which earned her a famous nickname, first penned by a Turkish journalist. Aksu finally decided to represent Turkey at the Eurovision Song Contest in the mid-70s. However, even though she competed in the national finals for the competition three times, with Küçük Bir Aşk Masalı (A Little Love Tale) as a duet with Özdemir Erdoğan, "Heyamola" which was performed as a trio with Coşkun Demir and Ali Kocatepe, and 1945 which was a solo performance, she did not get the chance to represent Turkey abroad. It was to be left to her pupil, Sertab Erener, to win the Eurovision and realise Aksu's dream to push her musical vision further into Europe. 1980s In the 80's, Aksu had a relationship with producer Onno Tunç that was both romantic and professional. As a couple they put their signatures to works that broke new ground in Turkish pop music, such as Sen Ağlama, Git, Sezen Aksu'88 and Sezen Aksu Söylüyor. Her music matured in the 90's, when she co-produced her best selling album to-date Gülümse with Tunç. The A-1 track from the album called Hadi Bakalım was a hit in Turkey and Europe, and was published as a single in Germany. It was to be later rediscovered in Europop by singer Loona as Rhythm of the Night. She also began to produce albums for her vocalists, notably producing Aşkın Nur Yengi's debut album Sevgiliye (To a Lover) again with Tunç. She was to repeat her success as a teacher with artists Sertab Erener and Levent Yüksel. 1990s–present Parting ways with Tunç, in 1995, Aksu branched out with the experimental album Işık Doğudan Yükselir, drawing both on western classical and regional Turkish musical traditions. This album made her name known outside Turkey and gave her a worldwide audience, especially in Europe. In 1996, she released Düş Bahçeleri as a tribute to Tunç, who died that same year tragically when his private plane crashed. In 1997, she released Düğün ve Cenaze, this time collaborating with Goran Bregović. She returned to her roots with Adı Bende Saklı, which was released in 1998. She began to use experimental sounds and was once again pushing Turkish pop into the future. Aksu continued with this trend with her subsequent albums Deliveren, Şarkı Söylemek Lazım (which also featured former Sparks bassist Martin Gordon as engineer/mixer, who also was bass player on her subsequent European tour), and Yaz Bitmeden between the