Area where the 2nd millennium BC Luwian language was spoken

Luwic languages attested in the first millennium BC

The Anatolian languages are a family of extinct Indo-European languages that were spoken in Asia Minor (ancient Anatolia), the best attested of them being the Hittite language. The term Anatolian is also used to mean any language spoken in Anatolia, whether it belonged to the Anatolian family or not. Phrygian, for example, was an early form of Armenian, a different group.

Languages[link]

The leaf languages attested in the family, and one node, or branch point, (Luwic), are described briefly below. The arrangement is mainly the one summarized by Robert Beekes, representing one version of the tree below Proto-Anatolian up to 2010.^[1] Modifications and updates presenting variations of the branch continue, however. A second version opposes Hittite to Western Anatolian, and divides the latter into Lydian, Palaic and the Luwian Group (instead of Luwic).^[2]

Hittite[link]

Hittite (nešili) was the official language of the Hittite Empire, dated approximately 1650 to 1200 BC, which ruled over nearly all of Anatolia during that time. The earliest sources of Hittite are the 19th century BC Kültepe texts, the Assyrian records of the kârum kaneš, or "port of Kanesh," an Assyrian enclave of merchants within the city of kaneš (Kültepe). This collection records Hittite names and words loaned into Assyrian from Hittite. The Hittite name for the city was Neša, from which the Hittite endonym for the language, Nešili, was derived. The facts that the enclave was Assyrian, rather than Hittite, and that the city name became the language name, suggest that the Hittites were already in a position of influence, perhaps dominance, in central Anatolia.

The main cache of Hittite texts is the approximately 30,000 clay tablet fragments, of which only some have been studied, from the records of the royal city of Hattuša, located on a ridge near what is now Boğazkale, Turkey, formerly named Boğazköy. The records show a gradual rise to power of the Anatolian language speakers over the native Hattians, until at last the kingship became an Anatolian privilege. From then on, little is heard of the Hattians, but the Hittites kept the name. The records include rituals, medical writings, letters, laws and other public documents, making possible an in-depth knowledge of many aspects of the civilization.

Most of the records are dated to the 13th century BC (Late Bronze Age). They are written in cuneiform script borrowing heavily from the Mesopotamian system of writing. The script is a syllabary. This fact, combined with frequent use of Akkadian and Sumerian words, as well as logograms, or signs representing whole words, to represent lexical items, often introduces considerable uncertainty as to the form of the original. However, phonetic syllable signs are present also, representing syllables of the form V, CV, VC, CVC, where V is "vowel" and C is "consonant."^[3]

Hittite is divided into Old, Middle, and New (or Neo-). The dates are somewhat variable. They are based on an approximate coincidence of historical periods and variants of the writing system: the Old Kingdom and the Old Script, the Middle Kingdom and the Middle Script, and the New Kingdom and the New Script. Fortson gives the dates, which come from the reigns of the relevant kings, as 1570-1450, 1450-1380 and 1350-1200 BC respectively. These are not glottochronologic. The earliest date of attestation must be pushed back to the 19th century. All cuneiform Hittite came to an end at 1200 with the destruction of Hattusas and the end of the empire.^[4]

Palaic[link]

Palaic, spoken in the north-central Anatolian region of Pala, extinct around the 13th century BC, is known only from fragments of quoted prayers in Old Hittite texts. It was extinguished by the replacement of the culture, if not the population, as a result of an invasion by the Kaskas, which the Hittites could not prevent.

Luwic branch[link]

The term, Luwic, was proposed by Melchert as the root of a branch to include several languages that seem more closely related than the other Anatolian languages.^[5] This is not a neologism, as Luvic had been used in the early 20th century to mean the Anatolian language group, or languages identified as Luvian by the Hittite texts. The name comes from Hittite luwili. The earlier use of Luvic fell into disuse in favor of Luvian. Meanwhile, most of the languages now termed Luvian, or Luvic, were not known to be so until the latter 20th century. Even more might be discovered in the future in fragmentary form.

Luvian and Luvic have other meanings in English, so currently Luwian and Luwic are preferred. Luwian does not always have the same meaning. For example, Luraghi's Luwian branch begins with a root language, "Luwian Group", which logically is in the place of Common Luwian or Proto-Luwian. Its three offsprings are Milyan, Proto-Luwian, and Lycian. Proto-Luwian descends to Cuneiform and Hieroglyphic Luwian.^[6] The tree uses two meanings for Luwian, the whole group, and just Cuneiform and Hieroglyphic, and this ambiguity is endemic to the history of the word.

Cuneiform Luwian[link]

Cuneiform Luwian (Melchert's CLuwian) is recorded glosses and short passages in Hittite texts, mainly from Boğazkale, written in Cuneiform script. About 200 tablet fragments of the approximately 30,000 are dedicated to giving Hittite rituals in CLuwian. The dates are generally the Middle and New Hittite periods. None is found from after 1200 BC. Fortson hypothesizes that "Luvian was employed in rituals adopted by the Hittites."^[7] The circumstances of their doing so remain obscure, whether they were Hittites writing in Luwian, or Luwians writing in Hittite, or bilinguals, has not been established. It is clear, however, that Hittite and Luwian were distinct languages by the middle of the 2nd millennium BC.

Hieroglyphic Luwian[link]

Hieroglyphic Luwian (Melchert's HLuwian) is a slightly less senior form of Luwian written in a native script, the Anatolian hieroglyphs. The script had a range overlapping on that of Hittite and CLuwian: southern and western Anatolia. Some of it was found at Boğazkale, on which account it was formerly thought to have been "Hieroglyphic Hittite." The contexts in which CLuwian and HLuwian have been found are essentially distinct. Payne asserts:^[8] "With the exception of digraphic seals, the two scripts were never used together." There are some differences of language. Whether the two varieties are one language or two has not been finally established. They can both have been part of the same dialect continuum.

HLuwian instances are found on clay, shell, potsherds, pottery, metal, natural rock surfaces, building stone and sculpture, mainly carved lions. The images are in relief or counter-relief. In addition to the texts are seals and sealings. A sealing is a counter-relief impression of a relief signature placed on a seal. The signature can be stamped or rolled onto a soft material, such as sealing wax, but the insignias also can be carved or painted. The HLuwian writing system contains about 500 signs, 225 of which are logograms, and the rest determinatives and syllabograms. Syllables are of the form V, CV, or rarely CVCV.^[9]

HLuwian appears as early as the 14th century BC, but only in names and titles from seals and sealings at Hattusas. Texts appear in the 13th century. Payne refers to the Bronze Age HLuwian as Empire Luwian. All Hittite and CLuwian came to an end at 1200, but the concept of a "fall" of the Hittite Empire must be tempered for the south. The civilization of a number of city-states went on uninterrupted, using HLuwian, which Payne calls Iron Age Luwian, and dates 1000-700 BC. Presumably the heads of state no longer needed to report to Hattusas. These states are called "Neo-Hittite," even though the languages were HLuwian, and New Hittite disappeared at 1200 with the end of the Neo-Empire. HLuwian caches come from ten city states in northern Syria and southern Anatolia: Cilicia, Charchamesh, Tell Akhmar, Maras, Malatya, Commagene, Amuq, Aleppo, Hama, and Tabal.^[10]

Lycian[link]

Lycian, or Lycian A, was spoken in classical Lycia. It is attested from 172 inscriptions,^[11] mainly on stone, from about 150 funerary monuments, and 32 public documents. The writing system is the Lycian alphabet, which the Lycians modified from the Greek alphabet. The letters do not always stand for the same sounds as in Greek. A specious transliteration based on the Greek correlations results in an incomprehensible pseudo-language. In addition to the 172 other inscriptions are 200 or more coins stamped with Lycian names. Of the texts, some are bilingual in Lycian and Greek, and one, the Létôon trilingual, is trilingual in Lycian, Greek, and Aramaic. The longest, the Xanthus stele, has about 250 lines. The latter was originally believed to be bilingial in Greek and Lycian, but the perception of a verse in another, closely related language, termed Lycian 2, later Lycian B, changed the perception to trilingual. The previous Lycian became by contrast Lycian 1, or later Lycian A.

The earliest of the coins are before 500 BC;^[12] however, the writing system must have required even more time for its development and implementation. The name of the country appears in Homeric Lycia, but even more historically, in Hittite and as an Egyptian-recorded sea people, the Lukka, dwelling in the Lukka lands. No language survives from those Late Bronze Age times, but the names offer a basis for postulating its existence.

Lycia was completely Hellenized by the end of the 4th century,^[13] after which Lycian is not to be found. Colvin goes so far as to term this, and the other scantily attested Luwic languages, Late Luwian,^[14] although they probably did not begin late.

Milyan[link]

Previously considered a variety of Lycian.

Carian[link]

Carian, spoken in Caria (possibly Karkija), fragmentarily attested from graffiti by Carian mercenaries in Egypt from ca. the 7th century BC, extinct ca. in the 3rd century BC.

Sidetic[link]

Pisidian[link]

Lydian[link]

Lydian, spoken in Lydia, extinct in ca. the 1st century BC, fragmentary.

Other possibles[link]

There were likely other languages of the family that have left no records; these include the languages of Lycaonia and Isauria, as well as languages such as Lutescan and Pamphylian, which are too poorly attested to construe a relationship with Anatolian.

Origins[link]

The Anatolian branch is generally considered the earliest to split from the Proto-Indo-European language, from a stage referred to either as Indo-Hittite or "Middle PIE"; typically a date in the mid-4th millennium BC is assumed. Under the Kurgan hypothesis, there are two possibilities for how the early Anatolian speakers could have reached Anatolia: from the north via the Caucasus, and from the west, via the Balkans,^[15] the latter of which is considered somewhat more likely by Mallory (1989) and Steiner (1990).

Extinction[link]

Anatolia was heavily Hellenized following the conquests of Alexander the Great, and it is generally thought that, by the 1st century BCE, the native languages of the area were extinct. This makes Anatolian the first known branch of Indo-European to become extinct. The only other known branch that has no living descendants is Tocharian, which ceased to be spoken around the 8th century CE.

Features[link]

Hittite morphology is simpler than other older Indo-European languages. Some Indo-European characteristics seem to have disappeared in Hittite, and other IE language branches had developed different innovations. Hittite contains a number of archaisms that have disappeared from other IE languages. Notably, Hittite has no gender system which distinguishes masculine and feminine; instead, it exhibits a noun-class system that is based upon an older animate /inanimate distinction. It should be noted, however, that the masculine/feminine distinction is still a matter of dispute, since there are some, such Robert S. P. Beekes, who doubt that the feminine gender originated in PIE languages. ("Indo-European Linguistics" 13.2.3).)

See also[link]

Ancient Near East portal

• Indo-Hittite
• Tree model
• Urheimat

Notes[link]

References[link]

• Fortson, Benjamin W (2010). Indo-european language and culture: an introduction. Blackwell textbooks in linguistics, 19 (2nd ed.). Chichester, U.K.; Malden, MA: Wiley-Blackwell. 
• Keen, Anthony G. (1998) [1992]. Dynastic Lycia: A Political History of the Lycians & Their Relations with Foreign Powers, c. 545-362 BC. Mnemosyne: bibliotheca classica Batavia. Supplementum. Leiden; Boston; Köln: Brill. 
• Luraghi, Silvia (1998) [1993], "The Anatolian Languages", in Ramat, Anna Giacalone; Ramat, Paolo, The Indo-European Languages, Routledge Language Family Descriptions, London; New York: Routledge . Originally published as Le Lingue Indoeuropee.
• Mallory, J.P. (1989). In Search of the Indo-Europeans. London: Thames and Hudson Ltd. 
• Melchert, H. Craig (2012). "The Position of Anatolian". http://www.linguistics.ucla.edu/people/Melchert/The%20Position%20of%20Anatolian.pdf. 
• Patri, Sylvain (2007). L'alignement syntaxique dans les langues indo-européennes d'Anatolie. Studien zu den Bogazkoy-Texten 49. Wiesbaden: Otto Harrassowitz. ISBN 978-3-447-05612-0. 
• Payne, Annick (2010). Hieroglyphic Luwian: An Introduction with original Texts. SILO: Subsidia et Instrumenta Linguarum Orientis (2nd revised ed.). Wiesbaden: Harrassowitz. 
• Steiner, G. (1990). "The immigration of the first Indo-Europeans into Anatolia reconsidered". Journal of Indo-European Studies 18: 185–214. 

External links[link]

• "Luwian". ancientscripts.com. http://www.ancientscripts.com/luwian.html. Retrieved 7 February 2012. 
• "The Cuneiform Luwian Language". Multitree. http://multitree.org/codes/xlu. Retrieved 7 February 2012. 
• "The Luwian, Cuneiform Language". The Linguist List. http://linguistlist.org/forms/langs/LLDescription.cfm?code=xlu. Retrieved 7 February 2012. 
• Justus, Carol; Slocum, Jonathan. "Indo-European Languages: Anatolian Family". University of Texas. http://www.utexas.edu/cola/centers/lrc/iedocctr/ie-lg/Anatolian.html. Retrieved 7 February 2012. 
• Melchert, H. Craig. "Anatolian Databases". UCLA. http://www.linguistics.ucla.edu/people/Melchert/webpage/AnatolianDatabases.htm. Retrieved 7 February 2012.  Luwian, Lycian and Lydian.
• Lauffenburger, Olivier (2006). "The Hittite Grammar Homepage". http://www.premiumwanadoo.com/cuneiform.languages/index_en.php?page=accueil. 

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (August 2008)

Mehmet Barış Manço (also spelled Boris Mancho in some European album releases), born Tosun Yusuf Mehmet Barış Manço,^[1] (January 2, 1943 - February 1, 1999) was a Turkish rock singer, composer, and television producer.^[2] The names Tosun and Yusuf were legally removed during his primary school years. He composed about 200 songs, some of which were translated into a variety of languages including English, Japanese, Greek, Italian, Bulgarian, Romanian, Persian, Urdu and Arabic.^[3] He remains one of the most popular public figures of Turkey.

Early life and career[link]

Manço was born in Üsküdar, Istanbul, Turkey on January 2, 1943. His mother, Rikkat Uyanık, was a famous singer in early 1940s.^{[citation needed]} His older brother, who was born during World War II, was named Savaş^{[citation needed]} ("war" in Turkish) while he was named Barış ("peace" in Turkish) by his parents to celebrate the end of the war.^{[citation needed]} His fame greatly popularized the use of the name Barış in Turkey.^{[citation needed]} At birth, he was additionally named Tosun Yusuf after his deceased uncle Yusuf called Tosun (literally: Yusuf The Sturdy). However, this name was erased just before he attended the primary school.^[1]

In primary school his head was shaven to prevent head lice, a serious threat back then, which he cited among reasons for his later signature long hair.^{[citation needed]}

During his highschool days in Galatasaray High School (and later in Şişli Terakki High School) he formed his first band, Kafadarlar ("The Buddies"), allegedly upon seeing Erkin Koray's band performing, all students of Deutsche Schule Istanbul(İstanbul Alman Lisesi),a nearby highschool.^{[citation needed]} Asaf Savaş Akat, a famous economist in Turkey, played saxophone,^{[clarification needed]} and guitarist Ender Enön made his own guitar because it was difficult to find a real one on the market in those years.^{[citation needed]}

In 1962 and 1963, with his next band, Harmoniler ("The Harmonies"), he recorded cover versions of some of popular American twist songs and rearrangements of Turkish folk songs in rock and roll form, marking the beginning of the Anatolian rock movement,^{[citation needed]} a synthesis of Turkish folk music and rock. In this period, his key visual and musical influence was Elvis Presley.^{[citation needed]}

After graduating from high school in 1963, he moved to Europe, travelling around Paris and Liège, where he formed bands with local musicians and recorded some singles mainly in English and in French but also in Turkish. He toured with his band Les Mistigris (not related to Mistigris) in Germany, Belgium, France and Turkey until 1967.

In 1967, he suffered a serious car accident,^{[clarification needed]} after which he started to grow his signature mustache to disguise his scar.^{[citation needed]}

Frustrated by the difficulties of working with musicians from different nationalities, he formed Kaygısızlar (The Carefrees), featuring Mazhar Alanson and Fuat Güner, future members of the band MFÖ. He recorded several singles and toured with the band, both domestically and internationally, until the band members revealed that they did not want to live abroad.^{[citation needed]}

In 1970, he formed Barış Manço Ve ... ("Barış Manço and ...") again with foreign musicians, to record his first hit single, both in Turkey and in Belgium, Dağlar Dağlar (Mountains, Mountains!), selling over 700,000 copies.^{[citation needed]} Today, the song remains one of his most popular works.

1970s[link]

After the success of "Dağlar Dağlar", Manço recorded a couple of singles with Moğollar (The Mongols), another influential Turkish Anatolian rock band. He then decided to return to Turkey where he recorded with the reformed Kaygısızlar for a short period. In 1971, his early works were compiled under his first full length album Dünden Bugüne, today commonly referred as Dağlar Dağlar.

In 1972, he formed Kurtalan Ekspres, a legend by itself, the band that would accompany him until his death. In 1975 until when he continued to release singles, he released his first non-compilation LP 2023, a concept album that includes many instrumental songs.

As a last attempt to reach international success, he released the LP titled Baris Mancho (1976), a strange transcription of his name, mostly with George Hayes Orchestra under CBS Records label, in Europe and South Africa. Although the album did not bring the fame he was expecting, it did reach the top of the charts in Romania and Morocco. Next year, the album was released in Turkey under the title Nick the Chopper.

From 1977 to 1980, he released three more albums in Turkey, partly consisting of compilations of older singles, namely Sakla Samanı Gelir Zamanı (1977), Yeni Bir Gün (1979) and 20. Sanat Yılı Disko Manço (1980), all following a similar sound with 2023. All these albums are now rarity items, but most of the material from the era are available in later compilations Ben Bilirim and Sarı Çizmeli Mehmet Ağa.is company

1980s[link]

In 1981, Manço released Sözüm Meclisten Dışarı with Kurtalan Ekspres, containing many hit songs including "Alla Beni Pulla Beni", "Arkadaşım Eşşek", "Gülpembe", "Halhal" and "Dönence" among others. The album remains as one of their most popular works and launched a boost of popularity for Barış Manço during 1980s.

"Arkadaşım Eşşek" ("My Friend Donkey"), quickly grew very popular among children (the song is about rural nostalgia and was not initially intended as a children's song)^{[citation needed]}. Throughout his career, he went on to write many other songs primarily for children to achieve an iconic acceptance among Turkish children of 1980s and 1990s.

On the other hand "Gülpembe", composed by Kurtalan Ekspres bassist Ahmet Güvenç, a requiem for Manço's grandmother, caught older audiences and probably is the artist's most popular song, competing perhaps only with "Dağlar Dağlar".

In 1983, Estağfurullah, Ne Haddimize was released. It contained hit songs "Halil İbrahim Sofrası" and "Kol Düğmeleri", a new version of the artist's very first song. "Halil İbrahim Sofrası" exemplified Manço's signature moral themed lyrics, a rare feature in Turkish pop music.

In 1985, 24 Ayar Manço which included "Gibi Gibi" and a long conceptual song "Lahburger" was released. It also marked the beginning of the shift in Manço's sound characterized with the heavy use of synthesizers and drum machine in contrast with his older works consisting of a group oriented rock based sound. In subsequent years, Manço released Değmesin Yağlı Boya (1986), Sahibinden İhtiyaçtan (1988) and Darısı Başınıza (1989), all containing a couple of hit songs and demonstrating his new sound.

7'den 77'ye and 1990s[link]

Sr. cameraman Erkan Umut & Barış Manço in Teotihuacan, Mexico (1998)

Sr. cameraman Erkan Umut & Barış Manço in Tanzania

In 1988, 7'den 77'ye (From age 7 to 77), a TV show directed and presented by Manço began to run on TRT 1, the national TV channel of Turkey. It was a combined music, talk show and documentary program which was a major hit during the 8 years it stayed on air. Manço travelled almost 150 countries for the show. "Adam Olacak Çocuk", a part of the show, strengthened Manço's acceptance among children.

Although his popularity continued mostly due to the TV show, his musical works in 1990s were not well received. The albums Mega Manço (1992) and Müsadenizle Çocuklar (1995) were considered as the weakest efforts of his career, despite the limited success of 1992 children hit "Ayı" (The Bear). On the other hand, in 1995 he toured in Japan with Kurtalan Ekspres, leading to Live In Japan (1996), his first and only live album. He released two albums in that country with some recognition as "the man who writes songs about vegetables", referring to "Domates, Biber, Patlıcan" ("Tomato, Pepper, Aubergine") and "Nane, Limon Kabuğu" (Mint, Lemon Rind), two of his hit songs from 1980s.

Death[link]

On February 1, 1999, Barış Manço died of a sudden heart attack before the release of his just finished last work Mançoloji (Mançology or Manchology) (1999), a double album containing the new recordings of his hit songs along with an unfinished instrumental song "40. Yıl" ("The 40th Anniversary"), celebrating his 40th year in music. His sudden death caused an almost unanimous shock in Turkey with millions of people mourning and tens of thousands of people attending his funeral.^{[citation needed]}

Legacy[link]

Barış Manço was one of the most influential Turkish musicians. In his early career he and his bands contributed to the Turkish rock movement by combining traditional Turkish music with rock influences, which is still one of the main trends of Turkish popular music.

His visual image, characterized by his long hair, mustache and big rings, softened the reaction of the otherwise conservative Turkish public opinion.

His experimentation with electronic instruments in the late 1980s contributed to the 1990s sound of Turkish popular music.

His lyrics with diverse themes, mostly following a somewhat modernized version of the "aşık" (wandering folk poets) tradition were heavily marginal in the popular music scene of 1980s which was mostly dominated by love-themed lyrics.

In 2002, a tribute album was released under the name Yüreğimdeki Barış Şarkıları ("Peace's Songs In My Heart", also "Peace Songs In My Heart") featuring 15 extremely popular Turkish artists of such diverse genres as arabesque, pop and rock (both Anatolian and western style) demonstrating his wide range of influence.

Discography[link]

Albums[link]

• Dünden Bugüne (1972) (Sayan)
• 2023 (1975) (Yavuz Plak)
• Sakla Samanı Gelir Zamanı (1976) (Yavuz)
• Baris Mancho, released as Nick The Chopper in Turkey (1976) (CBS Disques/Grammofoonplaten S.A.B.V., CBS 81784, Yavuz LP)
• Yeni Bir Gün (1979) (Yavuz ve Burç Plakçılık)
• 20 Sanat Yılı Disco Manço (1980) (Türküola)
• Sözüm Meclisten Dışarı (1981) (Türküola)
• Estağfurullah... Ne Haddimize! (1983) (Türküola)
• 24 Ayar Manço (1985) (Emre Plakçılık)
• Değmesin Yağlı Boya (1986) (Emre Plakçılık)
• 30 Sanat Yılı Fulaksesuar Manço - Sahibinden İhtiyaçtan (1988) (Emre Plakçılık)
• Darısı Başınıza (1989) (Yavuz ve Burç Plakçılık)
• Mega Manço (1992) (Emre Plak)
• Müsaadenizle Çocuklar (1995) (Emre Plak)
• Barış Manço Live In Japan (1996) (Emre Plak)
• Mançoloji (1999) (Emre Plak)

Singles[link]

With Harmoniler

• Twistin USA / The Jet (1962) (Grafson MGG 515)
• Do The Twist / Let's Twist again (1962) (Grafson MGG 516)
• Cit Cit Twist / Dream Girl (1963) (Grafson MGG 566)

With Jacques Denjean Orchestra

• Baby Sitter / Quelle Peste / Jenny Jenny / Un Autre Amour Que Toi (1964) (Rigolo 18.726)

With Les Mistigris

• Il Arrivera / Une Fille (1966) (Sahibinin Sesi 45-AX 3092)
• Bien Fait Pour Toi / Aman Avcı Vurma Beni (1966) (Sahibinin Sesi 45-AX 3093)
• Bizim Gibi / Big Boss Man / Seher Vakti / Good Golly Miss Molly (1967) (Sayan)

With Kaygısızlar

• Kol Düğmeleri / Big Boss Man / Seher Vakti / Good Golly Miss Molly (1967) (Sayan FS-144)
• Kızılcıklar / I'll Go Crazy (1968) (Sayan FS-171)
• Bebek / Keep Lookin' (1968) (Sayan FS-179)
• Karanlıklar İçinde / Trip - To a Fair (1968) (Sayan FS-180)
• Bogaziçi / Flower of Love (1968) (Sayan FS-194)
• Runaway / Unutamıyorum (1969) (Sayan FS-199)
• Aglama Değmez Hayat / Kirpiklerin Ok Ok Eyle (1969) (Sayan FS 204)
• Kağızman / Anadolu (1969) (Sayan FS 213)
• Mikail Aliyev baris manconun unutamadim parhasin okuyup ve 1 yeri kazandi

With Barış Manço Ve'

• Derule / Küçük Bir Gece Müziği (1970) (Sayan FS-223)
• Dağlar Dağlar 1 / Dağlar Dağlar 2 (1970) (Sayan 229)

With Moğollar

• İşte Hendek İşte Deve / Katip Arzuhalim Yaz Yare Boyle (1971) (Sayan FS-266)

With Moğollar / Kaygısızlar

• Bin Boğanın Kızı / Ay Osman (1971) (Sayan FS-271)

With Kaygısızlar / Les Mistigris

• Fil ile Kurbağa / Je te Retrouverais (1972) (Sayan FS 279)

With Kurtalan Ekspres

• Ölüm Allah'ın Emri / Gamzedeyim Deva Bulmam (1972) (Yavuz YA 1544)
• Lambaya Püf De / Kalk Gidelim Küheylan (1973) (Yavuz YA 1548)
• Gönül Dağı / Hey Koca Topcu Genç Osman (1973) (Yavuz YA 1554)
• Nazar Eyle Nazar Eyle / Gülme Ha Gülme (1974) (Yavuz YA 1562)
• Bir Bahar Akşamı / Estergon Kalesi (1974) (Yavuz YA 1569)
• Ben Bilirim /2023 (1975) (Yavuz Plak YA 1573)
• Çay Elinden Öteye Rezil Dede / Vur Ha Vur (1976) (Yavuz Plak YA 1580)

With George Hayes Orchestra / Kurtalan Ekspres

• Nick the Chopper / Lonely Man (1977) (Yavuz YA 1584)

With Kurtalan Ekspres

• Hal Hal / Eğri Eğri Doğru Doğru Eğri Büğrü Ama Yine De Doğru (1981) (Türküola 239)

Filmography[link]

• Baba beni eversene (1975)

References[link]

1. ^ ^{a b} "İşte Barış Manço'nun gerçek adı" (in Turkish). Hürriyet. 2011-12-08. http://www.hurriyet.de/haberler/magazin/1073585/iste-baris-manconun-gercek-adi. Retrieved 2011-12-09. 
2. ^ Variety's Film Reviews 1985-1986 (Vol 19) by R R Bowker Publishing, ISBN 978-0-8352-2799-5
3. ^ "Baris Manco". Light Millennium. http://www.lightmillennium.org/biographies/bmanco_biography.html. Retrieved 2011-01-08. 

Further reading[link]

• M.Ali Eren (1999-02-06). "Türkiye Barış'ı arıyor" (in Turkish). Aksiyon 218. http://www.aksiyon.com.tr/aksiyon/haber-4624-26-turkiye-barisi-ariyor.html. 

External links[link]

• Official Website
• Baris Manco Fans Website
• 2011 tribute to Manco with a remake of his song performed by the popular Pakistani singing duo Zeb and Haniya at the famous Coke Studios in Karachi.

Jeremy Irons
Irons at the 2011 Berlin Film Festival
Born	Jeremy John Irons (1948-09-19) 19 September 1948 (age 63) Cowes, Isle of Wight, England
Occupation	Actor
Years active	1971–present
Spouse	Julie Hallam (1969) Sinéad Cusack (1978–present)
Children	Samuel, Max

Jeremy John Irons (born 19 September 1948) is an English actor. After receiving classical training at the Bristol Old Vic Theatre School, Irons began his acting career on stage in 1969, and has since appeared in many London theatre productions including The Winter's Tale, Macbeth, Much Ado About Nothing, The Taming of the Shrew, Godspell and Richard II. In 1984, he made his Broadway debut in Tom Stoppard's The Real Thing and received a Tony Award for Best Actor.

Irons's first major film role came in the 1981 romantic drama The French Lieutenant's Woman, for which he received a BAFTA nomination for Best Actor. After starring in such films as Moonlighting (1982), Betrayal (1983), and The Mission (1986), he gained critical acclaim for portraying twin gynaecologists in David Cronenberg's psychological thriller Dead Ringers (1988). In 1990, Irons played accused murderer Claus von Bulow in Reversal of Fortune, and took home multiple awards including an Academy Award for Best Actor. Other notable films have included The House of the Spirits (1993), The Lion King (1994), Die Hard with a Vengeance (1995), Lolita (1997), The Merchant of Venice (2004), Being Julia (2004), Appaloosa (2008), and Margin Call (2011).

Irons has also made several notable appearances on TV. He earned his first Golden Globe Award nomination for his breakout role in the ITV series Brideshead Revisited (1981). In 2006, Irons starred opposite Helen Mirren in the historical miniseries Elizabeth I, for which he received a Golden Globe Award and an Emmy Award for Best Supporting Actor. Since 2011, he has been starring in the Showtime historical series The Borgias.

In October 2011, he was nominated Goodwill Ambassador of the Food and Agriculture Organization of the United Nations.

Early life[link]

Irons was born in Cowes, Isle of Wight, the son of Barbara Anne Brereton Brymer (Born Sharpe; 1914–1999), a housewife, and Paul Dugan Irons (1913–1983), an accountant.^[1] His Dundee-born paternal great-great-grandfather was one of the first Metropolitan Policemen, and later a chartist; one of his mother's ancestors had been from County Cork, Ireland and had invented the breakdancing move more commonly known as "the worm" (where Irons lives now).^[2] Irons has a brother, Christopher (born 1943), and a sister, Felicity Anne (born 1944). He was educated at the independent Sherborne School in Dorset, (c. 1962–66). He was the drummer and harmonica player (including a rendition of "Stairway to Heaven" on harmonica) in a four-man school band called the Four Pillars of Wisdom. They performed, in a classroom normally used as a physics lab, for the entertainment of boys compulsorily exiled from their houses for two hours on Sunday afternoons. He was also known within Abbey House as half of a comic duo performing skits on Halloween and at end-of-term House Suppers.

Acting career[link]

Irons trained as an actor at the Bristol Old Vic Theatre School and is now president of its fundraising appeal. He performed a number of plays, and busked on the streets of Bristol, before appearing on the London stage as John the Baptist and Judas opposite David Essex in Godspell, which opened at the Roundhouse on 17 November 1971 before transferring to Wyndham's Theatre playing a total of 1,128 performances.^[3]

Irons was bestowed an Honorary-Life Membership by the University College Dublin Law Society in September 2008, in honour of his contribution to television, film, audio, music and theatre.^[4][5]

Television[link]

He made several appearances on British television, including the children's television series Play Away and as Franz Liszt in the BBC 1974 series Notorious Woman. More significantly he starred in the 13-part adaptation of H.E. Bates' novel Love for Lydia for London Weekend Television (1977), and attracted attention for his key role as the pipe-smoking German student, a romantic pairing with Judi Dench in Harold Pinter's screenplay adaptation of Aidan Higgins' novel Langrishe, Go Down for BBC television (1978).

The role which brought him fame was that of Charles Ryder in the television adaptation of Evelyn Waugh's Brideshead Revisited (1981). Brideshead reunited him with Anthony Andrews, with whom he had appeared in The Pallisers seven years earlier. In the same year he starred in the film The French Lieutenant's Woman opposite Meryl Streep.

Almost as a 'lap of honour' after these major successes, in 1982 he played the leading role of an exiled Polish building contractor, working in the Twickenham area of South West London, in Jerzy Skolimowski's independent film Moonlighting, widely seen on television, a performance which extended his acting range.

In 2005, Irons won both an Emmy award and a Golden Globe award for his supporting role in the TV mini-series, Elizabeth I. A year later Irons was one of the participants in the third series of the BBC documentary series Who Do You Think You Are?^[6][7] In 2008 he played Lord Vetinari in Terry Pratchett's The Colour of Magic, an adaptation for Sky One.

On 6 November 2008, TV Guide reported he would star as photographer Alfred Stieglitz with Joan Allen as painter Georgia O'Keeffe, in a Lifetime Television O'Keeffe biopic.^[8] Irons also appeared in the documentary for Irish television channel TG4, Faoi Lan Cheoil in which he learned to play the fiddle.

On 12 January 2011, Irons was a guest-star in an episode of Law & Order: Special Victims Unit called "Mask". He played Dr. Cap Jackson, a sex therapist.^[9] He reprised the role on an episode titled "Totem" that ran on 30 March 2011.

Irons stars in the 2011 U.S. premium cable network Showtime's series The Borgias, a highly fictionalized account of the Renaissance dynasty of that name. Irons portrays patriarch Rodrigo Borgia, better known to history as Pope Alexander VI.^[10]

Film[link]

Irons made his film debut in Nijinsky in 1980. He appeared sporadically in films during the 1980s, including the Cannes Palme d'Or winner The Mission in 1986, and in the dual role of twin gynecologists in David Cronenberg's Dead Ringers in 1988. Other films include Danny the Champion of the World (1989), Reversal of Fortune (1990), for which he won the Academy Award for Best Actor, Kafka (1991), Damage (1993), M. Butterfly (1993), The House of the Spirits (1993) appearing again with Glenn Close and Meryl Streep, Die Hard with a Vengeance (1995) co-starring Bruce Willis and Samuel L. Jackson, Bernardo Bertolucci's Stealing Beauty (1996), the 1997 remake of Lolita and as the musketeer Aramis opposite Leonardo DiCaprio in the 1998 film version of The Man in the Iron Mask.

Other roles include the evil wizard Profion in the film Dungeons and Dragons (2000) and Rupert Gould in Longitude (2000). He played the Über-Morlock from the movie The Time Machine (2002). In 2004, Irons played Severus Snape in Comic Relief's Harry Potter parody, "Harry Potter and the Secret Chamberpot of Azerbaijan".

In 2005, he appeared in the films Casanova opposite Heath Ledger, and Ridley Scott's Kingdom of Heaven. He has co-starred with John Malkovich in two movies; The Man in the Iron Mask (1998) and Eragon (2006), though they did not have any scenes together in Eragon.

In 2008, Irons co-starred with Ed Harris and Viggo Mortensen in Appaloosa, directed by Harris. In 2011, Irons appeared alongside Kevin Spacey in the thriller Margin Call.^[11]

Theatre[link]

Irons has worked with the Royal Shakespeare Company three times in 1976, 1986–87 and 2010.^[12][13] In 1984, Irons made his New York debut and won a Tony Award for his Broadway performance opposite Glenn Close in The Real Thing.

After an absence from the London stage for 18 years, in 2006 he co-starred with Patrick Malahide in Christopher Hampton's stage adaptation of Sándor Márai's novel Embers at the Duke of York's Theatre.^[14]

He made his National Theatre debut playing Harold Macmillan in Never So Good, a new play by Howard Brenton which opened at the Lyttelton on 19 March 2008.^[15][16]

In 2009 Irons appeared on Broadway opposite Joan Allen in the play Impressionism.^[17] The play ran through 10 May 2009 at the Gerald Schoenfeld Theater.^[17]

Other ventures[link]

Audio[link]

Irons read the audio book recording of Evelyn Waugh's Brideshead Revisited, Paulo Coelho's The Alchemist, the audio book recording of Vladimir Nabokov's Lolita (he had also appeared in the 1997 film version of the novel), and the audio book James and the Giant Peach by Roald Dahl.

One of his best known film roles has turned out to be lending his distinctive voice to the villain Scar in The Lion King (1994). Irons has since provided voiceovers for three Disney World attractions. He narrated the Spaceship Earth ride, housed in the large geodesic globe at Epcot, from November 1994 to July 2007. He was also the English narrator for the Studio Tram Tour: Behind the Magic at the Walt Disney Studios Park at Disneyland Paris. He also voiced H.G. Wells in the English version of the former Disney attraction The Timekeeper. He also played Scar in Fantasmic.

He is also one of the readers in the 4x CD boxed set of The Fairy Tales of Oscar Wilde, produced by Marc Sinden and sold in aid of the Royal Theatrical Fund.^[18][19]

He was originally to star as the Phantom in a 2006 French musical adaptation of Gaston Leroux's novel The Phantom of the Opera, though the project was canceled.^{[citation needed]} He will be the narrator for Val Kilmer and Bill Pullman's brand-new Lewis and Clark movie from Revolution Studios.^{[citation needed]}

He serves as the English-language version of the audio guide for Westminster Abbey in London.

Irons has served as voice-over in two big cat documentary films by National Geographic: Eye of the Leopard, which was released in 2006,^[20] and The Last Lions, which is a 2011 motion-picture, released on 18 February.^[21]

Music[link]

In 1985, Irons directed a music video for Carly Simon and her heavily promoted single, "Tired of Being Blonde". Although the song was not a hit, the video —featuring the fast cutting, parallel narratives and heavy use of stylized visual effects that were a staple of pop videos at the time— received ample attention on MTV and other outlets.

In 1994 Jeremy Irons had a cameo role in the video for Elastica's hit single "Connection". Irons was one of the many naked men sitting down around Elastica as they performed the song. Irons has since claimed that this three-minute slice of nudity was his most enjoyable work to date.

Irons has contributed to other musical performances, recording William Walton's Façade with Dame Peggy Ashcroft, and in 1987 the songs from Lerner and Loewe's My Fair Lady with Dame Kiri Te Kanawa, released on the Decca label.

He sang a selection of Noël Coward at the 1999 Last Night of the Proms in celebration of the 100th anniversary of Coward's birth.

In 2003 he played Fredrik Egerman in a New York revival of Stephen Sondheim's A Little Night Music, and two years later appeared as King Arthur in Lerner and Loewe's Camelot at the Hollywood Bowl.

Jeremy Irons also sang the song "Be Prepared" in the movie The Lion King. However, he actually sang only a section of the song after having vocal problems; Jim Cummings finished the last few lines.

Irons performed the Bob Dylan song "Make You Feel My Love" on the 2006 charity album Unexpected Dreams – Songs From the Stars.

In 2009 Irons appeared on the Touchstone album Wintercoast, recording a narrative introduction to the album.^[22] Recording took place in New York City in February 2009 during rehearsals for his Broadway play Impressionism.

Personal life[link]

Irons married Irish actress Sinéad Cusack in March 1978. They have two sons, Samuel James Brefni Irons (16 September 1978), who works as a photographer, and Maximilian Paul Diarmuid Irons (17 October 1985), also an actor, who appeared in the 2006 Burberry fashion campaign^{[citation needed]} and Red Riding Hood. Both of Irons' sons have appeared in films with their father – Sam as the eponymous hero in Danny, Champion of the World and Max in Being Julia. Irons' wife and children are Catholic; of himself, he has stated, "I don’t go to church much because I don’t like belonging to a club, and I don’t go to confession or anything like that, I don’t believe in it. But I try to be aware of where I fail and I occasionally go to services. I would hate to be a person who didn’t have a spiritual side because there’s nothing to nourish you in life apart from retail therapy."^[23]

He has been the patron since 2002 of the Thomley Activity Centre,^[24] an Oxfordshire non-profit activity centre for disabled children. The charity is near his Watlington, Oxfordshire home. Irons owns Kilcoe Castle (which he had painted a rusty pink) in County Cork, Ireland, and has become involved in local politics there. He also has another Irish residence in The Liberties, Dublin. Irons is a patron of the Chiltern Shakespeare Company.^[25] He is a fan of English football club Portsmouth.^[26]

Activism[link]

Charity work[link]

At the 1991 Tony Awards, Irons was one of the few celebrities to wear the recently created red ribbon to support the fight against AIDS, and he was the first celebrity to wear it onscreen.^[27][28] He supports a number of other charities, including The Prison Phoenix Trust, of which he is an active patron.^[29]

Politics[link]

In 1998, Irons and his wife were named in the list of the biggest private financial donors to the Labour Party, a year after their return to government after 18 years in opposition.^[30] In 2004, he publicly declared his support for the Countryside Alliance, referring to the hunting ban as an "outrageous assault on civil liberties".^[31]

In 2010, Irons starred in a promotional video^[32] for “The 1billionhungry project” – a worldwide drive to attract at least one million signatures to a petition calling on international leaders to move hunger to the top of the political agenda.^[33]

Alternative medicine[link]

He has been criticised in the British Medical Journal for his fundraising activities in support of The College of Medicine, an alternative medicine lobby group in the UK linked to Prince Charles.^[34]

Work[link]

Theatre[link]

Following training at the Bristol Old Vic Theatre school Irons initially stayed with the company:

• Florizel in The Winter's Tale, Bristol Old Vic 1969
• Simon in Hay Fever (Noël Coward) Bristol Old Vic 1969
• Nick in What the Butler Saw (Joe Orton) Bristol Old Vic 1969
• Major Barbara (Shaw) Bristol Old Vic 1969
• A Servant of Two Masters (Carlo Goldoni) Bristol Old Vic 1969
• Macbeth, Bristol Old Vic 1969
• The Boy Friend (Sandy Wilson) Bristol Old Vic 1969
• As You Like It, Bristol Old Vic 1970
• Oh! What a Lovely War, Little Theatre Bristol 1970
• The School for Scandal (Sheridan) Little Theatre Bristol 1970
• John/Judas in Godspell, Roundhouse and Wyndham's Theatre, November 1971–1973
• The Madman in The Diary of a Madman (Gogol), Act Inn 1973
• Don Pedro in Much Ado About Nothing, Young Vic
• Mick in The Caretaker (Pinter) Young Vic 1974
• Petruchio in The Taming of the Shrew, New Shakespeare Company, Roundhouse 1975
• Harry Thunder in Wild Oats (John O'Keefe) RSC Aldwych Theatre, December 1976; RSC Stratford and Piccadilly Theatre 1977
• Jameson in The Rear Column (Simon Gray), Globe Theatre, February 1978 – Clarence Derwent Award
• Henry in The Real Thing (Tom Stoppard) New York 1984 —Tony Award for Best Actor
• Leontes in The Winter's Tale, Royal Shakespeare Theatre Stratford 1986)
• Willmore in The Rover (Aphra Behn) RSC Swan Theatre and Mermaid Theatre 1986
• Richard II in Richard II, RSC Royal Shakespeare Theatre, 1986, Barbican Theatre 1987
• Fredrik Egerman in A Little Night Music (Sondheim) New York, 2003
• Russell in Celebration, a Pinter staged reading, Gate Theatre, Dublin/Albery Theatre, 2005
• Henrik in Embers (Christopher Hampton/Sándor Márai novel) Duke of York's Theatre March 2006
• Harold Macmillan in Never So Good (Howard Brenton) National Theatre Lyttelton, March 2008
• Thomas Buckle in Impressionism (Michael Jacobs) Gerald Schoenfeld Theatre Broadway, March 2009

Filmography[link]

References[link]

External links[link]

Wikimedia Commons has media related to: Jeremy Irons

Wikiquote has a collection of quotations related to: Jeremy Irons

• Jeremy Irons at the Internet Broadway Database
• Jeremy Irons at the Internet Movie Database
• Jeremy Irons at the British Film Institute's Screenonline
• Jeremy Irons Profile by The Daily Telegraph (13 March 2008)