Contemporary political polarization between Islamic and secular identities in Turkey has often reduced discussions of Turkish modernity into a simplistic binary between a unilinear Western model imposed through top-down Kemalist reform and an authentic model of religious modernity that emerged through popular and democratic resistance to the Kemalist program. This dichotomy has disguised the many other rival visions of modernity that thrived in Republican Turkey. It has also led scholars to retroactively write off one of the most enduring of these visions - that of the Democratic Party - as being somehow insufficiently alternative, or inherently unstable in its mix of secular and Islamic elements. This paper seeks to lay out a brief typology of the most important models of Turkish modernity in order to identify points of competition, convergence and transformation. First, I argue that in light of the widespread use of the concept of "alternative modernities" we should recognize the self-consciously alternative elements within Kemalist modernity rather than treating Kemalism as a monolithic rival of more "authentic" alternatives. This serves as a precedent for understanding how Democratic Party leaders identified their social and political vision as the liberal culmination of Kemalist modernization, and how they found common ground with American modernization theorists in articulating an alternative to Fascist and Communist modernities defined by consumption, piety and popular participation. In time, both Turkish villagers and American ambassadors came to embrace Democratic Party Prime Minister Adnan Menderes as the embodiment of this modernity, one where a politician could be fêted with camel sacrifices while carrying on a semi-public affair with an opera singer. My paper further explores the nature of this modernity with several brief case studies that highlight some of its most intriguing and seemingly contradictory facets: these include debates over the first widely accepted Turkish translation of the call the prayer, the Democrat Party newspaper, Zafer, where world news and prayer schedules appeared besides beside pictures of a bikini-clad Marilyn Monroe, and a series of popular history magazines where the Ottoman past served simultaneously as a site for Turkish national heroism and prurient expose. Understanding the coherent combination of high-tech, materialistic capitalism, populist piety and democracy that emerged in mid-century Turkey is important, I argue, because of its enduring popularity in the Middle East and indeed the world at large.