Udo

The sixties were the defining era for European popmusic in which in each countries the first artists and groups emerged and ‘pop’ or music for teenagers found it’s way to the mainstream. In some countries this was a gradual proces, in other it was a certain event that marked the start. One of the most emphasized events took place in Turkey were the Altin Mikrofon contest of 1965 caused an explosion in modern music.

The fuel for this explosion was already in the making at the start of the sixties with the song “Bak Bir Varmış bir Yokmuş” (once upon a time) sung by İlham Gencer and lyrics by Fecri Ebcioğlu. After this single, those artists that before sang in English-French-Spanish-Italian were suddenly triggered to try their own language and incorporate that in the international arrangements. First Alpay, followed by Tülay German, Erol Büyükburç, Ay-Feri, Gönül Turgut, Ayla Dikmen, Tanju Okan, Başar Tamer and many others, making the Anatiolian pop music spread like wildfire.

After a while, those deciding to engage in pop music were divided into two groups which can be briefly summarized as “Western music means foreign songs” and “Western music, but Turkish lyrics”. The situation for those included the first trend (of which the leader is Fecri Ebcioğlu and some other DJ’s) is very explicit. “This is not our music. Our music is made of of those songs and folk songs that have been produced for years. This is a type of music which generated and developed abroad. Therefore, there is no need to explore American music. Those people work hard to produce these songs so why should we be bothered; we can take their songs and write Turkish lyrics to them (besides sometimes even via translating the lyrics written in a foreign language into Turkish); and present it as pop music; pop music all over …” The urge to reflect on this new genre, create new ways and Turkish alternatives to modern music was not felt by everyone. In that sense the Doruk Onatkut traditional composition “Black Train” turned out to be of historical significance. Onatkut, renowned for his folk music with a career of forty years, changed “Black Train” to an electric guitar arrangement and asked Alpay to help out. Years later, this couple became the pioneers of a new trend called “Anatolian Pop”. Another revolutionary development is triggered by the couple, Erdem Buri and Tülay German. This couple took it a step further. They thought, “These two new ways are rather good; but aren’t we going to have new compositions in this new genre?” and underlined that newly-composed songs were required. They not only underlined this fact but they also started talks with competent names such as Ruhi Su and Melih Cevdet Anday searching for melodies and lyrics apart from the foreign or traditional strains.

This idea triggered Hurriyet, Turkish best-selling newspaper at the time, to organize the Altin Mikrofon or Golden Microphone song contest, which would provide opportunities for those who would like to engage in pop music. The year was 1965 when no less 78 artists enlisted for the contest. First prize was the ability to record the winning song and a performing job at the Oriental Casino where the contest was held. Eventually there were ten artists who made finals. Among these were Erol Evgin, İlham Gencer, Cem Karaca and Sheriff Yüzbaşıoğlu. Nowadays it may seem futile but the for Turkey in the mid sixties the Altin Mikrofon contest suddenly gave a platform to a genre that before remained in a experimental niche of the musical stage. The promotional force the contest (backed up by the newspaper) had suddenly enabled artist to perform nationwide to a growing public. From 1966 to 1972 the contest did not remain in one place but toured the country ending in a grand finale in Istanbul. Like modern talentshows this gave a constant exposure of Turkish pop for weeks.

Even serious artists changed their opinion about popmusic. The master of jazz music Ismet Sıral, who had considered this newly-emerging genre to be a “short-term trend; easily-forgotten, temporary fashion” admitted that he was wrong and told his friends that “You are free to sing Turkish songs”. After this declaration, a very experienced and productive group including Ayten Alpman and Özdemir Erdoğan took part in the world of pop. When names such as Barış Manço, Hümeyra, Selda and Edip Akbayram became engaged the pop music grew even larger and record sales reached millions, which was considered to be a dream once. After a three year pause a Altin Mikrofon competition was held in 1972 and 1979, but by then it’s role as a turbinal force for Turkish pop was already fulfilled.

Contest Results:

1965

Other finalists:
• Kanat Gür / Karadır Kaşların - İçimdesin
• Ferdi Özbeğen / Sandığımı Açamadım - Kes Kes
• İlham Gencer / Zamane Kızları - İstanbul
• Selçuk Alagöz / Kemerin Naftaları - Kaleden İndir Beni
• Cahit Oben / Halimem - Makaram Sarı Bağlar
• Metin Alkanlı / Karadut - Gül Dalında Öten Bülbül
• Dores / Gemiciler - Espanola

1966

Other finalists
• Cahit Oben / Her Gün Kavga Var – Şey
• Ali Atasagun / Yarim - Emine
• Kent Yedilisi / Kara Kaşlı Haticem - Mühür Gözlüm
• TPAO Batman Orkestrası / Kaleden Top Atarlar - Fırat Kenarında Yüzen Kayıklar

1967

Other finalists
• Haramiler / Çamlıca Yolunda – Adanalı
• T.P.A.O. Batman Orkestrası / Kara Toprak – Ay Beyaz Deniz Mavi
• Yabancılar / Ağıt – Kayalar

1968

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Naim Dilmener is a Turkish music critic, radio programmer, dj, archivists and music collector. he regurarly writes for Radikal. He also published several books about music, amongst which:

İmkânsız Aşk Hikâyeleri. 1998, Çalıntı Yayınları
Bak Bir Varmış Bir Yokmuş - A history of Turkish light music (2003) (ISBN 9750501497)
Eleştirmenin Günlüğü. 2006 Everest Yayınları (ISBN 9752893112)
Hür Doğdum Hür Yaşarım - Ajda Pekkan (2007) (ISBN 9752893672)
Yazarların İstanbul'u. (11 Diğer yazarla birlikte) (2007) (ISBN 9789944860031)