal eşitsizlik

DOI :10.26650/JECS2021-994962 IUP :10.26650/JECS2021-994962 Tam Metin (PDF)

The Hip Hop Music Genres of Gangster Rap and Trap in Turkiye: New Rap’s Ghetto Music

İlknur Karanfil

Hip hop music rose to prominence in Turkey in the second half of the 2010s, surpassing pop music. The emergence of the trap subgenre made hip hop music more popular among youth. This music genre developed in African-American ghettos and became localized to Turkey with the name varoş and a focus on ghetto culture. The trap hip hop culture in Turkey is rooted in the struggles of young men, which originates from social inequality in the slums where the lower classes reside. The main narrative of this music is about how these young men survive and become financially independent by resorting to crime and violence. This study aims to analyze how the neighborhood discourse that represents the youth here is constructed in these songs as a response to the social inequality embodied in the slums. The study will examine lyrics from five popular next generation rap songs in Turkey. “Şehrimin Tadı” [taste of my city] that contributed the most to the Turkish rapper Ezhel’s popularity; “Heyecanı Yok” [no excitement] by Gazapizm; and the songs “İşler Legal” [jobs are legal], “Kime Ne” [Who Cares] and “Hiçbir Şeyim Yok” [I have nothing] by Khontkar have been selected due to being top hits and reflecting the concept of ghetto well. The study conducts a discourse analysis on the open coding of the selected songs’ lyrics.

Anahtar Kelimeler: Hip hop music, Gangster rap, Trap hip hop, Popular culture, Class inequality

GENİŞLETİLMİŞ ÖZET

Hip hop is one of the most popular genres in the world of music lately. Rose (1994) described hip hop music as a construct of narration using rhyme accompanied by an electronic beat. This genre emerged in the 1960s in African-American neighborhoods (i.e., ghettos) in the United States. It gained popularity as a musical genre that provides young African Americans with a means to express their experiences with racism, poverty, and violence (Sullivan, 2003). According to Shuster (2005, p. 1), hip hop consists of a dress code, life philosophy, style of walking and talking, political attitude, and philosophical stance that critically challenges established views and values. It is a revolt against the poor life of African Americans in ghettos and against the institutionalized racism and exclusionary attitude the state apparatus expresses toward these poor in the United States.

A division occurred between the East and West coast rap styles within hip hop music that created a general debate. East coast rap claims to be so-called true rap because the style of music had originated on the East coast. However, because the rap that started on the West coast is associated with gangs, it is known as the Wild West of rap, which reveals the gangster rap sub-genre (Morgan, 2016, p. 133). Trap hip hop also represents a subgenre of gangster rap in which a community expresses itself through its focus on drugs and crime in their lives.

Rap music has become universal, crossing beyond the borders of the USA and being performed by young people of different countries. One main feature of rap music is how it opens a space to criticize not just racism but all social and class inequalities, as well as allows the lower classes of society to express their stories, thus also giving rap a political function. Therefore, the lyrics from rap songs have gained importance. This study aims to perform a discourse analysis of popular rap songs in Turkey alongside the concept of ghettos and to present an artistic expression of class inequality.

Turkish rap first emerged in Germany among immigrant Turks, with rappers afterwards emerging in Turkey. The hip hop group Cartel emerged in Germany in 1995, after which a wider group of rap fans emerged in Turkey with the bands Sagopa Kajmer and Ceza. The rap music market began to diversify between 2005-2010 in particular. Trap and gangster hip hop became much more popular than the old-school hip hop music in Turkey, and for the first time there, hip hop achieved a popularity that was able to compete with pop music.

This study will analyze how these songs construct the concept of neighborhood as a response to the social inequality embodied in ghettos to represent the youth there. This study selected four popular varoş [ghetto] rap songs in Turkey for this purpose and analyzed their lyrics. This discourse analysis helped unmask the webs of intertextuality. The study analyzes Ezhel’s “Şehrimin Tadı” [taste of my city], Khontkar’s “Hiçbir Şeyim Yok” [I have nothing], “İşler Legal” [jobs are legal], “Kime Ne” [Who cares] and Gazapizm’s (the most popular artist of the gangster rap genre) and “Heyecanı Yok” [no excitement].

As a consequence, the ghetto, being the rapper’s locale in new hip hop music, is seen to be the kind of social environment where the lower classes live and to describe itself as a place that does not allow people to improve their lives and climb the social ladder within the law. Therefore, getting involved in crime is distinguished as the most important way to maintain one’s life. Being involved in crime and having alcohol and drugs as a part of one’s life are the dominant features of the ghetto, one of the founding elements of the dominant discourse of the new generation of rap music as an area with intense poverty where violence and addiction are commonplace.

Consequently, the new generation of rap music in Turkey is rooted in ghetto life, the place where the system’s inequality, both global and local, is best seen. As a result, varoş is rooted in the reality of the slums, just as hip hop was; however, varoş also gains a local and original quality by focusing on the realities and localities in its own country.

Referanslar

Aksoy, Erman, Güzey Kocataş, Özlem. (2017). “Gecekondu alanlarında uygulanan kentsel dönüşüm projelerinin meşruiyet zemini olarak yoksulluk ve suç”, Karadeniz Teknik Üniversitesi Sosyal Bilimler Enstitüsü Sosyal Bilimler Dergisi 7(14), s. 275 -295. google scholar
Androutsopoulos, Jannis. (2008). “Language and the three spheres of Hip Hop,” Global Linguistic Flows: Hip Hop Cultures, Youth Identities, and the Politics of Language, (ed.) H. S. Alim, A. Ibrahim and A. Pennycook. New York, USA: Routledge, Taylor & Francis Group, s.43-60. google scholar
Bauman, Zygman. (1999). Küreselleşme: toplumsal sonuçları, Ayrıntı Yayınları. google scholar
Bektaş, Yasin, Yücel, Ceyhan. (2013). “Ankara-Altındağ tepesi gecekondu bölgesi’nde mekansal ayrışmanın gözlenmesine yönelik bir araştırma”, Megaron 8(2), s. 115 -129. google scholar
Bourgois, Philippe. (1995). In search of respect: selling crack in El Barrio. New York, USA: Cambridge University Press. google scholar
Bozza, Anthony. (2003). Whatever you say I am: the life and times of Eminem. London, UK: Bontom. google scholar
Brown, T. (2006). Keeping it real in a different ‘hood’: (African) Americanization and Hip Hop in Germany, D. Basu, S. Lemelle (ed.) The Vinyl Ain’t Final: Hip hop and the Globalization of Black Popular Culture, London, UK: Pluto Press, s. 137 -150. google scholar
Butler, Jonah. (2012). Electronic music and intertextuality, Erişim adresi: http://elit.umwblogs. org/author/ jonahbutler/ google scholar
Diallo, David. (2015). “Intertextuality in rap lyrics,” Belin (Revue française d’études américaines) 142(1), s. 40 -54. google scholar
Dilben, Faruk. (2016). “Varoşların sözü Arabesk-Rap: arabesk bağlamla Rap müzik”, Hacettepe Üniversitesi, Sosyal Bilimler Enstitüsü, İletişim Bilimleri Anabilim Dalı. google scholar
Erman, Tahire (2004). Gecekondu çalışmalarında ‘öteki’ olarak gecekondulu kurguları, European Journal of Turkish Studies 1. google scholar
Finkelstein, Sidney. (1996). Müzik neyi anlatır. (çev.) M. Halim Spatar. İstanbul, Türkiye: Kaynak Yayınları. google scholar
Fiske, John. (1987). Television culture. London, UK; New York, USA: Routledge. google scholar
Forman, Murray. (2002). The ‘hood’ comes first: race, space and place in Rap and Hip- Hop. Middletown, USA: Wesleyan UP. google scholar
Işık, Oğuz, Pınarcıoğlu, M. Melih. (2015). Nöbetleşe yoksulluk: Sultanbeyli örneği. İstanbul, Türkiye: İletişim. google scholar
Kadıoğlu, Duru Su, Sözeri Özdal Ceren. (2020). “From the streets to the mainstream: popularization of Turkish Rap music”, Turkish Studies, DOI: 10.1080/14683849.2020.1850282 google scholar
Kaya, Ayhan. (2000). Sicher in Kreuzberg: Berlin’deki küçük İstanbul, Diasporada kimliğin oluşumu. İstanbul, Türkiye: Büke Yayınları. google scholar
Kaya, Ayhan. (2001). Diyasporada yapısal dışlanma ve Berlin’deki Türk Hip-Hop gençliği”, Nabi Avcı vd. (der.), Dışarda kalanlar/bırakılanlar, İstanbul, Türkiye: Bağlam Yayınları. google scholar
Keleş, Ruşen. (1993). Kentleşme politikası. İstanbul, Türkiye: İmge Yayınları. google scholar
Kelley, Robin D. G. (2006). Race rebels: culture, politics, and the black working class. The Free Press. google scholar
Kızılay, Şevket Ercan. (2011). “Küreselleşme, madun kamusallığı ve taktikler: Afyon Çavuşbaş mahallesi örneği”, İDEALKENT 3, s. 94 -129. google scholar
Librado, David. (2010). An instrument of resistance: Rap Music and Hip-Hop culture in El Alto, Bolivia, B.A. Thesis, University of Toronto. google scholar
Robbins, Joel. (2001). God is nothing but talk: modernity, language and prayer in a Papua New Guinea Society. American Anthropologist 103(4), s. 901 -912. google scholar
Rose, Tricia. (1994). Black noise: Rap music and black culture in contemporary America, Middleton, USA: Wesleyan University Press. google scholar
Lüküslü, Demet. (2011). “Ulusaşırı bir gençlik kültürü ve toplumdan saygı talebi olarak Hip-hop”, Toplum ve Bilim 121, s. 201 -223. google scholar
Mercan, Boran Ali. (2019). “İleri marjinalite perspektifinden Altındağ’a bakış: suçun mekânı, mekânın suçu mu?” İDEALKENT, 10(26), s. 176-214. DOI: 10.31198/idealkent.498447. google scholar
Mikos, L. (2003). Interpolation and sampling: Kulturelles Gedächtnis und Intertextualität im HipHop. In J. google scholar
Androutsopoulos (Ed.), HipHop: Globale Kultur—lokale Praktiken, s. 64-84, Bielefeld: Transcript. google scholar
Mişe, Umut. (2018). Politics of Rap: Rap music as a tool for expressing exclusion in Istanbul, Boğaziçi University, PhD Thesis, İstanbul, Türkiye, 2018. google scholar
Mişe, Umut. (2020). “Rap music as resistance and its limits, two diverging cases: Sulukule and Bağcılar Rap”, Anthropology of East Europe Review 37(1), s. 27 -51. google scholar
Mitchell, Tony der. (2001). Global noise: Rap and Hip-hop outside the USA. Middleton, Middletown CT, USA: Wesleyan University Press. google scholar
Morgan, Marcyliena. (2016). “The world is yours’: the globalization of hip-hop language, Social Identities, 22(2), s. 133 -149. google scholar
Morgan, Marcyliena. Bennet, Dionne. (2011). “Hip-Hop & the global ımprint of a black cultural form”, Daedalus, 140(2), Race, Inequality & Culture, s. 176 -196. google scholar
Pennycook, A. Mitchel, T. (2009). “Hip hop as Dusty Foot Philosophy”, H. S. Alim, A. google scholar
Ibrahim and A. Pennycook (ed), Global linguistic flows: Hip Hop cultures, youth ıdentities, and the politics of language. New York, USA: Routledge, Taylor & Francis Group, s.. 25 -42. Phillipson, R. (1992). Linguistic imperialism. Oxford, UK: Oxford University Press. google scholar
Richardson, Elaine B. (2006). Hip Hop literacies. London, UK; Newyork, USA: Routledge. google scholar
Sharpe, Kenan Behzat. (2020). Turkish rapper ezhel: from nothing to everything, Duvar English, 27 Mart 2020, Retrieved from https://www.duvarenglish.com/columns/2020/03/27/turkish-rapper-ezhel-from-nothing-to-everything google scholar
Shusterman, Richard. (1991). The fine art of Rap, New Literary History, 22(3), s. 613 -632. google scholar
Shusterman, Richard. (2005). Rap Aesthetics: Violence and the Art of Keeping it Real, D. Darby, T. Shelby (ed.) Hip-hop and philosophy: rhyme 2 reason, Chicago IL, USA: Open Court, s. 54 -64. google scholar
Smitherman, Geneva. (1997). “The chain remain the same: communicative practices in the Hip Hop nation”, Journal of Black Studies, 28(1), s. 3 -25. google scholar
Solomon, T. (2009). “Berlin Frankfurt İstanbul: Turkish Hip-hop in motion”, European Journal of Cultural Studies, 12(3), s. 305 -327. google scholar
Stout, Steve (2011) The Tanning of America: How Hip-hop created a culture that rewrote the rules of the new economy. USA: Gotham Books. google scholar
Sullivan, Rachel E. (2003). Rap and Race: It’s got a nice beat, but what about the message? Journal of Black Studies, 33(5), s. 605 -622. google scholar
Şenyapılı, Tansı. (2004). Charting the ‘voyage’ of squatter housing in urban spatial ‘quadruped, European Journal of Turkish Studies 1. google scholar
Tüccar, Sevilay. (2011). Söyleyeceklerim var, 52dk. Belgesel, Renkli. google scholar
Wacquant, Loic. (2007). “İlerlemiş marjinallik çağında bölgesel damgalama”, Birikim 219. Erişim adresi: https:// birikimdergisi.com/dergiler/birikim/1/sayi-219-temmuz-2007/2402/ilerlemis-marjinallik-caginda-bolgesel-damgalama/6024 Erişim: 3.05.2022 google scholar
Wacquant, Loic. (2019). “Sürgün bölgelerini yeniden düşünmek: ileri marjinalliğin teşkilinde sınıf, etnisite ve devlet”, İDEALKENT 10(26), 128 -145. google scholar
Webrazzi, “Spotify, Türkiye için 2020 özetini açıkladı”, 01.12.2020, Erişim adresi: https://webrazzi.com/2020/12/01/ spotify-turkiye-icin-2020-ozetini-acikladi/ google scholar
Williams, Justin A. (2014). Theoretical approaches to quotation in Hip-Hop recordings Contemporary Music Review, 33(2), s. 188 -209. google scholar

Atıflar

Biçimlendirilmiş bir atıfı kopyalayıp yapıştırın veya seçtiğiniz biçimde dışa aktarmak için seçeneklerden birini kullanın

DIŞA AKTAR

APA

Karanfil, İ. (2022). Türkiye’de Gangster ve Trap Hip Hop Müzik: Yeni Nesil Rap Müziğin “Mahalle”si. Journal of Economy Culture and Society, 0(66), 55-72. https://doi.org/10.26650/JECS2021-994962

AMA

Karanfil İ. Türkiye’de Gangster ve Trap Hip Hop Müzik: Yeni Nesil Rap Müziğin “Mahalle”si. Journal of Economy Culture and Society. 2022;0(66):55-72. https://doi.org/10.26650/JECS2021-994962

ABNT

Karanfil, İ. Türkiye’de Gangster ve Trap Hip Hop Müzik: Yeni Nesil Rap Müziğin “Mahalle”si. Journal of Economy Culture and Society, [Publisher Location], v. 0, n. 66, p. 55-72, 2022.

Chicago: Author-Date Style

Karanfil, İlknur,. 2022. “Türkiye’de Gangster ve Trap Hip Hop Müzik: Yeni Nesil Rap Müziğin “Mahalle”si.” Journal of Economy Culture and Society 0, no. 66: 55-72. https://doi.org/10.26650/JECS2021-994962

Chicago: Humanities Style

Karanfil, İlknur,. “Türkiye’de Gangster ve Trap Hip Hop Müzik: Yeni Nesil Rap Müziğin “Mahalle”si.” Journal of Economy Culture and Society 0, no. 66 (Dec. 2024): 55-72. https://doi.org/10.26650/JECS2021-994962

Harvard: Australian Style

Karanfil, İ 2022, 'Türkiye’de Gangster ve Trap Hip Hop Müzik: Yeni Nesil Rap Müziğin “Mahalle”si', Journal of Economy Culture and Society, vol. 0, no. 66, pp. 55-72, viewed 9 Dec. 2024, https://doi.org/10.26650/JECS2021-994962

Harvard: Author-Date Style

Karanfil, İ. (2022) ‘Türkiye’de Gangster ve Trap Hip Hop Müzik: Yeni Nesil Rap Müziğin “Mahalle”si’, Journal of Economy Culture and Society, 0(66), pp. 55-72. https://doi.org/10.26650/JECS2021-994962 (9 Dec. 2024).

MLA

Karanfil, İlknur,. “Türkiye’de Gangster ve Trap Hip Hop Müzik: Yeni Nesil Rap Müziğin “Mahalle”si.” Journal of Economy Culture and Society, vol. 0, no. 66, 2022, pp. 55-72. [Database Container], https://doi.org/10.26650/JECS2021-994962

Vancouver

Karanfil İ. Türkiye’de Gangster ve Trap Hip Hop Müzik: Yeni Nesil Rap Müziğin “Mahalle”si. Journal of Economy Culture and Society [Internet]. 9 Dec. 2024 [cited 9 Dec. 2024];0(66):55-72. Available from: https://doi.org/10.26650/JECS2021-994962 doi: 10.26650/JECS2021-994962

ISNAD

Karanfil, İlknur. “Türkiye’de Gangster ve Trap Hip Hop Müzik: Yeni Nesil Rap Müziğin “Mahalle”si”. Journal of Economy Culture and Society 0/66 (Dec. 2024): 55-72. https://doi.org/10.26650/JECS2021-994962

Sayı 662022, S. 55-72

ZAMAN ÇİZELGESİ

Gönderim	13.09.2021
Kabul	28.05.2022
Çevrimiçi Yayınlanma	06.12.2022

LİSANS

Attribution-NonCommercial (CC BY-NC)

This license lets others remix, tweak, and build upon your work non-commercially, and although their new works must also acknowledge you and be non-commercial, they don’t have to license their derivative works on the same terms.

Journal of Economy Culture and Society