After the spectacular double-zero in Munich 1983 came a few leaner years in Euroland where no song was left without points. If it was because the juries were more understanding or because the competing countries became less daring may be debatable, but all entries were awarded for their efforts.
Maybe the Turks were lured into a fraudulent feeling of security, that you were among friends at eurovision, and that among friends you would dare show your real self.
Think again, Turkey.
Seyyal Taner, backed up by Melis Sökmen and her band Lokomotif, were apparently the light of every party in Brussels and started to stand out as something of a dark horse beforehand. Could a knockdown contribution like this be the sensation of the year?
Of course not. The juries didn't understand anything. Who did those Turks think they were?
I don't understand what the juries were thinking. In my book, it is always better to stand out from the others and be brave, bold and different. Seyyal's melody was clearly one of the best of the year.
Had entries like this managed to win jury approval instead of rejection, and had the juries dared to encourage the more spectacular entrants, it is quite possible that the audience interest in the ESC would not have dropped like it did during the 90's.
Seyyal Taner & Grup Lokomotif - Şarkım sevgi üstüne (Turkey 1987)