The Turkish referendum might have sparked thoughts of political shifts, but for many, news from that corner of the world often triggers a different kind of memory – a catchy tune from the past. “Istanbul (Not Constantinople)” is more than just a novelty song; it’s a cultural touchstone that encapsulates a significant historical transformation in a lighthearted, memorable way. This song, which first hit the airwaves in October 1953, quickly became a hit, and its simple yet intriguing lyrics have resonated for decades.
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…
For many English speakers, particularly those with ties to the British Commonwealth, the mention of “Turkish delight” conjures up vivid images and flavors. While Americans might associate it with a generic sweet, for others, it’s a specific treat – a box of rosewater or lemon flavored gel, studded with pistachios or dates, a nostalgic Christmas morning staple. This exotic confection, much like the city itself, holds layers of cultural significance.
The song “Istanbul (Not Constantinople)” gained further relevance when linked to historical discussions, notably Oriana Fallaci’s stark observations about the fall of Constantinople in 1453. This pivotal moment, marking the Ottoman conquest and the end of the Byzantine Empire, was a dramatic shift in power and culture. The song, in its seemingly simplistic manner, touches upon this very transformation, albeit with a distinctly Western, almost detached perspective.
Why did Constantinople get the works?
That’s nobody’s business but the Turks.
This lyric, while catchy, encapsulates a broader sentiment of Western indifference or perhaps a deliberate overlooking of complex historical and cultural shifts. It’s a lighthearted way to address a profound change, inviting listeners to acknowledge the transformation without delving too deeply into its complexities.
The man behind these memorable words was Jimmy Kennedy, a prolific songwriter who, despite not being a household name like Lennon & McCartney, was remarkably successful. While “Istanbul” stands out for its novelty, Kennedy’s songwriting portfolio is rich and diverse, encompassing everything from wartime anthems to romantic ballads. His ability to capture a mood or a moment in simple, effective lyrics made his songs incredibly popular.
Kennedy’s background was rooted in Ireland, born in Omagh in 1902. He later moved to London’s Tin Pan Alley, the heart of the British music industry. While he penned songs about far-flung locales like “Isle Of Capri” and “April In Portugal,” he also drew inspiration from closer to home, such as “Red Sails In The Sunset,” inspired by a yacht he saw in Portstewart, County Derry. This song, and others like “Harbour Lights” and “Did Your Mother Come From Ireland?”, showcase his range and his knack for creating songs that resonated with a wide audience.
“Istanbul (Not Constantinople)” falls into Kennedy’s category of “novelty exotica” songs. He co-wrote it in 1953 with Nat Simon, an American composer known for hits like “Poinciana.” Interestingly, the melody of “Istanbul” bears a striking resemblance to the opening bars of Irving Berlin’s “Puttin’ On The Ritz.” This melodic similarity is undeniable, yet “Istanbul” carved out its own unique space in the musical landscape, largely thanks to Kennedy’s distinctive lyrics.
Ev’ry gal in Constantinople
Lives in Istanbul
Not Constantinople
So if you’ve a date in Constantinople
She’ll be waiting in Istanbul…
These lyrics, while playful, hint at the social changes implied by the name change. The song cleverly uses the shift in nomenclature to create a sense of exotic allure and romantic intrigue, all centered around the newly named Istanbul. Nat Simon’s musical arrangement attempted to inject a Turkish flavor into the tune, adding to its novelty appeal. The original hit recording by The Four Lads even included mosque-like ululations, further enhancing its exotic, albeit somewhat stereotypical, portrayal of Turkish culture.
The song’s popularity was immediate and widespread. Within months of its release, numerous artists rushed to record their own versions, highlighting its broad appeal across different musical styles. This flurry of covers underscores the song’s catchy nature and its ability to capture the public’s imagination.
The lyrics also offer a broader perspective on name changes, drawing a parallel to New York’s former name, New Amsterdam.
Even old New York was once New Amsterdam
Why they changed it, I can’t say
People just liked it better that way…
This comparison, while simplifying complex historical events, frames the name change of Constantinople to Istanbul as part of a more general trend, downplaying the significant political and cultural shifts involved. In reality, both name changes represent transfers of power and sovereignty, although with vastly different historical contexts.
“Istanbul (Not Constantinople)” has seen revivals over the years, demonstrating its enduring appeal. They Might Be Giants gave it a contemporary twist, and Ska Cubano even created a Spanish version, proving its cross-cultural adaptability. While these later versions offer different interpretations, the original recording by The Four Lads remains iconic, capturing the song’s novelty and its subtle commentary on cultural transformation.
In conclusion, “Istanbul (Not Constantinople)” is more than just a catchy tune; it’s a miniature cultural artifact. It encapsulates a significant historical name change, touches upon East-West relations, and reflects a certain Western perspective on geopolitical shifts, all within a lighthearted, novelty song format. Its enduring popularity lies in its ability to make a complex topic accessible and memorable, inviting listeners to ponder history and cultural change through the simple, yet resonant question:
Why did Constantinople get the works?
That’s nobody’s business but the Turks.
This final couplet, with its blend of recognition and resignation, leaves a lasting impression, making “Istanbul (Not Constantinople)” a novelty song that continues to resonate with deeper cultural undertones.
