Ramiz Mehdiyev has emerged over many years as one of the key figures in Azerbaijan, distinguished by his shadowy influence. His position within the political system, unlike the classic administrative model, was built more on informal connections, the principle of personal loyalty, and parallel mechanisms of influence. It is precisely for this reason that Mehdiyev's name has long been cited as a key figure for “safe advancement” in various fields.
His role in a number of areas has been openly or indirectly acknowledged. However, this sphere of influence has not been of the same depth or consistency in every field.
The field of culture, in particular, stands out as one of the areas where Ramiz Mehdiyev had the least influence. While he was able to form extensive networks in other fields, these opportunities remained limited in the cultural environment. For this reason, Mehdiyev's influence on various areas of culture consisted primarily of relationships established with selected individuals. In this circle, Ramiz Mehdiyev preferred to present himself not as a system builder, but rather in the status of an “elder” (ağsaqqal), and the number of those who accepted this status was limited.
This narrow circle formed in the cultural sphere was built more on personal relationships, compatibility of taste, and a patronage mechanism, rather than ideological proximity. Ramiz Mehdiyev's particular fondness for certain musicians, his listening to them, and his desire to see them at his gatherings clearly illustrate the nature of these relationships.
The wedding he held for his grandson during the quarantine regime, and the public discussions it sparked, remained a symbolic event demonstrating how Mehdiyev perceived his own position. This gathering, held at a time when the majority of society was living under strict restrictions, not only disregarded laws and regulations but was also interpreted on a political-psychological level. The inclination towards large gatherings, toasts addressed to him personally, and an openly displayed need for status emerged as an integral part of his behavioral model.
The choice of individuals attending that wedding was also not accidental. Ramiz Mehdiyev had invited people he considered closest to him to the wedding. Among them were a very small number of singers.
According to Modern.az, the cultural figures who attended R. Mehdiyev's grandson's wedding were not chosen randomly. Those invited to the gathering were artists whom the Mehdiyev family had loved, listened to, and maintained close relations with for many years.
According to information, Ramiz Mehdiyev personally controlled who would attend the wedding and who would be excluded. This attention applied not only to officials but also to musicians. The fact that some cultural figures, who once considered him their “elder” and demonstrated closeness to him, were not invited to the wedding caused serious dissatisfaction in certain circles. Although these dissatisfactions were not openly voiced, they were quite palpable within the cultural community.
However, the subsequent development of events pushed these dissatisfied voices into the background. Shortly thereafter, the Ministry of Internal Affairs took measures regarding the individuals who attended the wedding, and at the same time, harsh criticisms directed at Ramiz Mehdiyev and his relatives on the public stage shifted the focus of the topic. The issue was no longer about who was invited and who was not, but rather centered on the wedding itself and the public resonance it created.
Among those held accountable were artists for whom Ramiz Mehdiyev had a special fondness. The list included the director of the Azerbaijan State Philharmonic, pianist and People's Artist Murad Adıgözəlov, as well as his former wife, Aysel Teymurzadə, who placed third in the "Eurovision" song contest in 2009. This indicated that the wedding was not an ordinary family event, and the selection carried symbolic meaning.
Looking at the list of attendees at the wedding, Ramiz Mehdiyev's musical taste is also clearly discernible. The choices indicate that he particularly favored jazz and pop genres. It was precisely for this reason that the invitation of saxophone player Teymur Süleymanbəyli to the gathering was not surprising. Süleymanbəyli, a regular participant in elite gatherings for many years, was considered one of the performers who suited Mehdiyev's taste.
One of the artists Ramiz Mehdiyev wished to see at his gatherings was singer Azad Şabanov. The young singer was among those held accountable by the Ministry of Internal Affairs after the wedding.
However, in addition to the aforementioned individuals, many musicians and cultural figures wanted to attend this wedding. This issue was later voiced in various circles.
