Learn Italian With Annalisa with these 23 Song Recommendations (Full Translations Included!)

Italian pop star Annalisa delivers an electric, high-energy track about surviving emotional chaos and demanding total honesty. She asks right away if you want the honest truth or the pretty poetic version: "Ti dico la sincera o quella più poetica" (Do I tell you the sincere one or the more poetic one?). Even when the hurt feels overwhelming, she makes it clear she will not self-destruct. She sings "Non mi sogno di tagliarmi le vene" (I wouldn't dream of cutting my veins) and even finds release in the breakdown with the bold line "E mi piace quando, quando, quando, quando piango" (And I like it when I cry).

She uses a dramatic Italian idiom to describe feeling crushed: "Di nuovo sotto un treno" (Literally: 'under a train again', an everyday expression meaning you feel utterly destroyed or in a terrible mess). Her partner is careless, someone who puts out cigarettes on blue velvet ("Tu spegni sigarette su velluto blu"), yet she signs off her thoughts like a formal letter: "Sinceramente tua" (Sincerely yours). It is sharp, dramatic pop where tears and breakdowns do not stop her from standing right back up.

Una Finestra Tra Le Stelle (“A Window Among the Stars”) is a heartfelt pop ballad where Annalisa paints love as a portal to an entirely new universe. The singer feels her whole outlook shift: even tears turn into gentle rain, night air carries perfume, and fear itself becomes sweet once she is wrapped in her lover’s arms. With every surprising gesture, he draws a window in the sky that they can both look through, sharing the vastness of the stars while staying grounded in each other’s embrace.

At its core, the song celebrates how true connection can make ordinary moments feel cosmic. A single kiss becomes life-giving oxygen, words burst with color and sound, and the need for anything else disappears. Annalisa promises to “gift the world in an instant,” showing that when two people open that magic window together, they create a space where love, safety, and wonder blend into one luminous view.

Annalisa's song "Dieci" is all about the messy, confusing end of a relationship that just won't seem to end. She paints a scene of emotional distance with the line "Siamo dentro i ghiacciai" (We are inside glaciers), suggesting a love that has gone completely cold. The whole thing feels chaotic and blurry, like "Dieci giorni in una notte" (Ten days in one night), as she tries to convince herself and her partner to stay calm with the repeated phrase "Ma niente panico" (But no panic).

The song's main idea is in the title, which means "Ten." She keeps talking about how "l'ultima volta è sacra" (the last time is sacred), but then immediately admits they'll need "Dieci ultime volte" (Ten last times). It's a perfect description of that feeling when you know you have to break up, but you keep finding excuses for one more kiss, one more night. It’s about the struggle to let go, even when you know your home has "Niente di te" (Nothing of you) left in it.

What would change if I truly felt? Annalisa’s Se Avessi Un Cuore (‘If I Had a Heart’) spins this haunting question into a shimmering pop ballad. Throughout the song she pictures herself standing face-to-face with someone she cares about, yet she keeps repeating a single condition: “Se avessi un cuore…” The refrain becomes a bittersweet daydream where she imagines everything she could offer—protection, understanding, courage, unconditional love—if only she could unlock her own emotions. It is a poetic tug-of-war between longing to connect and the fear that her heart might be missing or broken.

Underneath the catchy melody lies a universal message: many of us hide behind emotional armor, convinced that we are “gocce in mezzo al mare” (drops in the middle of the sea) without a guiding light. Annalisa reminds us that the first step toward real intimacy is daring to feel, even when our “passi sono fragili” (steps are fragile). By the end, her repeated wish hints that the heart might already be there, waiting to be acknowledged. The song invites listeners to drop their guard, trust their feelings, and choose empathy—because the moment we do, love is no longer conditional.

“Bellissima” feels like the diary of a restless night. Annalisa sings about the emotional roller-coaster that starts when an ex suddenly reappears at her door. One moment she is recalling cozy nights at home, the next she is flashing back to that glamorous evening in Saint Laurent when she felt bellissima – absolutely gorgeous. Torn between desire and disappointment, she jumps from playful flirting to near tears, dancing in her room to keep the heartbreak away. The chorus repeats like a mantra: she was beautiful, the moment was perfect, and he should never have walked out.

Behind the catchy synth-pop beat lies a tale of self-worth. Annalisa’s lyrics capture the messy mix of longing, pride, and late-night courage that comes with trying to move on. Each time she remembers how stunning she felt, the song turns into a subtle declaration: even if love is unpredictable, her beauty and confidence remain. “Bellissima” is both a bittersweet memory and an empowering anthem that invites listeners to sing, dance, and reclaim their shine.

Buckle up for a breath of fresh Aria! In this upbeat pop gem, Italian star Annalisa paints the rush of a whirlwind romance where everything moves just a little quicker than normal time. The lyrics follow two lovers racing through the night: one is mysterious and unpredictable, “like wind in your face,” while the other is willing to drop everything for an adventure. With playful shout-outs to Cheyenne, Zen calm, and even gentleman-thief Lupin, Annalisa captures that dizzy feeling when attraction hits and you suddenly forget the clock exists.

Underneath the neon beats she repeats one wish—“Fammi sentire leggera” (“Make me feel light”). For her, love should feel weightless, like swimming through the sky where rules of gravity no longer apply. Each tattoo, sunset, and stolen hour becomes proof that real magic happens in now rather than later. “Aria” celebrates the freedom of letting passion carry you, hoping the moment is not a mirage but the start of something incomparable. Breathe it in, and float right along with her.

Get ready to hit the dance floor with Annalisa's electrifying track, "Mon Amour"! The song throws us right into the middle of a complicated and thrilling night out. The singer finds herself in a confusing love triangle, or maybe even a love square, asking her lover, "Mon amour, amour / Ma chi baci tu?" (My love, love / But who are you kissing?). She sees a dizzying chain of kisses: "Ho visto lei che bacia lui / Che bacia lei che bacia me" (I saw her kissing him / Who kisses her who kisses me).

Despite the romantic chaos and feeling "disperata e anche leggera" (desperate and also lighthearted), she isn't one to stand by quietly. Instead, she decides to own the night. With a bold declaration, "Io farò una strage stasera" (I'll cause a massacre tonight), she plans to steal the show, dancing among the disco balls. The song captures a feeling of freedom, passion, and taking control, even when everything seems uncertain.

Annalisa paints a dreamy fairytale in “Alice e il Blu,” where the color blue is more than a shade—it is a place of impossible wishes. Alice waits behind a closed window, convinced that something outside herself will finally make her feel "special." A shy boy with pearl-coloured eyes loves her so much that he straps on imaginary wings, flying higher and higher to fetch her fragments of clouds and slices of sky. Each time he returns with another piece of the blu, the city shrinks beneath him, yet Alice’s smile lasts only a moment.

The song whispers a gentle warning: when happiness depends on what others can bring you, it is always “one minute short.” Alice’s endless longing turns the window into a prison, leaving her alone with nothing but a blue cat and fading memories of the boy’s devotion. Annalisa’s lyrics remind us that real wonder must bloom from the inside, or even the brightest sky will never feel bright enough.

Imagine getting swept into a chilly Friday night in Venice’s iconic Piazza San Marco, where the beauty of the square almost hurts your eyes. Annalisa and Marco Mengoni turn this postcard setting into the stage for a messy, modern love story: two people queuing for a club, sipping bittersweet drinks that taste like the sea, and trading half–truths just to keep each other interested. Jealousy flickers every time one of them greets a “ragazza bionda,” yet they cannot resist staying close, warming their hands over a stolen lighter and pretending the night will never end.

The song captures that jittery mix of excitement and anxiety when you know a romance is toxic but the pull is irresistible. Sweet “caramelle” hide a hint of “arsenico,” and every dazzling moment is shadowed by the fear of police lights breaking up the party. By dawn, the crowds have vanished, yet their hands are still intertwined, proving that sometimes the most unforgettable nights are the ones that leave you asking, “Oddio, che ansia, però… was it worth it?”

Do you remember that dizzy, sparkling feeling of chasing someone all summer long, only to finally collide on one wild night? That is the effervescent heart of “Bollicine” (which means bubbles in Italian). Annalisa sings about years of almost-moments: searching on church steps, around liquor shelves, under minor constellations, always missing the kiss by a heartbeat. Then—pop!—one “maledetta” evening sweeps the lovers into sweet chaos, like bubbles racing to the surface of a glass.

The lyrics fizz with images of mint-green bicycles abandoned on the beach, late-night cinema trips where they slip in just before the credits, and lips that act like magnets. “Bollicine” celebrates that thrilling in-between stage when you are not quite together yet, but every glance feels electric. It is nostalgia, teenage impatience, and sunset-lit romance shaken into a single flute of sparkling desire.

Annalisa’s “Tsunami” is a salty breath of freedom and recklessness. The singer is tired of standing safely on the shore; she wants to dive into life’s surf, crash, dissolve into foam, and risk losing pieces of herself in the process. Every unsent text, every half-spoken phrase weighs on her like letters written on her back, waiting for a single wave to wash them away. The song turns summer into a turning point, asking if sunshine can really change us, if we become brighter or darker when storms roll in.

Love and self-discovery swirl together like currents in a restless sea. Annalisa frames the relationship as a force as powerful as a tsunami—one heartbeat can launch it, one heartbeat can destroy it. She dreams of ripping out another diary page, searching for her Africa, a metaphor for wild, uncharted happiness. Between playful questions (What will we eat tonight?) and raw confessions (You’re in the sentences I mess up), she reminds us that adventure beats caution every time. Whether tomorrow brings calm water or towering waves, she’s ready to fight with her lover’s gaze, come back with scratched hands, and prove that real love, real living, is never afraid to get pulled under before bursting back up as glittering foam.

"Dov'è Che Si Va" ("Where Do We Go") is Annalisa's meditation on figuring out your own path when there's no map to follow. The question in the title repeats through the song as both a doubt and an answer: you don't need to know exactly where you're headed to start moving.

She sings about putting on her best shoes and clothes, choosing her best idea, even inventing a new word for herself, because she wants this attempt to feel true rather than ordinary. The chorus turns that search outward: "let's discover we're wonderful," she sings, admitting it's normal to feel different, even tormented, on a day with nothing to celebrate. Her answer is simple: go dance anyway, and chase a calm you'll find in the last place you'd expect it.

Illuminami is Annalisa’s shimmering plea for light – both literal and emotional. Over pulsing beats she admits that the heart is no toy, yet invites someone special to “turn stone into diamonds,” to change dull memories into something dazzling. Love here is less a fair-tale and more an experiment in shared consciousness: two minds exchange thoughts like electricity in the air, rising from the depths to the very tip of the world’s pyramid. By repeating Illuminami (“Light me up”), Annalisa frames affection as illumination, a force that makes life visible the moment we open our eyes.

The song also zooms out to a cosmic scale. We’re “constellations of ideas,” children of our memories, fears and dreams, spinning beneath time’s relentless passage. While there’s no cure for time, Annalisa suggests we can still outshine it by believing in dreams and staying connected. In short, Illuminami is a sparkling reminder that when hearts link up and share their light, even life’s darkest corners become visible – and ordinary stones can glow like diamonds.

Have you ever replayed a conversation in your mind all night, only to blurt out a simple 'Come va?' the moment you see the person? That is exactly the feeling Annalisa captures in Ti Dico Solo. The song follows a sleepless narrator who is obsessed with the right words but, when faced with her crush, resorts to small talk. She pictures walking into a party hand in hand, imagines dancing, even rewrites memories to make them hurt less — yet the only words that leave her lips are everyday questions about how the other person is and what they are doing tomorrow.

Annalisa turns this relatable anxiety into a catchy pop confession. The repeated questions ('Come va?', 'Domani che cosa fai?') highlight the gap between what the heart wants to scream and what the mouth can safely say. Between vivid daydreams and rainy-day routines of binge-watching the same series, the song paints a bittersweet portrait of modern romance: intense feelings hidden behind casual phrases, butterflies masked as banter, longing wrapped in polite small talk.

En “Se Avessi Un Cuore”, Annalisa imagina cómo actuaría si tuviera un corazón capaz de escuchar, dudar y comprender de verdad. La frase que se repite, “Se avessi un cuore” [si tuviera un corazón], funciona como una condición: si pudiera medir sus palabras, ofrecer un poco de valentía y ponerse en el lugar de la otra persona, entonces “ti amerei” [te amaría]. No habla de un amor tranquilo o perfecto, sino del deseo de aprender a cuidar a alguien cuando sus pasos son frágiles.

La canción se vuelve especialmente cercana cuando promete: “Ti proteggerei quando i tuoi passi sono fragili” [te protegería cuando tus pasos son frágiles] y “saprei comprenderti” [sabría comprenderte]. Después aparece una imagen muy bonita: somos como “gocce in mezzo al mare” [gotas en medio del mar], sin un faro que nos indique adónde ir. Aun así, la voz de la canción cree que podría sorprender a esa persona, justo porque está delante de ella. Es una letra sobre elegir estar de su lado, reparar lo que está roto y encontrar dirección juntos.

Annalisas „Se Avessi Un Cuore“ ist ein wunderschönes Lied, das uns auf eine Reise der Selbstreflexion mitnimmt. Die Sängerin fragt sich, wie sie sich verhalten würde, wenn sie ein Herz hätte. Sie würde ihre Worte sorgfältig wählen: „Se avessi un cuore peserei le mie parole“ [Wenn ich ein Herz hätte, würde ich meine Worte abwägen].

Das Lied ist voller Sehnsucht nach einer tieferen Verbindung und der Fähigkeit, sich voll und ganz auf die Liebe einzulassen. Annalisa singt davon, wie sie die Person beschützen würde, die sie liebt: „Ti proteggerei quando i tuoi passi sono fragili“ [Ich würde dich beschützen, wenn deine Schritte zerbrechlich sind]. Es ist ein sehr ehrliches Lied, das uns daran erinnert, wie wichtig es ist, ein offenes Herz zu haben und mutig zu sein, um wirklich zu lieben.

Annalisa laul „Se Avessi Un Cuore“ tähendab „Kui mul oleks süda“. See korduv kujutlus on korraga hell ja veidi valus: laulja loetleb, mida ta teeks, kui temas oleks rohkem empaatiat ja julgust. Ta kaaluks oma sõnu, kuulaks, seaks asju kahtluse alla ja ütleks otse: „Se davvero avessi un cuore, ti amerei“ [Kui mul tõesti oleks süda, armastaksin sind]. „Süda“ ei tähenda siin ainult tunnet, vaid oskust teist inimest mõista ja tema poolele asuda.

Kõige ilusam osa tuleb lubadustes: „Ti proteggerei quando i tuoi passi sono fragili“ [Ma kaitseksin sind, kui su sammud on haprad] ning „saprei comprenderti proprio adesso che sei qui davanti a me“ [oskaksin sind mõista just nüüd, kui sa oled siin minu ees]. Samal ajal kirjeldab laul inimesi nagu mere keskel olevaid tilku, kellel pole majakat, mis näitaks suunda. Ometi võib otse tema ees seisev inimene teda üllatada. Selles ongi loo huvitav pinge: laulja räägib tingivas kõneviisis, justkui puuduks tal süda, kuid tema sõnad ise näitavad väga selgelt soovi armastada, kaitsta ja mõista.

Dans « Se Avessi Un Cuore », Annalisa imagine ce qu’elle ferait si elle avait vraiment un cœur capable d’écouter, de réfléchir et d’aimer. La répétition de « Se avessi un cuore » signifie « Si j’avais un cœur » et donne à la chanson une forme de refrain obsédant, presque comme une promesse que la narratrice n’arrive pas encore à tenir. Elle voudrait peser ses mots, remettre ses certitudes en question, trouver le courage de proposer ses idées et se ranger du côté de l’autre. La phrase « Se davvero avessi un cuore, ti amerei » (« Si j’avais vraiment un cœur, je t’aimerais ») est directe, mais elle contient aussi un doute douloureux : pourquoi parle-t-elle comme si cette capacité lui manquait encore ?

Le cœur de la chanson se trouve dans les gestes de protection et de compréhension. Elle dit qu’elle empêcherait « aucun mal au monde » d’atteindre cette personne, qu’elle la protégerait quand ses pas seraient fragiles et qu’elle saurait la comprendre, maintenant qu’elle se trouve juste devant elle. Puis l’image s’élargit : nous serions comme des gouttes au milieu de la mer, sans phare pour nous montrer la direction. Pourtant, face à cette personne, la narratrice pense pouvoir la surprendre. C’est une chanson sur l’empathie désirée, le courage de prendre parti et la possibilité de transformer une présence silencieuse en véritable amour.

Annalisas "Bellissima" ist ein super eingängiger Song über die Achterbahnfahrt einer komplizierten Beziehung. Sie ist total verliebt ("Oddio però tu mi piaci" - Oh Gott, aber ich mag dich), aber die Person, mit der sie zusammen ist, scheint sie nicht wirklich ernst zu nehmen. Sie fragt sich, warum er sie nur zu Hause sieht ("Insieme solo dentro casa / Che senso ha" - Nur zusammen zu Hause / Was hat das für einen Sinn?) und nicht mit anderen über sie spricht ("Di me non parli con nessuno" - Du sprichst mit niemandem über mich).

Es gibt diese Momente, in denen er plötzlich auftaucht ("E poi senza avvisare sei qui" - Und dann bist du ohne Vorwarnung hier), obwohl sie sich geschworen hat, ihm nicht mehr zu schreiben ("Ti sto pensando e non ti scrivo da tanto / È un classico" - Ich denke an dich und habe dir lange nicht geschrieben / Das ist ein Klassiker). Sie hat sich so viel Mühe gegeben ("Ho fatto i salti mortali" - Ich habe Salti mortale gemacht, also alles versucht), nur um dann enttäuscht zu werden, wenn er wieder geht ("Quella volta non dovevi andare via / Ero bellissima" - Damals hättest du nicht gehen sollen / Ich war wunderschön). Sie wartete sogar in Saint Laurent auf ihn, einem bekannten Modehaus, was zeigt, wie wichtig ihr das war. Der Song fängt dieses Gefühl ein, wunderschön zu sein, aber trotzdem nicht genug für die Person, die man liebt.

Dans « Bellissima », Annalisa raconte une rencontre amoureuse pleine de contradictions : ils sont ensemble seulement à la maison, l’autre ne parle d’elle à personne, puis il réapparaît sans prévenir au moment où elle essaie de tenir le coup. Elle lance d’abord « Insieme solo dentro casa » [Ensemble seulement à la maison] et « Che senso ha » [À quoi bon ?], avant de tordre cette phrase en « Che sesso fa » [Quel effet ça fait, côté sexe ?], une plaisanterie très directe et un peu provocante. Elle pense encore à lui, mais ne lui écrit plus depuis longtemps : « È un classico » [C’est un classique]. Et quand il arrive enfin, elle craque aussitôt : « Oddio però tu mi piaci » [Mon Dieu, mais tu me plais]. Même l’expression « Ho fatto i salti mortali » [J’ai fait des pieds et des mains] montre tous les efforts qu’elle a faits pour cette histoire.

Le refrain transforme cette attente en scène de départ raté : « Dove vai? Te ne vai? » [Où vas-tu ? Tu t’en vas ?] et « Quella volta non dovevi andare via » [Cette fois-là, tu n’aurais pas dû partir]. Elle se souvient de l’avoir attendu « in Saint Laurent » [en Saint Laurent], c’est-à-dire habillée dans cette marque de mode, convaincue d’être « bellissima » [très belle]. Pendant ce temps, elle met de la musique de gymnastique, porte un short Adidas au lit et avoue : « non ci dormo più » [je ne dors plus]. Cette préparation très quotidienne, presque drôle, contraste avec son manque immense et son « Chiamatemi un medico » [Appelez-moi un médecin]. La chanson fait donc passer le désir, l’attente et l’agacement dans une scène très précise, avec une héroïne qui sait qu’elle est belle, mais qui perd tout son aplomb dès qu’il revient.

Annalisa dainoje „Bellissima“ pasakoja apie santykį, kuriame trauka vis dar gyva, nors kitas žmogus elgiasi slapta ir nenuspėjamai. „Insieme solo dentro casa“ [kartu tik namuose] skamba kaip priekaištas: kodėl jie būna kartu tik už uždarų durų, o apie ją jis su niekuo nekalba? Ji bando prisitaikyti, „mi sto impegnando ad essere più elastica“ [stengiuosi būti lankstesnė], tačiau tuo pat metu jo pasiilgsta ir tyli, nes „ti sto pensando e non ti scrivo da tanto“ [galvoju apie tave, bet seniai tau nerašau]. Tada jis netikėtai pasirodo, ir visi jos planai subyra į vieną labai atvirą prisipažinimą: „Oddio però tu mi piaci“ [Dieve, bet tu man patinki].

Dainos smagumas slypi staigiame nuotaikų šokinėjime. Ji visą dieną stengiasi nepravirkti, užsideda sportinius „Adidas“ šortukus ir leidžia mankštos muziką, bet vis tiek pripažįsta: „Madonna se mi manchi“ [Dieve, kaip man tavęs trūksta]. Pasikartojantis „Dove vai? Te ne vai?“ [Kur eini? Tu išeini?] skamba kaip bandymas sulaikyti žmogų, kuris jau kartą išėjo. „Ero bellissima“ [buvau nuostabi] primena jos laukimą pasipuošus su „Saint Laurent“, prabangaus mados ženklo drabužiais. Tai ne rami meilės istorija, o labai konkreti scena: ji pasiruošusi, laukia jo, supykusi klausia, ko jis nori, ir vis tiek negali paneigti, kad jis jai patinka.

Em “Bellissima”, Annalisa canta sobre um reencontro cheio de desejo, mágoa e confusão. O casal só fica junto dentro de casa, e ela se irrita porque ele não fala dela com ninguém: “Insieme solo dentro casa” [Juntos só dentro de casa]. Ela tenta ser mais flexível, pensa nele sem mandar mensagem e, quando ele aparece sem avisar, sua reação é imediata: “Oddio però tu mi piaci” [Meu Deus, mas eu gosto de você]. A expressão “ho fatto i salti mortali” [Eu fiz o impossível] é um jeito italiano de dizer que ela se esforçou muito por essa relação. Só que ele chega tarde demais, ou talvez vá embora de novo, e ela fica presa entre a vontade de beijá-lo e a pergunta direta: “Dove vai?” [Aonde você vai?]

A cena fica ainda mais divertida e exagerada quando ela tenta se distrair com “musica da ginnastica” [música de ginástica], veste um shorts da Adidas para dormir e diz que está se salvando de um choro histérico. Ao mesmo tempo, admite: “Madonna se mi manchi” [Nossa, como sinto sua falta]. No refrão, “Ero bellissima” [Eu estava lindíssima] lembra a noite em que ela esperou por ele usando Saint Laurent, nome de uma grife de moda. É uma imagem de expectativa e produção impecável, contrastando com a frustração de ele não ficar. A palavra bellissima, repetida tantas vezes, soa como orgulho, provocação e uma pequena cobrança: ele teve a chance de vê-la assim e mesmo assim foi embora.

Annalisa’nın “Bellissima” şarkısında anlatıcı, bitmiş ya da bir türlü netleşmemiş bir ilişkinin ortasında kalmış gibi konuşuyor. Birlikte yalnızca evde olmalarına itiraz ediyor: “Insieme solo dentro casa” [Sadece evin içinde birlikteyiz]. Karşı tarafın ondan kimseye söz etmemesi canını yakıyor ve bunu hak etmediğini söylüyor. Yine de onu düşünmeye devam ediyor, uzun zamandır mesaj atmıyor ve tam bu sırada adam hiçbir haber vermeden karşısına çıkıyor. “Oddio però tu mi piaci” [Aman Tanrım, ama senden hoşlanıyorum] cümlesi, bütün kızgınlığın bir anda dağılmasını çok komik ve gerçek bir şekilde anlatıyor.

Nakaratta soru üstüne soru var: “Dove vai? Te ne vai?” [Nereye gidiyorsun? Gidiyor musun?] Anlatıcı, o kişinin bir keresinde gitmemesi gerektiğini düşünüyor ve kendini “Ero bellissima” [Çok güzeldim] diye hatırlıyor. Saint Laurent’ta beklemiş olması, o buluşmaya şık ve iddialı bir görünümle hazırlandığını düşündürüyor. Sonraki bölümde ise bütün gün ağlamaktan kendini kurtarmaya çalışıyor, “musica da ginnastica” [egzersiz müziği] açıyor, Adidas şortuyla yatağa giriyor ve artık uyuyamadığını söylüyor. “Ho fatto i salti mortali” [elinden gelen her şeyi yaptım, deyim olarak büyük çaba gösterdim] sözü de onun bu ilişki için ne kadar uğraştığını anlatıyor. Şarkı, gururla özlem arasında gidip gelen, karşısındaki kişiyi görünce hâlâ “Voglia di” [canım istiyordu, arzum vardı] diyecek kadar açık sözlü bir anlatıcının sahnesi gibi.