Print this post Print this post

Constantinople (Not Istanbul)

2,052 words

One fascinating conundrum I have been dealing with for years juxtaposes Istanbul/Constantinople the city with “Istanbul (Not Constantinople)” the song. I cannot plumb the depths of this since, on one hand, the fall of Constantinople on May 29th, 1453 (today is the 567th anniversary) was a sheer catastrophe for the West — be it for Christendom or for the white race, however you want to look at it. Thousands were killed in the fighting, and tens of thousands enslaved after three days of rape and plunder. On the other hand, I cannot help but admire the song. It’s clever. It’s catchy. From a lyrical standpoint, it’s highly original. But it, at least indirectly, celebrates the violent capture of a once-great Western city by marauding aliens and its ultimate transfer to the Muslim world.

How can that possibly be something to celebrate?

Imagine an amusing novelty number about 9/11 which employs an inventive rhyming scheme to praise the fact that there is now only one World Trade Center building instead of two. Or maybe a humorous Rip Van Winkle-styled ditty about a Dearborn, Michigan man waking up after a thirty-year sleep and finding a mosque where he expects a church.

It’s kind of like that for those of us taking the long view of history who still view Constantinople, and in fact all of Anatolia, as occupied territory. Now, fair’s fair to the Turks — they acquired the peninsula through military conquest in a manner not terribly different than how, say, Caesar subjugated the Gauls (and certainly less cruel than the manner in which Rome annihilated Carthage). They won the land in battle, the ultimate test of nation and empire. Good for them.

It’s just not good for us. And the song, perhaps through historical illiteracy, kind of pretends that it is.

Istanbul was Constantinople
Now it’s Istanbul, not Constantinople
Been a long time gone, ol’ Constantinople
Now it’s Turkish delight on a moonlit night

Ev’ry gal in Constantinople
Lives in Istanbul
Not Constantinople
So if you’ve a date in Constantinople
She’ll be waiting in Istanbul

Even old New York
Was once New Amsterdam
Why they changed it I can’t say
People just liked it better that way

Take me back to Constantinople
No, you can’t go back to Constantinople
Now it’s Istanbul, not Constantinople

Why did Constantinople get the works?
That’s nobody’s business by the Turks’

Istanbul!

Written by Nat Simon and Jimmy Kennedy, and recorded in 1953 by the Canadian vocal group, The Four Lads, “Istanbul (Not Constantinople)” was a number-ten hit. Whether it was produced deliberately on the 500th anniversary of the fall of Constantinople is anyone’s guess. Supposedly, the song had two main inspirations (but one can suss out a third [1]). First, it was a response to the official renaming of the city to Istanbul in 1930. The lyrics comparing this switch to the equally peaceful New Amsterdam-New York change supports this notion. Second, it was a response to the 1928 song “C-O-N-S-T-A-N-T-I-N-O-P-L-E” recorded by jazz conductor Paul Whiteman. Whiteman’s song seems to be meant for children and uses the word “Constantinople” presumably because it is hard to spell.

So perhaps Kennedy, the song’s lyricist, just wasn’t thinking much beyond current events and the Hit Parade when he wrote this ingenious little song. There’s also no evidence that it had ruffled the feathers of history buffs at the time. (I looked and couldn’t find anything.) So, it seems that contemporary white audiences were either indifferent to the name change of the former Ottoman capital or they had completely gotten over that 500-year-old defeat, devastating as it was.

In a sense, who could blame them? The song is quite good. The original certainly has a languid, Oriental feel to it. The snake-charmer rhythm winds this way and that, while the backing vocals do a decent job of effecting the ululations found in Turkic folk music. And the lyrics! How many times can one cram mouthfuls like “Constantinople” and “Istanbul” into a pop song with hardly any regard for rhyme and still make it work? I find the way the Lads’ bass singer interrupts the music with the line “People just liked it better that way” inexorably charming. And could there be a more emphatic ending? Rhyming “works” with the possessive of “Turks” was pure genius.

There have been several covers of the song over the years, most notably from a group I intensely dislike: They Might Be Giants. I can’t say they are a bad group, because for what they do they’re probably the best. No one can play quirky, optimistic nerd music better than TMBG. They also turned in some perfectly fine children’s music with their Here Comes. . . releases from a few years back. But I was so revolted by their song “Your Racist Friend” from 1990’s Flood that unless they start palling around with Jared Taylor and declare themselves Dissident Rightists, I don’t want to ever give them a second listen. “Your Racist Friend” basically condemns a person for being race-realist and honest without offering any evidence to refute his position. A cowardly song, and about as catchy as a water balloon.

You can buy Spencer Quinn’s novel White Like You here.

However, their cover of “Istanbul (Not Constantinople),” also from Flood, is brilliant. My preference, though, is for the live version which appears on 1998’s Severe Tire Damage. They speed the song up and give it a punky energy without rinsing it of its Oriental flavor. The back and forth exchanges between the two singers is a twist not found on the Four Lads version. And the trumpet solo intro is sublime.

Grudgingly I say this, but They Might Be Giants deserve credit for improving upon what in all likelihood is one of the finest novelty songs ever written.

And yet. . .

And yet. . . the way the song enthusiastically embraces defeat and capitulation must be addressed. I cannot say that Sultan Mohammed II’s treatment of the vanquished Byzantines sank below the standards of conquest at the time. The Sultan gave his soldiers three days to plunder Constantinople, during which time thousands were raped and murdered, and approximately 30,000 were captured for slavery. According to Gibbon:

Amidst the vague exclamations of bigotry and hatred, the Turks are not accused of a wanton or immoderate effusion of Christian blood: but according to their maxims (the maxims of antiquity), the lives of the vanquished were forfeited; and the legitimate reward of the conqueror was derived from the service, the sale, or the ransom of his captives of both sexes.

Despite this, Gibbon reports how Mohammed II was relatively tolerant after conquest had been achieved.

The throne of Mohammed was guarded by the numbers and fidelity of his Moslem subjects; but his rational policy aspired to collect the remnant of the Greeks, and they returned in crowds as soon as they were assured of their lives, their liberties, and the free exercise of their religion.

In fact, by 1586, as Gibbon tells us, both Christians and Jews were more numerous in Constantinople than Muslims.

The price paid for Constantinople’s fall was more in strategic, cultural, and psychological losses than it was in the loss of life during the three-day orgy which started on May 29th, 1453. The Ottomans now could consolidate their power to the point of being able to launch further assaults on Europe (culminating in the failed siege of Vienna in 1693). They also destroyed, scattered, or lost an estimated 120,000 volumes of classic literature from the libraries of Constantinople, which “included the whole works of Aristotle and Homer, the noblest productions of the science and literature of ancient Greece,” according to Gibbon. Finally, Christian (and by extension, white European) influence had been snuffed out in the Middle East. The heights of culture achieved during the time of the Eastern Roman Empire as well as all the great things accomplished by Europeans in the centuries following Constantinople’s fall would be until relatively recently excluded from the nation we know today as Turkey.

And, of course, this says nothing of the centuries of slaving and raiding that the Ottomans inflicted upon Western Europe after 1453 which, according to Robert Davis’ Christian Slaves, Muslim Masters, resulted in the appropriation of approximately 1.2 million white, Christian souls for bondage in the Muslim world. Perhaps this feat would have been less easily achieved with a Christian Constantinople still extant in the East.

At this point, we should also compare the sack of Constantinople to its previous sack in 1204 during the Fourth Crusade. This event also involved the rape and murder of thousands over three days and possibly even greater property damage. But there are key differences. One, no source I have found mentions the Crusaders selling the inhabitants off into slavery, as was the case in 1453. Two, the assault on Constantinople was, in effect, a rogue act by a few unscrupulous Crusaders and Alexius IV, who at that time was the exiled pretender to the Byzantine throne. The attack (and the preceding attack on the Christian city of Zara) was condemned by Pope Innocent III, who had originally called on the Crusaders to retrieve Jerusalem from the Turks. It was also highly controversial in the Christian world. And third, at least according to Gibbon, the Crusaders, on the whole, may have been more restrained than their Ottoman counterparts. Their leaders did, for example, forbid “under pain of death the rape of married woman, or virgins, or nuns; and the proclamation was sometimes invoked by the vanquished and respected by the victors.”

In any event, sixty-odd years after the Fourth Crusade, the Byzantines regained what was left of their empire and held it for another two centuries — an unthinkable turn of events once the city had been placed under the yoke of Islam.

The loss of Constantinople to the Turks was a catastrophe for whites and the civilizations they created. Sure, the city was weak after centuries of infighting and corruption. Yes, it was ripe for the picking in 1453. But this does not make it any less of a catastrophe. So then why does the song end with the exultant “Istanbul!” as if the singers were on their knees thanking the Turks for conquering Constantinople? My 1984 Webster’s II New Riverside University Dictionary does not define the noun “works” as it is employed in the song. However, it does define the expression “work over” as “to inflict severe physical damage on: beat up.” I guess this could just as easily relate to the figurative (i.e., the name “Constantinople” getting the works) as the literal. But the songwriters don’t say, and audiences never seemed interested in asking. I think that any European should recoil at least a little bit at being reminded of how one of their great cities had gotten “the works” from foreign invaders. That this didn’t seem to happen in 1953 saddens me. It saddens me that twentieth-century whites welcomed a song such as “Istanbul (Not Constantinople)” while being so blissfully incurious about why and how Constantinople became Istanbul in the most meaningful sense.

Several years ago, I wrote an article entitled “The Great Forgetting,” which covered this phenomenon. Whites have forgotten that the traditional enemy of Europe had been the Ottoman Empire. But now with the refugee crisis and untrammeled Muslim immigration into Europe and America, they’re being reminded of it every day.

Let’s just hope that moving forward, a great song like “Istanbul (Not Constantinople)” will help us remember this crucial fact rather than forget it.

If you want to support our work, please send us a donation by going to our Entropy page and selecting “send paid chat.” Entropy allows you to donate any amount from $3 and up. All comments will be read and discussed in the next episode of Counter-Currents Radio, which airs every Friday.

Don’t forget to sign up for the twice-monthly email Counter-Currents Newsletter for exclusive content, offers, and news.

Notes

[1] Mark Steyn, in an article from 2017, pointed out something I had never noticed about “Istanbul (Not Constantinople).” Nat Simon may have plagiarized the music from Irving Berlin. Yes, rhythmically and methodically, “the main phrase of ‘Istanbul (Not Constantinople)’ is more or less identical to the opening bars of ‘Puttin’ On The Ritz.’” Go ahead. Try it. The lyrics remind me of how I feel about this amazing little song anyway. . .

If you’re blue
And you don’t know where to go to. . .

 

10 Comments

  1. John Wilkinson
    Posted May 28, 2020 at 11:13 am | Permalink

    An extremely interesting and entertaining article, mainly because I must confess to never having heard this song before.

    I’ll take a stab at some of the pondering within it.

    This song is representative of 50s pop culture, at a crossroads when novelty was necessary to perpetually engage audiences and sell records and advertising spots on the radio. Up until the 20th century, prior to widespread proliferation of the telegraph, telephone, radio, film, television, and ultimately the internet, pop culture retail wasn’t a thing. It took years for people to get the memo that pink prairie dresses were out of fashion in favor of blue ones. Music came out of the same hymnals your grandparents used. Catchy hooks, riffs, and novelty were hardly necessary.

    So “Constantinople” can simply be seen as a fun word to say, and to play with in a song. Being that the official name change was still kinda newsworthy, and given the other pop-culture interest in the orient from that general era as depicted in movies like Casablanca, Lawrence of Arabia, etc, and given Howard Carter’s discovery of Tut’s Tomb in Egypt, it is no surprise that music producers would be eager to grab hold of such novel lyrics in hopes that it would sell.

    Vector this with the more tangible and current political upheaval that led to cities like St Petersburg being renamed Leningrad, one can understand why the anglosphere, which was far more influenced by Rome than Byzantium and would have seen Constantinople as “Eastern” rather than “Western” at a time when Europe was clearly divided by these 500 year old cultural demarcations in the form of the iron curtain, well I guess that might be an explanation as to why the average American or Englishman would have been indifferent to the name change.

    Maybe?

  2. Nova Rhodesia
    Posted May 28, 2020 at 5:41 pm | Permalink

    Gosh. I thought Puttin on the Ritz originated with Taco.
    Nice read. Thanks.

  3. Right_On
    Posted May 28, 2020 at 6:13 pm | Permalink

    “It was a response to the official renaming of the city to Istanbul in 1930.”

    I notice that the narrator in “The Third Man”, filmed and set in 1949, says : “I never knew the old Vienna before the war with its Strauss music, its glamour and easy charm. Constantinople suited me better.” Which suggests the old name stuck around for a while in the Anglosphere.

    Germans are made of sterner stuff. They still say “Peking” rather than “Beijing”.

  4. Petronius
    Posted May 28, 2020 at 6:29 pm | Permalink

    Siege of Vienna 1683 (not 1693)…

    I don’t know, isn’t it a bit of a far stretch to think an American swing band of the 1950s should feel
    any connection to the Byzantine Empire and a city at the other end of the world that had been Turkish for centuries? They probably just thought the words “Constantinople” and “Istanbul” sound funny and would make an amusing song.

    • Jud Jackson
      Posted May 30, 2020 at 4:18 am | Permalink

      I was going to make the same point about 1683 and not 1693. Given Mr. Quinn’s excellent scholarship, I think it was just a typo on his part. But, what is interesting, is that it was September 11., 1683. I believe that Serge Trifkovic stated (but I can’t document this as it was in a talk that he gave to the Chicago Amren Group) that this was the reason Osama Bin Laden picked September 11 for the 2001 attacks on the WTC.

  5. Bartolo
    Posted May 28, 2020 at 7:34 pm | Permalink

    The presence of Greeks in Constantinople remained very high for a very long time:
    According to the 1910 census, Istanbul Sanjak had 135,681 Turks on the Asian side and 450,000 on the European side, compared to 70,906 Greeks on the Asian side and 260,000 on the European side. This means that, prior to WWI, Istanbul was 53% Turkish, 30% Greek, and 17% others.

    • Vehmgericht
      Posted May 29, 2020 at 5:34 am | Permalink

      Turkey’s toehold in Europe, including its tenure of the stolen city of Constantinople is predicated upon British and now American strategic interests upholding a regional balance of power. Yet Balkan hegemony is not set in stone as the 1990s clearly demonstrated. With Russia resurgent under Putin and increasingly unsympathetic to the direction of Erdogan’s Turkey we may see tension over access to the Black Sea.

      • Muhammad Aryan
        Posted May 29, 2020 at 8:34 am | Permalink

        ‘Stolen city’…

        Oh, for crying out loud. Stolen? Really? It was conquered in broad daylight by no-nonsense, valiant, battle-hardened troops.

        • Vehmgericht
          Posted May 29, 2020 at 4:53 pm | Permalink

          But the city and its great basilica were not constructed by the Ottomans: true, some good things have been added but much that was fair has been erased.

          On the other hand if ‘Might is Right’ then who should object to the Zionist conquest of Palestine, or the US and its military adventures?

          • Muhammad Aryan
            Posted May 29, 2020 at 7:13 pm | Permalink

            Agreed. The magnificent structure will always belong to Orthodox Christendom. Turks cannot claim it otherwise. However, in these 567 years, I am glad that the they never once tried to remove the beautiful images of Jesus Christ and the Holy Virgin Mary from its ceilings and walls even when it was converted into a mosque, a testament to Islamic honour and regard for these two great figures.

            As for ‘might is right’, the Pharisee occupation of Arab lands, and the US military adventures, well, the resistance has been going on for decades. We have made US presence here (on Islamic lands) painful and costly. The Jew is also scrambling. The internal wedges between the sodomite, western Jews and the rabbinically rabid ones will ultimately be their undoing. We have time on our side. We are on our own soil. In a generation’s time it will be all over. All we have to do is just wait.

            Now, where is the Christian resistance? Why has there never been a Christian vanguard committed to take back what in their eyes truly belonged to them? It would have been an honourable cause. But instead, in the last 150 years, whatever came from the Occident, came under the banner of satanic materialism with Judaism written all over it. Once there used to be towering Christian warriors like King Baldwin IV of Jerusalem and Richard the Lionheart. Now we have mercenaries from White Christian nations shilling for their Jewish handlers who fight so that their masters could jerk freely on the wailing wall.

Post a Comment

Your email is never published nor shared.
 
Comments are moderated. If you don't see your comment, please be patient. If approved, it will appear here soon. Do not post your comment a second time.
 
Required fields are marked *

You may use these HTML tags and attributes: <a href="" title=""> <abbr title=""> <acronym title=""> <b> <blockquote cite=""> <cite> <code> <del datetime=""> <em> <i> <q cite=""> <s> <strike> <strong>

*
*

This site uses Akismet to reduce spam. Learn how your comment data is processed.

  • Our Titles

    White Identity Politics

    The World in Flames

    The White Nationalist Manifesto

    From Plato to Postmodernism

    The Gizmo

    Return of the Son of Trevor Lynch's CENSORED Guide to the Movies

    Toward a New Nationalism

    The Smut Book

    The Alternative Right

    My Nationalist Pony

    Dark Right: Batman Viewed From the Right

    The Philatelist

    Novel Folklore

    Confessions of an Anti-Feminist

    East and West

    Though We Be Dead, Yet Our Day Will Come

    White Like You

    The Homo and the Negro, Second Edition

    Numinous Machines

    Venus and Her Thugs

    Cynosura

    North American New Right, vol. 2

    You Asked For It

    More Artists of the Right

    Extremists: Studies in Metapolitics

    Rising

    The Importance of James Bond

    In Defense of Prejudice

    Confessions of a Reluctant Hater (2nd ed.)

    The Hypocrisies of Heaven

    Waking Up from the American Dream

    Green Nazis in Space!

    Truth, Justice, and a Nice White Country

    Heidegger in Chicago

    The End of an Era

    Sexual Utopia in Power

    What is a Rune? & Other Essays

    Son of Trevor Lynch's White Nationalist Guide to the Movies

    The Lightning & the Sun

    The Eldritch Evola

    Western Civilization Bites Back

    New Right vs. Old Right

    Lost Violent Souls

    Journey Late at Night: Poems and Translations

    The Non-Hindu Indians & Indian Unity

    Baader Meinhof ceramic pistol, Charles Kraaft 2013

    Jonathan Bowden as Dirty Harry

    The Lost Philosopher, Second Expanded Edition

    Trevor Lynch's A White Nationalist Guide to the Movies

    And Time Rolls On

    The Homo & the Negro

    Artists of the Right

    North American New Right, Vol. 1

    Some Thoughts on Hitler

    Tikkun Olam and Other Poems

    Under the Nihil

    Summoning the Gods

    Hold Back This Day

    The Columbine Pilgrim

    Confessions of a Reluctant Hater

    Taking Our Own Side

    Toward the White Republic

    Distributed Titles

    Reuben

    The Node

    The New Austerities

    Morning Crafts

    The Passing of a Profit & Other Forgotten Stories

    Gold in the Furnace

    Defiance