Kültür Sanat Edebiyat Şiir

SAHTELİKLER DÜNYASI


KADINDA:

Saç sahte,
Kaş sahte,
Kirpik sahte,
Burun sahte,
Diş sahte...

ERKEKTE:

Kılık sahte,
Bıyık sahte,
Sakal sahte,
Edâ sahte...

GIDADA:

Yağ sahte,
Bal sahte,
Yumurta sahte,
Et sahte...

KIYMETTE:

Para sahte,
Bilânço sahte,
Tedavül sahte,
İtibar sahte...

KÜLTÜRDE:

Dil sahte,
Tarih sahte,
Devrim sahte,
Kahraman sahte...

SANATTA

Şiir sahte,
Roman sahte,
Tiyatro sahte,
Münekkid sahte...

POLİTİKADA:

Vicdan sahte,
İman sahte,
İz'ân sahte,
İrfan sahte...

NİZAMDA:

Hürriyet sahte,
Adalet sahte,
Disiplin sahte,
Denge sahte...

TESİSTE:

Fabrika sahte,
Baraj sahte,
Santral sahte,
Tezgah sahte...

MEKTEPTE:

Kitap sahte,
İlim sahte,
Profesör sahte,
Diploma sahte...

BASINDA:

Muharrir sahte,
Havadis sahte,
Fikir sahte,
Yorum sahte...

MÜMİN GEÇİNENDE:

Vecd sahte,
Anlayış sahte,
Gayret sahte,
Fedakârlık sahte...


NFK

Koklamazsan bahçenizde sünbül olmak istemem
İstemem nergis, menekşe, al gül olmak istemem
Vermiyorsan aşka kıymet bilmiyorsan sevmeyi
İstemem nergis, menekşe, al gül olmak istemem...

Your Mother Should Know...

...

Aslında Küba'dan kaynaklanan 2/4'lük ölçüde bir dans olan Habanera'yı, Bizet'nin bir süre Paris'te de yaşamış olan İspanyol besteci Sebastian Yradier'den (1809-1865) aldığı öne sürülür... Carmen birinci perdede fabrikanın öğle paydosunda güzelliği ve şuhluğuyla erkeklerin ilgisini çeker ve 'L'amour est un oiseau rebel' (Aşk asi bir kuştur) şarkısını cilveli bir tavırla söyleyerek, Habanera temposuyla dans eder...

...

Caliphornia dreaming...

'Edward Scissorhands' (1990)

Tim Burton

Firuze...

- A lot of people kid themselves, you know... They know when they were born, they know where they're goin', they know whether they're gonna go to heaven, whether they're gonna go to hell... They think they know that... They kid themselves... But the only people who are, you know, happy are the people who are comfortable... What's your truth is my falsehood... What's my falsehood is your truth and vice versa... I'm only happy when I'm angry, when I'm sad, when I can play the fool, when I can be what people want me to be rather than be myself... Doesn't matter who you are or what personality you choose... Choose a personality... Get dressed... We'll do a great show... We'll smile, we'll cry, big, glistening tears that pour onto the stage and we'll make their lives a little happier... So they won't have to face themselves... They can pretend to be somebody else... Be happy... Be joyous... Come on... You... Maestro... Give me the downbeat...

(The Killing of a Chinese Bookie)

Prelude and Fugue XII in F Minor

Does not the motive in the bass of this Prelude (in two parts with a double bar) remind us of Beethoven's 'Eroica' in measures 1 and 2 and again in measures 8-9 and 28-29? Above the bass comes a procession of appoggiaturas... Measures 4 to 8 and 16 to 20 clearly reveal writing for the two keyboards of the harpsichord... This has escaped the notice of commentators... Even worse, how could this weaving of broken chords, so characteristic of the harpsichord, be mistaken for an accompaniment of an imaginary sentimental melody or turned into rapid passage-work? Appoggiaturas, broken chords, measures 20 to 24, the entrancing progressions (measures 36 to 39) -all these are proof enough that the piece ought to be played, if not slowly, at least in a moderate tempo... And what can be said of the last two measures? Are they not almost an implied recitative?

The Fugue in F minor sways us by the continuity of its sharp, dancelike rhythm and, like the Fugue in E minor, Book I, does not display any device of counterpoint...

- Dying together is even more personal than living together...

(Lifeboat)