In late August 1973, around 10,000 “guest workers” at Ford in Cologne spontaneously and “wildly” went on strike to protest layoffs. They demanded equal pay for equal work under humane conditions. The strikers occupied the factory grounds. During the day they protested; at night they danced. It was a dance on the back of the tiger. The strike was violently broken up. However, the charismatic spokesperson Baha Targün—described by many as the “Cohn-Bendit of the guest workers”—became a cult figure. Later, though, he came under massive legal pressure as a result.

Based on the memories of former activists, Nedim Hazar wrote a musical about this once-legendary event. It is intended as a musical tribute to the first generation of Turkish immigrants. For they did not merely contribute to the economic miracle; they were also part of Germany’s postwar democratic history. “Baha and the Wild ’70s” tells the story of these people’s dream of a better life, their longing for the homeland they left behind, and their struggle for recognition. In the process, the audience is taken on a journey through time to a decade of social upheaval—a journey featuring hot pants, flower children, the Ford Transit, “Blauer Bock,” and the Mao Bible.

Performed live by a rock band, a string trio, and Turkish instrumentalists, the songs are inspired by international musicals of the era, such as “Hair,” “Fiddler on the Roof,” and the rock opera “Tommy.” Director Tony Dunham is English, and Nedim Hazar grew up in Sydney in the 1970s. The title song, “One Mark More for Everyone!” was contributed by Hazar’s son, the rapper Eko Fresh. In it, he captures the spirit of life for many guest workers of the 1970s in the lines: “You’re a nobody, just keep going, always on the assembly line, guest worker.”