Sifre (סִפְרֵי siphrēy, Sifre, Sifrei, also, Sifre debe Rab or Sifre Rabbah) refers to either of two works of Midrash halakhah, or classical Jewish legal Biblical exegesis, based on the biblical books of Bamidbar (Numbers) and Devarim (Deuteronomy).

The Talmudic-Era Sifre[link]

The title "Sifre debe Rab" is used by R. Hananeel on Sheb. 37b, Alfasi on Pes. x., and Rashi on Hos. ii. 1; it occurs likewise in Mak. 9b, where, as Berliner says in his edition of Rashi, p. 372, בספרא is an error for בספרי; comp. Aruk, s.v. ארבע). In regard to the reference in Sanh. 86a concerning the Sifre of R. Simeon, see Mekilta de-Rabbi Shim'on; the question has likewise been raised whether, in view of the well-known close relation that existed between the school of R. Simeon and that of R. Ishmael (Yoma 59a; Zeb. 53b, 119b; Ḥul. 69b), the words וכלהו אליבא דר"ע apply to R. Simeon's Sifre in the same degree as to the other works mentioned in this Talmudic passage (Levy, Ueber Einige Fragmente aus der Mischnah des Abba Saul, p. 11, note 15).

The Present Sifre[link]

Such questions, however, are unimportant in reference to the Sifre now extant; for this work is certainly not identical with the Talmudic Sifre; and, on closer investigation, it is found to be not a uniform work, but one composed of parts which did not originally belong together. Z. Frankel in his Darke ha-Mishnah (p. 319) drew attention to the difference between that portion of the Sifre which refers to Numbers and that which refers to Deuteronomy, though, curiously enough, he misunderstood this difference and consequently arrived at false conclusions. D. Hoffmann has correctly defined the relation between the two in his Zur Einleitung in die Halachischen Midraschim. pp. 52 et seq.

The Sifre to Numbers is evidently a midrash which originated in R. Simeon's school, and which has all the peculiarities and characteristics of such a work. It follows the same principles of exposition as does the Mekilta; the same group of tannaim appears, and the same technical terms are employed (see Mekilta; to the examples there given may be added טעמו של דבר מגיד מפני מה, Num. viii., for which the Sifra to Lev. xxi. 12 uses the expression להגיד מה גרם). There are also many material points of similarity with the Mekilta: thus Sifre 2 agrees literally with Mek., Mishpaṭim, 6; Sifre 65 with Mek., Bo, 5; Sifre 71 with ib. 15; Sifre 142 with ib. 5. The haggadic portions likewise contain many parallel passages (comp. the collation in D. Hoffmann, l.c. p. 54, though Sifre 64 and Mek., Beshallaḥ, 1 should not be included, since these two passages disagree on one point).

It is an especially noteworthy fact that the explanation in Sifre, Num. 7 of the law regarding a woman charged with adultery corresponds with a view expressed by R. Ishmael, and also with the prescribed halakah, according to which, one witness being sufficient to convict, the water-test is not necessary. The explanation given in the Sifre to Numbers thus contradicts the explanation in Soṭah 31a and in Sifre, Deut. 188. The view expressed in Babli is curious: it cites (Soṭah 2a and 31b) the explanation of the Sifre to Numbers, and adds thereto: ואמר רחמנא תרי לית בה אלא חד והיא לא נתפשה אסורה, whereas the deduction should read to the contrary, תרי לית בה אלא חד היתה שותה. Babli, which evidently does not know R. Ishmael's view, tries to interpret the baraita in the sense of the prescribed halakah. But the baraita must in fact be interpreted in the opposite sense, namely, as following the view of R. Ishmael, who, because עד always implies "two," as appears from Yer. Soṭah 20d, demands also in the case of a woman charged with adultery two witnesses of the alleged crime.

The passage introduced by the phrase סתם ספרי (Sifre 161) likewise echoes R. Ishmael's views; and the same is true of Sifre 21 as compared with Sifre 7. The beginning of Sifre 7 appears to be, strangely enough, an anonymous halakah expressing the opposite opinion (comp. Yer. Soṭah 16b), though this also may at need be harmonized with R. Ishmael's view. Sifre 39 likewise follows R. Ishmael's view, according to Ḥul. 49a. These and other less cogent reasons seem to indicate that the Sifre to Numbers originated in R. Ishmael's school, though this does not exclude the assumption that the editor in addition borrowed much from R. Simeon's midrash (comp. D. Hoffmann, l.c. p. 54) and other less-known midrashim.

Authorities Quoted[link]

Among the tannaim appearing in the Sifre to Numbers are:

• R. Ishmael and his pupils R. Josiah and R. Jonathan
• R. Nathan
• Abba Hanan (citing R. Eliezer)
• R. Eliezer
• R. Akiba and his pupils R. Simeon and R. Judah
• Less frequently, R. Meïr and R. Jose
• Rebbi also is often mentioned here, as in other midrashic works
• R. Judah b. Bathyra (Betera), who, as D. Hoffmann says, is more frequently mentioned in midrashic works from R. Ishmael's school than in any others.
• A sentence of the amora Samuel b. Naḥmani is quoted once (No. 73).

Interpolations[link]

The Sifre to Deuteronomy is of an entirely different nature. The main portion (Nos. 53-303), halakic in character, is preceded and followed by haggadic parts, and it has all the characteristics of a midrash from the school of R. Akiba. The principles underlying the exposition are the same as those in Sifra. The term "mufneh" in the application of the principle "gezerah shawah" occurs only once, and is to be regarded as a later addition. The technical terms are largely the same in both midrashim, different terms being found only here and there in the Sifre. Moreover, the group of tannaim is different from that of the Mekilta. Those frequently mentioned in the latter, namely, R. Josiah, R. Jonathan, R. Nathan, and R. Isaac, are mentioned rarely in the Sifre; and even then their names are evidently later additions. Many passages quoted as being anonymous correspond with R. Akiba's views: e.g., Deut. 270 with Yeb. 52b; ib. 95 with Sanh. 45b; ib. 269 with Yer. Giṭ. 49b; ib. 280 with Yer. Sanh. 21c.

Similarly, some halakic differences between the Sifre and the Mekilta may be pointed out: Sifre, Deut. 123 differs from Mek., Mishpaṭim, 1; ib. 122 from Mek., Mishpaṭim, 2, which latter reproduces R. Ishmael's view (comp. D. Hoffmann, l.c. pp. 68, 69). All these points indicate that the Sifre to Deuteronomy originated in R. Akiba's school; and, as several anonymous passages may be cited to express the views of R. Simeon, this midrash may with a fair degree of certainty be ascribed to him. Such anonymous passages are found in Sifre 72-74, several sections of which Mak. 17a identifies as R. Simeon's interpretations. The same appears to be the case in Sifre 94, compared with Sanh. 112a; ib. 103 with Ḳid. 57a; ib. 121 with Sanh. 46b. Sifre 166, and perhaps also 165, likewise correspond with R. Simeon's views (comp. Ḥul. 136b; Tosef., Ḥul. ix. 2, x. 1); while in Sifre 303 the explanation of לא בערתי ממנו בטמא, and the omission of בכורים, also imply an agreement therewith (comp. Yeb. 73b and Bik. ii. 2).

Used in the Talmud[link]

There are, however, some exceptions to the rule; e.g., Sifre 110 compared with ib. 281 and B. M. 115a; ib. 219 with Sanh. 45b (the last-cited passage, however, may also be so interpreted as to harmonize with R. Simeon's opinion). Sifre 230 likewise contradicts R. Simeon's view, according to Kil. vii. 7. But, since it has not been claimed that the Sifre to Deuteronomy represents R. Simeon's midrash in its original form, these few exceptions prove nothing. The editor certainly drew upon other midrashic works besides R. Simeon's midrash, especially upon that of R. Ishmael, as appears from a comparison with Mekilta to Deuteronomy (see D. Hoffmann in Hildesheimer-Jubelschrift, p. 91), as well as from the fact that several passages introduced by תנא [דבי] ר"י occur in the Sifre (e.g., 71 and 75 compared with Yeb. 73; ib. 229 with Shab. 32a; ib. 237 with Yer. Ket. 28c).

Sifre 107, however, by no means corresponds with the passage תני ר"י in Yer. Er. 20c (Hoffmann, Zur Einleitung, etc., p. 67), but expresses just the opposite view. Sifre, Deut. 171, s.v. ד"א, corresponds perhaps with Meg. 25a, s.v. תנא דבי ר"י ; and Sifre 104 with the view of R. Ishmael in Mek., Mishpaṭim, 201, according to the correct reading of Yalḳuṭ, which has ר"י instead of ר"ש. It thus appears that the editor introduces the midrashim from R. Ishmael's midrash with the phrase ד"א. D. Hoffmann (l.c. p. 70) concludes from Pes. 68a and 71a that the editors of the Babylonian Talmud possessed the Sifre in another edition than the present one, which he takes to be a Palestinian edition. But the former passage indicates merely that the Amoraim occasionally had not memorized the baraitot perfectly, an instance of inaccuracy with regard to the Sifre being evident in Ḥul. 74a (comp. Tos. ad loc., s.v. להאי).

It may be said in general of the Sifre to Numbers and also of that to Deuteronomy that they are defective in many passages, and that the Amoraim probably possessed more trustworthy copies (comp. D. Hoffmann, l.c. pp. 53, 68). Even Rashi and the Leḳaḥ Ṭob quote from the Sifre passages which are no longer extant (comp. Grätz Jubelschrift, p. 4, notes 5, 7-10). While the middle, halakic portion of the Sifre to Deutronomy belongs to Akiba's school, the haggadic portions preceding and following it seem to come from works of R. Ishmael's school. This appears clearly in the first part, which shows many formal and material similarities with the Mekilta. In regard to the latter portion, it may be said that Sifre, Deut. 344 reproduces R. Ishmael's view on the question at issue (comp. B. Ḳ. 113a). As for the halakic midrash, it may be said that, in contradistinction to the haggadic part, the collector used, aside from R. Ishmael's midrash, that of R. Simeon (comp. Sifre 28 with Lev. R. i.; ib. 37 with Gen. R. lxxxv.; ib. 40 with Lev. R. xxxv.; ib. 47 with Gen. R. xii.; ib. 336 with Gen. R. lxxxii.; ib. 313 with Tan., ed. S. Buber, p. 72).

The final redaction of the Sifre must have been undertaken in the time of the Amoraim, since some of them, e.g., Rabbai Bannai and [Rabbi Jose ben Ḥanina, are mentioned therein. Both the Sifre to Numbers and that to Deuteronomy are divided into sections. The earliest extant edition of the Sifre is that of Venice, 1545. Other editions are: Hamburg, 1789; Sulzbach, 1802; with commentary by David Pardo, Salonica, 1804; with commentary by Abraham Lichtstein (זרא אברהם), part i., Dyhernfurth, 1811; part ii., Radwill, 1820; ed. Friedmann, Vienna, 1864. A translation of the Sifre is found in Biagio Ugolini, Thesaurus, vol. xv.

Quotation by Raymundus Martini[link]

The Christian polemicist Raymundus Martini in the 13th century claimed in his Pugio Fidei that Sifre contained the following passage, which is however not present in any modern copy [1]:

Go and learn the merit of Messiah the King, and the reward of the righteous from the first Adam, on whom was laid only one commandment of a prohibitive character, and he transgressed it. See how many deaths were appointed on him, and on his generations, and on the generations of his generations to the end of all generations. But which attribute is the greater - the attribute of goodness or the attribute of punishment (retribution)? He answered, the attribute of goodness is the greater, and the attribute of punishment the less. And Messiah the King, who was chastened and suffered for the transgressors, as it is said, “He was wounded for our transgressions,” and so on, how much more shall he justify (make righteous, by his merit) all generations; and this is what is meant when it is written, “And Jehovah made to meet upon him the sin of us all."

Modern translations[link]

A modern English translation is that of Jacob Neusner, Sifre to Numbers (1986) and Sifre to Deuteronomy (1987).

Jewish Encyclopedia bibliography[link]

• Blau, in Steinschneider Festschrift, pp. 21–40;
• A. Epstein, Mi-Ḳadmoniyyot ha-Yehudim, pp. 50–56;
• Z. Frankel, Darke ha-Mishnah, pp. 309 et seq.;
• A. Geiger, Urschrift, pp. 434–450;
• idem, Jüd. Zeit. 1866, pp. 96–126;
• D. Hoffmann, Zur Einleitung in die Halachischen Midraschim, pp. 51 et seq., 66 et seq.;
• Pick, in Stade's Zeitschrift, 1886, pp. 101–121;
• I.H. Weiss, Zur Geschichte der Jüdischen Tradition.

External links[link]

• Jewish Encyclopedia article on SIFRE, by Wilhelm Bacher and S. Horovitz.

 This article incorporates text from a publication now in the public domain:  Jewish Encyclopedia. 1901–1906. 

Labi Siffre (born 25 June 1945) is a British poet, songwriter, musician and singer most widely known as the writer and singer of "(Something Inside) So Strong", "It Must Be Love" and "I Got The", the sampled rhythm track which provides the basis for a number of well-known hip hop tracks such as Eminem’s breakthrough hit single, "My Name Is".

Life and career[link]

Born the fourth of five children, at Queen Charlotte's Hospital Hammersmith, London to a British (Barbadian / Belgian) mother and a Nigerian father, Siffre was brought up in Bayswater and Hampstead and educated at a Catholic independent day school, St Benedict's School, in Ealing, west London.^[1]

Jazz and Blues records provided his musical education: Thelonious Monk, Miles Davis and Charles Mingus among many. Jimmy Reed and Wes Montgomery loomed large as guitar influences; Billie Holiday, Jimmy Reed and Mel Tormé as vocal influences.

Openly gay,^[2] Siffre met his partner, Peter Lloyd, in July 1964. Under the Civil Partnership Act 2004, they became legally recognized partners when the Act entered into force in December 2005.^[3]

While trying to become a full time musician, Labi worked as a warehouseman in Bethnal Green, a filing clerk at Reuters in Fleet Street and as a minicab driver and delivery man. In the early 60s, in a Jimmy Smith style trio, with Bob Stuckey on Hammond Organ and Woody Martin on drums, Labi, on guitar, played for nine months at Annie's Room, a jazz club fronted by the singer Annie Ross. He then toured as opening act and backing singer for Jackie Edwards, the Jamaican songwriter, soul and reggae star. Labi went on to form another three-piece group called Safari, playing London's Soho clubs. Then, though he didn't play folk songs, his first solo gigs came in Amsterdam at the folk club Het Kloppertje, and at the then haven of psychedelic hippiedom The Paradiso. Most of Siffre's thirty-year performing career has been as a solo artist.

In 1969, while Labi was working in Amsterdam, friends sent a tape of his songs to the DJ Dave Cash and music publishers Management Agency & Music Ltd. (MAM). Siffre soon signed a publishing and management contract with MAM. However, since the MAM Records label was not yet in operation Siffre's recordings were licensed to other labels. His first contract was with Festival Records. His recording debut in 1970 was released in the U.K. on the Pye International division of Pye Records. He had a "turntable hit" in 1970 with the single "Pretty Little Girl (Make My Day)/Too Late" which despite being heavily played on Radio Luxembourg never made it to the charts.

Six albums were released between 1970 and 1975, and four between 1988 and 1998. In the early 1970s he had UK hits with "It Must Be Love" (No. 14, 1971) (later covered by and a No. 4 hit for Madness, for which Siffre himself appeared in the video); "Crying Laughing Loving Lying" (No. 11, 1972); and "Watch Me" (No. 29, 1972).^[4] Both "It Must Be Love" and "Crying Laughing Loving Lying" were released as singles in the U.S. by Bell Records but failed to chart.

During this period Siffre toured Britain and Europe, both headlining and supporting the likes of Ike & Tina Turner, Daliah Lavi, the Hollies, Chicago, The Carpenters and The Supremes. He often appeared on television, including the series "In Concert" and "Sounding Out".

He moved to Los Angeles in 1977 and wrote with Tom Shapiro. Around this time Siffre decided to quit the music business as a performer and concentrate on writing. After nine months in California he moved back to the UK when, in 1978 two of his songs, "Solid Love" (performed by Siffre) and "We Got It Bad" (co-written and performed by Bob James) reached the UK finals of the BBC's A Song for Europe.

In December 1979 Siffre released 'One World Song' a duet with Jackie which received heavy rotation on Radio Luxembourg in the final week of that year into 1980. The lyrics of the song reflected a theme which has run throughout much of his songwriting; robust peace and harmony. Siffre had his first U.S. singles success as a songwriter when, in 1983, the cover version of "It Must Be Love" by Madness peaked in the Billboard Magazine chart at #33. Siffre appeared in the cover version's music video.

Siffre came out of self-imposed retirement from music in 1985 when he saw a television film from South Africa showing a white soldier shooting at black children. ^[5] He wrote "(Something Inside) So Strong" (No. 4, 1987),^[4] an anti-apartheid anthem, a song of defiance in the face of oppression and bigotry, a song of personal inner strength and more. The song has remained enduringly popular and is an example of the political and sociological thread running through much of Siffre’s lyrics and poetry since the single “Thank Your Lucky Star” and the album “For the Children” (1973). It won the Ivor Novello Award for "Best Song Musically and Lyrically", and has been used in Amnesty International campaigns, a television advertisement and Alice Walker's film against female genital mutilation: Warrior Marks. His stance on civil and human rights has further enhanced his reputation.

In 1990, collaborating with the South African R&B, jazz-fusion singer-songwriter and guitarist Jonathan Butler, Siffre wrote the lyrics of five of the nine songs on Butler’s album "Heal Our Land".

Searching for expression beyond the "limitations of songwriting" he wrote his first poems in 1984. Three books of his poetry have been published: "Nigger" (1993), "Blood on the Page" (1995) and "Monument" (1997). More appear on his poetry blog "Labi Siffre - Into The Light". “In one of Labi’s poems "An Audience Request" he writes - 'show us the world / rub our faces in it / show us the hurt / and our place in it' – and that’s exactly what a poet should do” … Benjamin Zephaniah

"On first reading I found many of these poems to appear direct and simple, both in statement and in mode of address, but on looking closer I discovered that they were multi-layered, often challenging their own apparent stereotypes and preconceptions, much as Blake did in his Songs of Innocence and of Experience. It is his sense of being an outsider which enables Siffre to expose and yet understand hypocrisy and prejudice. His poetry is compassionate and often succinct and aphoristic" … PQR (Poetry Quarterly Review). His play, "DeathWrite", staged at the Sherman Theatre, Cardiff (1997) was televised the same year by HTV.

Beginning with “Let’s Pretend” on the 1973 album For the Children and especially in his poetry, Siffre has been and remains, a determined advocate for secularism.

For rapper Eminem's hit single "My Name Is," hip hop record producer Dr. Dre wanted to use a sample (written by Siffre and including Siffre on electric piano) of his song I Got The for the rhythm track. Siffre took exception to the lyric objecting to what he describes as "lazy writing" (in the sleeve notes of the EMI re-mastered CD of the source album Remember My Song): "Attacking two of the usual scapegoats, women and gays, is lazy writing. If you want to do battle, attack the aggressors not the victims". This tune also featured English duo Chas & Dave who were at the time prominent Session musicians.

Eminem and Dr Dre edited their song to get the sample cleared. Labi Siffre's original is available on his 1975 album "Remember My Song" (remastered on EMI CD in 2006) and on the 2006 EMI CD of re-mastered tracks "The Best of Labi Siffre". The song, "I Got The" is often incorrectly referred to as “I Got The Blues”, a title Labi rejected as being "a cliché too far". "Remember My Song" is also notable for the track "The Vulture", which enjoyed popularity on the British Rare Groove scene in the 1990s, particularly after its inclusion on the 1999 Capitol Rare 3 compilation.

Siffre released a new album, The Last Songs, on EMI in 2006.

Kanye West's 2007 album "Graduation" holds a song titled "I Wonder" in which he samples Labi Siffre's "My Song" from Siffre's album, Crying Laughing Loving Lying.

Siffre's "It Must Be Love" was also used in one of Vodafone's adverts, in late 2007. In 2008 en 2009 it was used in Holland in the Eredivisie Live campaign, for promoting the Dutch football league on television.

In 2008 Siffre's song "Down" was featured in the film JCVD.

He is listed as a prominent donor to the Atheist Bus Campaign, which is currently raising funds to place atheist adverts on London buses.^[6]

Siffre's "I Don't Know What's Happened to The Kids Today" appeared on the second season finale of the UK TV series Misfits.

Album discography[link]

• Labi Siffre (1970)
• The Singer And The Song (1971)
• Crying Laughing Loving Lying (1972)
• For The Children (1973)
• Remember My Song (1975)
• Happy (1975)
• So Strong (1988)
• Man of Reason (1991)
• The Last Songs (1998)
• Monument (Spoken Word) (1998)
• The Last Songs (Re-mastered) (2006)

Cover versions[link]

• Olivia Newton-John (English-born, Australia-raised singer and actor) covered "Crying Laughing Loving Lying" in 1975 on her gold certified MCA album titled "CLEARLY LOVE" (catalog # MCA-2148). Olivia and Labi's paths have crossed more than once over the years, as illustrated by the fact that Labi and Olivia dueted on a live version of her # 1 pop hit "You're the One That I Want" (written by John Farrar, and originally featured as a duet with John Travolta in the 1978 film adaptation of the musical, "Grease").
• Madness covered "It Must Be Love" in 1981. The song reached #4 in the UK charts and #33 in the U.S. in 1983. Labi Siffre also made a cameo appearance in the music video.
• "(Something Inside) So Strong" was covered by Kenny Rogers in 1989 (and became the title track to a hit album). The song was also covered by Vanessa Bell Armstrong in 1988 and again by a host of gospel artists as a tribute to Rosa Parks in the mid-90's. Also featured in the hit BBC comedy 'Gavin and Stacey' late 2009 where it was very successfully adapted into a Welsh chapel christening ceremony
• The Flying Pickets covered the song in their 1994 Album, The Warning.
• Michael Ball also released a cover of the song in 1996, which reached Number 40 in the UK.
• It has also been covered by Rik Waller in 2002, when it was released as a single.
• Fatboy Slim sampled Rosetta Hightower’s cover of Labi Siffre’s “A Little More Line” (from his 1970 debut album Labi Siffre) for the song “That Old Pair of Jeans” on Fatboy's 2006 album “Why Try Harder”
• Kanye West used a sample of "My Song" in "I Wonder" on his album "Graduation".
• Jay-Z sampled "I Got The" — the same song Eminem sampled for "My Name Is" — for his hit "Streets Iz Watching."
• RJD2's song "Making Days Longer", from his album Since We Last Spoke, is a cover of Siffre's "Bless the Telephone", from The Singer And The Song. Siffre is credited as writer of the original song in the liner notes.

Bibliography[link]

Poetry[link]

• Nigger (Xavier Books 1993)
• Blood On The Page (Xavier Books 1995)
• Monument (Xavier Books 1997)

Plays[link]

• DeathWrite (Xavier Books 1997)

Essays[link]

• Choosing The Stick They Beat You With (Penguin 2000)

References[link]

External links[link]

• Labi Siffre's own web site
• An interview with Labi Siffre
• The Argotist interview

Nil Karaibrahimgil (born 17 October 1976 in Ankara, Turkey), also popularly known simply as Nil (Turkish for the Nile), is a well known Turkish singer and songwriter mostly noted for her distinct lyrics. Nil's passion and admiration for music stems from her father; Suavi Karaibrahimgil, who is also a musician although he is not currently active in the Turkish music industry.

Biography[link]

In 2000, she graduated from Boğaziçi University with a degree in International Relations. She also further received the Crystal Apple prize award twice, which recognized her achievements in advertising. Besides academic success, Nil has found fortune in the Turkish music scene. Many of her songs deal with love, marriage and relationships. On January 21, 2010 she married Sertab Erener's brother Serdar Erener near the shore of the Nile River.^[1]

Musical career[link]

Early musical success[link]

Up to 2007, Nil has managed to release 3 successful albums along with several singles of her own here and there. In 2002, her debuting album titled, "Nil Dünyası" managed to bring her into the spotlight with hits that include, "Kek" and "XL". Two years later, Nil managed to follow up with another album called, "Nil FM" which also managed to see similar success as that of her first album. Some of the hit singles released from that album include, "Gitme Yoksa…", "Akbaba", "Ben Aptal Mıyım?" and "Bronzlaşmak" as well.

[edit] Tek Taşımı Kendim Aldım

In 2006, Nil would go on to release her 3rd album called, "Tek Taşımı Kendim Aldım". The album managed to bring Nil with some further success with hits including, "Pırlanta", "Peri" and of course, "Organize İşler Bunlar" which is the original soundtrack of the movie Organize İşler. All of the three singles from this album managed to easily top most Turkish charts, which is quite a success considering that the Turkish music industry is a quite competitive one.

[edit] Yaş 18

In late 2006, Nil released a single called, "Yaş 18" (Age 18) which is one of the two tracks she recorded for the soundtrack of the Turkish movie Sınav (Exam). Both the movie and the song deal with the pressure Turkish students face preparing for matriculation, as well as angst from coming of age.

Discography[link]

Albums[link]

Singles[link]

Guest appearances[link]

Music videos[link]

See also[link]

• Music of Turkey
• Turkish pop music
• Turkish rock music

References[link]

External links[link]

• Official web site: NilKaraibrahimgil.com / NilTakipte.com
• Nil Karaibrahimgil at the Internet Movie Database
• Official Twitter, YouTube and Flickr pages
• Nil Karaibrahimgil discography at MusicBrainz