Of all the articles presented in this section by this writer, none has taken the time and the arduous effort as has this offering. It is not for the lack of factual information; on the contrary, it is because there is so much to present that space prevents me from presenting the totality of the evidence which only this writer can submit to the readers of The Turkish Times. Am I being presumptuous or egotistical? Not at all! In the preparation of this article, I have had to utilize my ability to speak Turkish, Armenian, and of course, English. In addition, most of the information presented below is incontrovertibly confirmed by my collection of Turkish music records with its thousands of recordings. (Some are dated to the 1921 period!) When preparing my article on Turkish music, printed here on December 15. 1997, I had no idea that one month later, on January 15, 1998, I would come into possession of a lengthy article printed in the Armenian Mirror Spectator, dated November 29, 1997. Its title, “Armenians on 8th Avenue,” quotes the statements of Mr. Harold G. Hagopian, who has produced compact disc and cassette recordings taken from old “78” and”LP” records; for sale, of course.

I have chosen only eight examples from the article which will display how the Armenians in this country have found themselves inexorably immersed in the quicksand of hatred:

1. Referring to so-called nightclubs located on 8th Avenue in New York City, where during my youth, many Armenian and Greek musicians had performed during the late 1930s through the 1960s, the producer, Mr. Hagopian, says: “... these clubs were frequented increasingly by chic New Yorkers and celebrities...“ — WRONG! As I indicated in my article on Turkish music, during my youth because of my deep love for Turkish music, I had had the misfortune of performing at some of these clubs, which are accurately named in the Hagopian article. (The reader might remember I had revealed my playing the "darbuka,” a Turkish drum, with two American-born musical groups.) The area was far from being a pleasant and safe locale. Not as bad as today, but anyone entering those dirty establishments certainly were not “chic” nor a discriminating audience of Turkish music. In addition...

2. Describing the clientele, they would: “... marvel at the artistry of authentic belly dancers..." — WRONG! Though people of our background did yearn for the music and songs which were an integral part of their culture in Turkey, the overwhelming majority of individuals who had patronized those seedy places were Americans looking for scantily dressed women who were not Turkish, were not respected professionals, and had no conception of the art as it was intended to be performed.

3. The paper says: “...Hagopian understands that this music, sung by Armenians in the Turkish language, is a subject of much discussion and debate. In his essay, he (Hagopian) writes: ‘...How is it that an album featuring Armenian artists contains nothing but songs sung in Turkish... For Armenians...still preoccupied with sorting out their cultural identity since the Genocide of 1915...' ” I have a question: Why don’ t the Armenians have a problem with Charles Aznavour, the world famous vocalist, singing his entire professional life in French??! Aznavour, quite naturally, sings to the music of his birth and country. No discussion or debate in France, evidently.

4. Hagopian writes: “,..music fans who gathered in these clubs wanted to put politics aside and enjoy the music they remembered...” — Absolutely CORRECT! (And you thought I could not agree on anything.) In the clubs or concert halls, it was the music, Turkish music, their music, songs, taksims, pesrevs, dancing; it was pure delight, which, of course, was also filled with sadness, because of the tragedies of war. But when the joy of “The Turkish Delight” came to an end, the hate monster would resurface and in their communities hatred for Turks continued to be the basis of their existence.

5. Hagopian writes: “...I don’t believe that Armenians who listen to this music are preserving Turkish culture. This belongs as much to the Armenians as to anyone else who played and sang it in Ottoman times...”. WRONG! and CORRECT! (See how fair l can be?) Of course the music belongs to the Armenians; it belongs to every segment of the country who contributed their talents to Turkish music. That includes, the Suryanis, (remember them?), the Greeks, the Jews, the Kurds, and yes, the Armenians as well, and let us not forget the Turks. The culture and traditions of all these groups remain inseparable!

6. Hagopian writes that Armenian “..artists composed or sang about Armenian circumstance...”. The paper quotes a selection on a CD "...where an Armenian woman sings in Turkish...”, and translates the lyrics into English: “...You are an orphan, who will wipe your tears? Sleep my baby angel...”. — MISLEADING! The “circumstances” unquestionably refers to the mythical “genocide; as the child has lost its parents. It took a long time, but in my record collection l FOUND the original “78” recording of this song! The paper “forgot” to give the title of the song, it is: “NINNI”!! The Turkish word for: LULLABY!! I listened to the recording repeatedly: The child is an orphan, the song is sung as a lullaby, speaks of love. longing, and “smile my sweet”. NO mention of conflict, NO mention of circumstances! How could I refute the implication of the article, if I did not have the actual recording??! (Yes, I'm shouting!)

7. Among numerous artists named in the article (some included in my article on Turkish Music), a vocalist is mentioned as, “Sugar Mary.” WRONG! I had known this vocalist for years. Mary Vartanian’s stage name, the name everyone called her, was “SEKER” (Turkish, for sugar) Mary!! Why was she not called “SHAKAR”(Armenian, for sugar)?? The Turkish form of the word evidently was not a cause for “discussion and debate”!

8. Reference is made in the article to another famous vocalist, she is named, Madin Araradian, her actual name is Madlen Araradian; yes, I had known her personally, also. This is the lady who sang the “Ninni” described above, which the paper did not mention. The paper also overlooked recordings which I did not know were in my possession. I found THREE “78” recordings by Madlen Araradian on her own label, SIX vocals all sung in Turkish!! On the recordings are the great kanun player, “rahmetli”, (Turkish word for respectful memory of a deceased person) Ahmet Yatman, and “kardesim” (my brother), Tarik Bulut!! (I hope our American readers are increasing their Turkish vocabulary).

At this point let us put aside the article about 8th Avenue, and review briefly two cassettes entitled, “Udi Hrant” which l had purchased months ago and are tapes filled with old "78” and “LP” recordings. With the tapes l had received a booklet written by Mr. Hagopian. He is very complimentary of Udi Hrant, an ethnic Armenian who was blind all his life, and describes his life and masterful accomplishments of the Turkish “ut.” He also acknowledges the high esteem in which he continues to be held in his homeland of Turkey. While describing the many recordings, Hagopian does not refer, however, to one selection which is called: “Egin Havasi” (could be misspelled), in which the Master Udi Hrant has sung this old Turkish song in Armenian, as he accompanies himself. The following is my translation from the Armenian from some of his lyrics: “the beautiful bodies of water of lstanbul...how the sweet breeze of love flows... if God would grant my wish for me to go and enter the sea...” THIS is my kind of Armenian! But Hrant’s words were NOT printed by Hagopian, as I have accurately translated them — because to do so, to present the eight facts presented above, would conclude that the totally fallacious accusations of the Armenians against the Turkish Nation would be proven false to the very letter!!

Mr. Hagopian appears to be a victim of the Armenian enigma, in that his apparent love for his cultural music has been manifestly destroyed by the diabolic mentality of the Armenian “hate merchants.” But that corrupt design has not and can not penetrate the heart and soul of this humble servant of my ancestral, cultural, and historical homeland — The Republic of Turkey! Where my future humble efforts will take me, I have no way of knowing, but by the Grace of our God of all mankind, our work continues...




(Holdwater: During the early 1950s, Mr. Tashji had the distinction of being a member of the first Middle-Eastern band in New York City,  named Nor Ikes [Armenian for music]. The five members of the band were all Armenian-Americans, led by Charles "Chick" Ganimian, who would later become perhaps the most successful American-born ut player. The band's repertoire included Turkish, Armenian, Arabic and some Greek dances and songs... and just like the Beatles, the ability to read music was superseded by playing by ear!

Not long after, and as a member of the American Musicians Union Local 802, Mr. Tashji found better harmony within the group The Garabed Boys, led by Joe Garabed — a master violinist, and of Syrian Orthodox extraction.)

 

Edward Tashji

I am Called: "Turk Dostu" — A "Friend of Turks"

The Turkish Times

March 15, 1998