ALİ TEKİNTÜRE "En Damar Şarkıları O Yazdı ama Hep Hakkı Yendi... Yazdığı Şarkılara Şok Olacaksınız!"

#arabesque #music #veinsongs #muslumgurses #ferditayfur #magazine #ibrahimtatlıses #orhangencebay #celebrities #bestvideos #enguzel #bestfolk songs #news #breakingnews #agenda #etc Look, Bülent Ersoy's breakthrough is with me; he made his debut with the songs "Spring Waiting for Doves" and "Toprak Alsın Muradımı." The first arabesque song İbrahim Tatlıses sang was "Seni Yakacılar" (They'll Burn You), Gülden Karaböcek's "Dilek Taşı" (Wishing Stone), "Sürünuyorum" (I'm crawling), and "Kırılsın Ellerim" (I Break My Hands). It was my song "Birisi" (Someone) that made İzzet Yıldızhan known. Coşkun Sabah is a good composer and a good oud player, but his breakthrough came with the lyrics I provided. I could list many artists like him. In the late 1970s, the great songwriter met Müslüm Gürses. He first gave him the song "Land Takes My Wish." His signature is evident on all of Müslüm Gürses' subsequent albums. Müslüm Gürses's hits, including "Fate Made Me Weep," "He Has No Mind," "Am I Your Servant?", "A Handful of Tears," "Son," "Don't Be Deceived by Your Childish Mahsun Face," "Make Me Smile," "Which One of Us Didn't Love," "Kılına Kul Yaratmış," and "Ünamazın" (You Can't Forget), were all performed by Ali Tekintüre. Along with him, there were others who kept arabesque culture alive, such as Yavuz Taner and Burhan Bayar. These artists became cornerstones of arabesque music, but they always remained in the background. Of course, Müslüm Gürses wasn't the only one; countless artists, including Bergen, İbrahim Tatlıses, Ferdi Tayfur, Orhan Gencebay, Azar Bülbül, and Yıldız Tilbe, sang his hits. However, Ali Tekintüre became one of the lowest-earning names in that vast market. Despite releasing poetry cassettes and singing songs, he couldn't reach the sales figures he desired. Copyrights were one of the biggest problems. He also told filhakikat.net: "I haven't stopped writing poems. I keep writing, but the songs aren't being used as much as they used to. Or rather, the new ones aren't. My old songs are being used in films, TV series, and new albums. I also worked at MESAM on copyright issues. Currently, my artist friends and I are working on copyright issues at the Music Interpreters Professional Association. I'm interested in such matters as well. I live in Çengelköy. I spend most of my time in our neighborhood. While not as active as before, I'm still part of this community. Our songs are more diligent than we are. The songs come back, and even though they're 30-40 years old, they're still being used. This means we've done good things, and our work hasn't been lost to time. I haven't been very close with the artists. So, it's impossible, it doesn't work; that loyalty doesn't exist." They'll show respect when they see us, but you can't expect anything else. Yet, we owe more to those people than to us. We own our copyrights. They sing our songs everywhere. They pay for the instruments they bring, but they don't give them to us. So, you take our songs with you, so where are our rights? It's been like this for years... My friends and I owe billions from some people. I see Orhan Gencebay when I come across him. I don't have contact with the others; we just say hello when we see them. No matter how much we get back from royalties, we earn very little. They earn name recognition, respect, and fame, but there's no return for us. Let me give you an example: there were singing competitions on television. They were singing my songs there. I was bothered by them. I know there was a lot of profit going on there. And do you know what the return was to us? 6 TL for each song I sang. I started to get annoyed, so I sent them a warning not to let them sing. Funda Hanım sang the song "Don't be sad for me." It's one of my works. I'd previously given it to Bergen, and my share of the work was only seven lira. So, no matter what you do in this market, we don't get the value we deserve. One of the complaints was about insurance. This was a major problem not just for Ali Tekintüre, but for many other artists as well. Dozens of artists perished, hungry and homeless, yet there was still no precaution or guarantee. Despite his significant accomplishments, Ali Tekintüre was one of those artists who paid for their insurance outside of the company. In other words, he retired by his own means. A few years before his death, he said, "I feel used. It doesn't feel right to appear on those TV channels that use my songs but have problems with copyrights." The fight should have started long ago. It was too late. MESAM (Mesam) was founded. It wasn't enough. Without action and support, there's no point. There were countless names like Bergen, İbrahim Tatlıses, Ferdi Tayfur, Orhan Gencebay, Azar Bülbül, and Yıldız Tilbe. However, Ali Tekintüre became one of the lowest-earning names in that vast market. Despite releasing poetry cassettes and singing songs, he couldn't reach the sales figures he desired. Copyrights were another major problem. He told filh...