• youreads puanı (8.31)
  1. bedri rahmi eyüboğlu tarafından nazım hikmet için yazılmış şiirin çok güzel bestesidir.
  2. bedri rahmi, nazım hikmet için yazmıştı; zülfü livaneli besteledikten yaklaşık 20 yıl sonra uğur mumcu'ya ithaf etmişti. bugün, uğur mumcu'nun katledilişinden 23 yıl sonra, bir kere daha dinlemekte fayda var.

    (bkz: uğur mumcu)
    (bkz: gaffar okkan)
  3. bu siir ve sarki hakkinda bedri rahmi'nin gelini hughette bouffard eyuboglu'nun anilarinda ilginc bir iddia bulunmaktadir. dogrudur, yanlistir bilemem, noktasina virgulune dokunmadan aktariyorum:

    "several years later, a turkish composer and singer living in paris, zulfu livaneli, expressed the desire to compose a melody for one of my father-in-law's poems written for the great poet, nazim hikmet and entitled, "they carve a prison cell from stone" and said that he wanted to hear the poem read by the poet himself. the owner of a large publishing house, mr erdal oz, acted as the middleman in the arrangement. with great confidence, we gave the precious tape to him without taking the precaution of making a copy. that naive act proved to be a major blunder that still haunts us today. the big reel of tape was never returned despite several attempts to trace it. aunt nezahat, livaneli's former middle school teacher, begged his parents to have the tape returned, but to no avail: the tape had simply disappeared. needless to say, we never even received a copy of the final work from the composer! several years later, mr livaneli decided to enter politics and became a leftist party candidate for the office of mayor of the city of istanbul. to our great despair, the musical theme of his campaign was the musical version of that poem and it constantly echoed through the streets. each time we heard his voice and the theme of the song, "this is where my brave one, my lion, lies imprisoned', we were sadly reminded of our mistake. how could we not feel a breach of faith as bedri rahmi, the author of the poem, and nazim hikmet were grossly exploited? it was sad to realize that a well-known composer, the object of respect he obviously did not deserve, could lower himself to such acts and so grossly abuse the confidence that the people had placed in him. (....) we later learned from our writer and architect friend sukru gunbulut that our great composer had also used, without any acknowledgement, a poem of his mother's as well."

    (bkz: living under the shadow of two cultures - hughette bouffard eyuboglu) , citlembik publications 51, 2006, 3rd printing, pg 214.

    ozet olarak turkceye cevirmek gerekirse, "bedri rahmi, nazim hikmet icin yazdigi bu eserini kendi sesiyle bir teybe kaydetmisti. o siralar paris'te yasayan zulfu livaneli bu siiri bestelemek istedigini belirtince biz de bir kopyasini cikarmaya gerek duymadan bu ses kaydini kendisine gonderdik. ancak daha sonra tum ugraslarimiza ragmen bu kayittan bir haber alamadik. daha sonra livaneli bey istanbul belediye baskanligina adayligi sirasinda bu sarkiyi kampanyasinin tema muzigi olarak kullandi. bu kadar taninmis bir bestecinin kendi menfaati icin hem bedri rahmi'yi hem de nazim hikmet'i cirkince kullanmasina karsi, guvenimizi suistimal ettigi hissine nasil kapilmazdik? daha sonra sukru gunbulut'tan da ogredik ki bu buyuk besteci onun da annesinin bir siirini herhangi bir isim vermeksizin kullanmis."
  4. 10 kasım'da mustafa kemal atatürk'ün hatırasına, anıtkabir'de binlerce söylenen...

    yiğidim... aslanım...

    şarkının en sevdiğim kısmı, "ne bir haram yedim, ne cana kıydım" dediği kısmıdır sanatçının...