In this study, we aimed to explore prominent musician Bülent Ortaçgil’salbum Benimle Oynar Mısın (1974). Built upon a musicological andsociological analysis, our main goal is to investigate the effects of this album,which did not attract attention when it was first published, but gainedvisibility in the following years. This album, which arguably had a proteststructure, emerged in the period when the Anatolian Pop movement wasdominant, yet showed very different features from this genre. In thisinvestigation, in which we also conducted an analysis considering theconcepts of ‘protest music’ and ‘protest musician’, we focused on thefeatures of the album that differed from the early musical examples of theAnatolian Pop movement, which also exemplifies the 1970s protest musicin Turkey. We utilized Howard Becker’s “art worlds” approach to discusshow this album, which has different musical elements and unusual lyrics forthe time period when it was released, has become a milestone for musicproduction in Turkey over the years. Then, we examined how divisions oflabor occurred in the art worlds in which Ortaçgil positioned himself. Oneof the most important findings of this study is that, starting from his firstalbum, Ortaçgil’s positioning in the various art worlds in Turkey, in relationto the most prominent artists from Turkey, increased his opportunities tomake his album and other songs recognizable over years.