Map of Byzantine Constantinople

Constantinople in the Byzantine era

Constantinople (Greek: Κωνσταντινούπολις, Konstantinoúpolis; Latin: Constantinopolis; Ottoman Turkish: قسطنطینیه, Qostantiniyye; and modern Turkish: İstanbul) was the capital of the Eastern Roman Empire, the Latin and the Ottoman Empires. It was founded in AD 330, at ancient Byzantium as the new capital of the Roman Empire by Constantine I, after whom it was named. The city was the largest and wealthiest European city of the Middle Ages,^[1] and shared the glories of the Byzantine Empire, which was eventually reduced to the city and its environs.

Although besieged on numerous occasions by various peoples, it was taken only in 1204 by the army of the Fourth Crusade, in 1261 by Michael VIII, and in 1453 by the Ottoman Sultan Mehmed II. An inner wall was erected by Constantine I, and the city was surrounded by a triple wall of fortifications, begun during the 5th century by Theodosius II. The city was built on seven hills as well as on the Bosporus, and thus presented an impregnable fortress enclosing magnificent palaces, domes and towers. The Church of Hagia Sophia, the sacred palace of the emperors, the hippodrome, and the Golden Gate were among the largest of the many churches, public edifices, and monuments lining the arcaded avenues and squares.

Constantinople had a large amount of artistic and literary treasure before it was sacked in 1204 and 1453. It was virtually depopulated when it fell to the Ottoman Turks, but the city recovered rapidly. The Ottoman sultans, whose court was called the Sublime Porte, embellished Constantinople with many beautiful mosques, palaces, monuments, fountains, baths, aqueducts and other public buildings. After World War I, the city was occupied (1918–23) by the Allies. In 1922, the last Ottoman sultan was deposed and in 1923 Ankara became the new capital of Turkey.

Names[link]

The city was originally founded as a Greek colony under the name of Byzantium in the 7th century BC. It took on the name of Konstantinoupolis ("city of Constantine", Constantinople) after its re-foundation under Roman emperor Constantine I, who designated it as his new Roman capital. The modern Turkish name İstanbul derives from the Greek phrase eis tin polin (εις την πόλιν), meaning "in the City" or "to the City". This name was used in Turkish side by side with Kostantiniyye, the more formal Arabic–Persian adaptation of the original Constantinople, during the period of Ottoman rule, while western languages mostly continued to refer to the city as Constantinople until the early 20th century. After the creation of the Republic of Turkey in 1923, the Turkish government began to formally object to the use of Constantinople in other languages and ask that others use the more common name for the city.^{[2][3][4][5][6]}

History[link]

Byzantium[link]

Constantinople was founded by the Roman Emperor Constantine I on the site of an already-existing city, Byzantium, settled in the early days of Greek colonial expansion, probably around 671-662 BC. The site lay astride the land route from Europe to Asia and the seaway from the Black Sea to the Mediterranean, and had in the Golden Horn an excellent and spacious harbour.

306–337[link]

Emperor Constantine I presents a representation of the city of Constantinople as tribute to an enthroned Mary and Christ Child in this church mosaic. St Sophia, c. 1000

Coin struck by Constantine I to commemorate the founding of Constantinople

Constantine had altogether more colourful plans. Having restored the unity of the Empire, and, being in course of major governmental reforms as well as of sponsoring the consolidation of the Christian church, he was well aware that Rome was an unsatisfactory capital. Rome was too far from the frontiers, and hence from the armies and the Imperial courts, and it offered an undesirable playground for disaffected politicians. Yet it had been the capital of the state for over a thousand years, and it might have seemed unthinkable to suggest that the capital be moved to a different location. Nevertheless, he identified the site of Byzantium as the right place: a place where an emperor could sit, readily defended, with easy access to the Danube or the Euphrates frontiers, his court supplied from the rich gardens and sophisticated workshops of Roman Asia, his treasuries filled by the wealthiest provinces of the Empire.

Constantinople was built over six years, and consecrated on 11 May 330.^[7] Constantine divided the expanded city, like Rome, into 14 regions, and ornamented it with public works worthy of an imperial metropolis.^[8] Yet, at first, Constantine's new Rome did not have all the dignities of old Rome. It possessed a proconsul, rather than an urban prefect. It had no praetors, tribunes, or quaestors. Although it did have senators, they held the title clarus, not clarissimus, like those of Rome. It also lacked the panoply of other administrative offices regulating the food supply, police, statues, temples, sewers, aqueducts, or other public works. The new programme of building was carried out in great haste: Columns, marbles, doors, and tiles were taken wholesale from the temples of the Empire and moved to the new city. In similar fashion, many of the greatest works of Greek and Roman art were soon to be seen in its squares and streets. The Emperor stimulated private building by promising householders gifts of land from the Imperial estates in Asiana and Pontica, and on 18 May 332 he announced that, as in Rome, free distributions of food would be made to the citizens. At the time the amount is said to have been 80,000 rations a day, doled out from 117 distribution points around the city.^[9]

Constantine laid out a new square at the centre of old Byzantium, naming it the Augustaeum. The new senate-house (or Curia) was housed in a basilica on the east side. On the south side of the great square was erected the Great Palace of the Emperor with its imposing entrance, the Chalke, and its ceremonial suite known as the Palace of Daphne. Nearby was the vast Hippodrome for chariot-races, seating over 80,000 spectators, and the famed Baths of Zeuxippus. At the western entrance to the Augustaeum was the Milion, a vaulted monument from which distances were measured across the Eastern Roman Empire.

From the Augustaeum led a great street, the Mese (Greek: Μέση [Οδός] lit. "Middle [Street]"), lined with colonnades. As it descended the First Hill of the city and climbed the Second Hill, it passed on the left the Praetorium or law-court. Then it passed through the oval Forum of Constantine where there was a second Senate-house and a high column with a statue of Constantine himself in the guise of Helios, crowned with a halo of seven rays and looking toward the rising sun. From there the Mese passed on and through the Forum of Taurus and then the Forum of Bous, and finally up the Seventh Hill (or Xerolophus) and through to the Golden Gate in the Constantinian Wall. After the construction of the Theodosian Walls in the early 5th century, it would be extended to the new Golden Gate, reaching a total length of seven Roman miles.^[10]

337–527[link]

Theodosius I was the last Roman emperor who ruled over an undivided empire (detail from the Obelisk at the Hippodrome of Constantinople

The first known Prefect of the City of Constantinople was Honoratus, who took office on 11 December 359 and held it until 361. The emperor Valens built the Palace of Hebdomon on the shore of the Propontis near the Golden Gate, probably for use when reviewing troops. All the emperors up to Zeno and Basiliscus were crowned and acclaimed at the Hebdomon. Theodosius I founded the Church of John the Baptist to house the skull of the saint (today preserved at the Topkapı Palace in Istanbul, Turkey), put up a memorial pillar to himself in the Forum of Taurus, and turned the ruined temple of Aphrodite into a coach house for the Praetorian Prefect; Arcadius built a new forum named after himself on the Mese, near the walls of Constantine.

The importance of Constantinople gradually increased. After the shock of the Battle of Adrianople in 378, in which the emperor Valens with the flower of the Roman armies was destroyed by the Visigoths within a few days' march, the city looked to its defences, and Theodosius II built in 413–414 the 18-meter (60-foot)-tall triple-wall fortifications, which were never to be breached until the coming of gunpowder. Theodosius also founded a University near the Forum of Taurus, on 27 February 425.

Uldin, a prince of the Huns, appeared on the Danube about this time and advanced into Thrace, but he was deserted by many of his followers, who joined with the Romans in driving their king back north of the river. Subsequent to this, new walls were built to defend the city, and the fleet on the Danube improved.

In due course, the barbarians overran the Western Roman Empire: Its emperors retreated to Ravenna, and it diminished to nothing. Thereafter, Constantinople became in truth the largest city of the Roman Empire and of the world. Emperors were no longer peripatetic between various court capitals and palaces. They remained in their palace in the Great City, and sent generals to command their armies. The wealth of the eastern Mediterranean and western Asia flowed into Constantinople.

527–565[link]

Map of Constantinople (1422) by Florentine cartographer Cristoforo Buondelmonti^[11] is the oldest surviving map of the city, and the only one that predates the Turkish conquest of the city in 1453

The emperor Justinian I (527–565) was known for his successes in war, for his legal reforms and for his public works. It was from Constantinople that his expedition for the reconquest of the former Diocese of Africa set sail on or about 21 June 533. Before their departure the ship of the commander Belisarius anchored in front of the Imperial palace, and the Patriarch offered prayers for the success of the enterprise. After the victory, in 534, the Temple treasure of Jerusalem, looted by the Romans in 70 AD and taken to Carthage by the Vandals after their sack of Rome in 455, was brought to Constantinople and deposited for a time, perhaps in the Church of St. Polyeuctus, before being returned to Jerusalem in either the Church of the Resurrection or the New Church.^[12]

Chariot-racing had been important in Rome for centuries. In Constantinople, the hippodrome became over time increasingly a place of political significance. It was where (as a shadow of the popular elections of old Rome) the people by acclamation showed their approval of a new emperor, and also where they openly criticized the government, or clamoured for the removal of unpopular ministers. In the time of Justinian, public order in Constantinople became a critical political issue.

Throughout the late Roman and early Byzantine periods, Christianity was resolving fundamental questions of identity, and the dispute between the orthodox and the monophysites became the cause of serious disorder, expressed through allegiance to the horse-racing parties of the Blues and the Greens. The partisans of the Blues and the Greens were said^[13] to affect untrimmed facial hair, head hair shaved at the front and grown long at the back, and wide-sleeved tunics tight at the wrist; and to form gangs to engage in night-time muggings and street violence. At last these disorders took the form of a major rebellion of 532, known as the "Nika" riots (from the battle-cry of "Victory!" of those involved).

Fires started by the Nika rioters consumed Constantine's basilica of St Sophia, the city's principal church, which lay to the north of the Augustaeum. Justinian commissioned Anthemius of Tralles and Isidore of Miletus to replace it with a new and incomparable St Sophia. This was the great cathedral of the Orthodox Church, whose dome was said to be held aloft by God alone, and which was directly connected to the palace so that the imperial family could attend services without passing through the streets.^[14] The dedication took place on 26 December 537 in the presence of the emperor, who exclaimed, "O Solomon, I have outdone thee!"^[15] St Sophia was served by 600 people including 80 priests, and cost 20,000 pounds of gold to build.^[16]

Justinian also had Anthemius and Isidore demolish and replace the original Church of the Holy Apostles built by Constantine with a new church under the same dedication. This was designed in the form of an equal-armed cross with five domes, and ornamented with beautiful mosaics. This church was to remain the burial place of the Emperors from Constantine himself until the 11th century. When the city fell to the Turks in 1453, the church was demolished to make room for the tomb of Mehmet II the Conqueror. Justinian was also concerned with other aspects of the city's built environment, legislating against the abuse of laws prohibiting building within 100 feet (30 m) of the sea front, in order to protect the view.^[17]

During Justinian I's reign, the city's population reached about 500,000 people.^[18] However, the social fabric of Constantinople was also damaged by the onset of Plague of Justinian between 541–542 AD. It killed perhaps 40% of the city's inhabitants.^[19]

Restored section of the fortifications that protected Constantinople during the medieval period

Survival, 565–717[link]

In the early 7th century the Avars and later the Bulgars overwhelmed much of the Balkans, threatening Constantinople from the west. Simultaneously, the Persian Sassanids overwhelmed the Prefecture of the East and penetrated deep into Anatolia. Heraclius, son to the exarch of Africa, set sail for the city and assumed the purple. He found the military situation so dire that he is said at first to have contemplated withdrawing the imperial capital to Carthage, but relented after the people of Constantinople begged him to stay. The citizens lost their right to free grain in 618, when Heraclius realised that the city no longer could be supplied from Egypt as a result of the Persian wars: the population dropped substantially in size as a result.^[20]

While the city withstood a siege, Heraclius campaigned deep into Persian territory and briefly restored the status quo in 628, when the Persians surrendered all their conquests. However, further sieges followed in the course of attacks from the Arabs, a first from 674 to 678, and a second from 717 to 718. At this time the Theodosian Walls kept the city impregnable from the land, while a newly discovered incendiary substance known as "Greek Fire" allowed the Byzantine navy to destroy the Arab fleets and keep the city supplied. In the second siege, decisive help was rendered by the Bulgars.

717–1025[link]

Emperor Leo VI (886–912) adoring Jesus Christ. Mosaic above the Imperial Gate in the Hagia Sophia.

The Högby Runestone is one of the c. 30 Greece Runestones in Sweden that commemorate members of the Varangian Guard.

In the 730s Leo III carried out extensive repairs of the Theodosian walls, which had been damaged by frequent and violent attacks; this work was financed by a special tax on all the subjects of the Empire.^[21]

Theodora, widow of the Emperor Theophilus (died 842), acted as regent during the minority of her son Michael III, who was said to have been introduced to dissolute habits by her brother Bardas. When Michael assumed power in 856, he became known for excessive drunkenness, appeared in the hippodrome as a charioteer and burlesqued the religious processions of the clergy. He removed Theodora from the Great Palace to the Carian Palace and later to the monastery of Gastria, but, after the death of Bardas, she was released to live in the palace of St Mamas; she also had a rural residence at the Anthemian Palace, where Michael was assassinated in 867.^[22]

In 860, an attack was made on the city by a new principality set up a few years earlier at Kiev by Askold and Dir, two Varangian chiefs: Two hundred small vessels passed through the Bosporus and plundered the monasteries and other properties on the suburban Prince's Islands. Oryphas, the admiral of the Byzantine fleet, alerted the emperor Michael, who promptly put the invaders to flight; but the suddenness and savagery of the onslaught made a deep impression on the citizens.^[23]

In 980, the emperor Basil II received an unusual gift from Prince Vladimir of Kiev: 6,000 Varangian warriors, which Basil formed into a new bodyguard known as the Varangian Guard. They were known for their ferocity, honour, and loyalty. It is said that, in 1038, they were dispersed in winter quarters in the Thracesian theme when one of their number attempted to violate a countrywoman, but in the struggle she seized his sword and killed him; instead of taking revenge, however, his comrades applauded her conduct, compensated her with all his possessions, and exposed his body without burial as if he had committed suicide.^[24] However, following the death of an Emperor, they became known also for plunder in the Imperial palaces.^[25] Later in the 11th Century the Varangian Guard became dominated by Anglo-Saxons who preferred this way of life to subjugation by the new Norman kings of England.^[26]

The Book of the Eparch, which dates to the 10th century, gives a detailed picture of the city's commercial life and its organization at that time. The corporations in which the tradesmen of Constantinople were organised were supervised by the Eparch, who regulated such matters as production, prices, import, and export. Each guild had its own monopoly, and tradesmen might not belong to more than one. It is an impressive testament to the strength of tradition how little these arrangements had changed since the office, then known by the Latin version of its title, had been set up in 330 to mirror the urban prefecture of Rome.^[27]

In the 9th and 10th centuries, Constantinople had a population of between 500,000 and 800,000.^[28]

Iconoclast controversy[link]

In the 8th and 9th centuries, the iconoclast movement caused serious political unrest throughout the Empire. The emperor Leo III issued a decree in 726 against images, and ordered the destruction of a statue of Christ over one of the doors of the Chalke, an act that was fiercely resisted by the citizens.^[29] Constantine V convoked a church council in 754, which condemned the worship of images, after which many treasures were broken, burned, or painted over with depictions of trees, birds or animals: One source refers to the church of the Holy Virgin at Blachernae as having been transformed into a "fruit store and aviary".^[30] Following the death of his son Leo IV in 780, the empress Irene restored the veneration of images through the agency of the Second Council of Nicaea in 787.

The iconoclast controversy returned in the early 9th century, only to be resolved once more in 843 during the regency of Empress Theodora, who restored the icons. These controversies contributed to the deterioration of relations between the Western and the Eastern Churches.

Prelude to the Comnenian period, 1025–1081[link]

In the late 11th century catastrophe struck with the unexpected and calamitous defeat of the imperial armies at the Battle of Manzikert in Armenia in 1071. The Emperor Romanus Diogenes was captured. The peace terms demanded by Alp Arslan, sultan of the Seljuk Turks, were not excessive, and Romanus accepted them. On his release, however, Romanus found that enemies had placed their own candidate on the throne in his absence; he surrendered to them and suffered death by torture, and the new ruler, Michael VII Ducas, refused to honour the treaty. In response, the Turks began to move into Anatolia in 1073. The collapse of the old defensive system meant that they met no opposition, and the empire's resources were distracted and squandered in a series of civil wars. Thousands of Turkoman tribesmen crossed the unguarded frontier and moved into Anatolia. By 1080, a huge area had been lost to the Empire, and the Turks were within striking distance of Constantinople.

1081–1185[link]

12th century mosaic from the upper gallery of the Hagia Sophia, Constantinople. Emperor John II (1118–1143) is shown on the left, with the Virgin Mary and infant Jesus in the centre, and John's consort Empress Irene on the right.

Under the Comnenian dynasty (1081–1185), Byzantium staged a remarkable recovery. In 1090–91, the nomadic Pechenegs reached the walls of Constantinople, where Emperor Alexius I with the aid of the Kipchaks annihilated their army.^[31] In response to a call for aid from Alexius, the First Crusade assembled at Constantinople in 1096, but declining to put itself under Byzantine command set out for Jerusalem on its own account.^[32] John II built the monastery of the Pantocrator (Almighty) with a hospital for the poor of 50 beds.^[33]

With the restoration of firm central government, the empire became fabulously wealthy. The population was rising (estimates for Constantinople in the 12th century vary from some 100,000 to 500,000), and towns and cities across the realm flourished. Meanwhile, the volume of money in circulation dramatically increased. This was reflected in Constantinople by the construction of the Blachernae palace, the creation of brilliant new works of art, and general prosperity at this time: an increase in trade, made possible by the growth of the Italian city-states, may have helped the growth of the economy. It is certain that the Venetians and others were active traders in Constantinople, making a living out of shipping goods between the Crusader Kingdoms of Outremer and the West, while also trading extensively with Byzantium and Egypt. The Venetians had factories on the north side of the Golden Horn, and large numbers of westerners were present in the city throughout the 12th century. Toward the end of Manuel I's reign, the number of foreigners in the city reached about 60,000-80,000 people out of a total population of about 400,000 people.^[34] In 1171, Constantinople also contained a small community of 2,500 Jews.^[35]

In artistic terms, the 12th century was a very productive period. There was a revival in the mosaic art, for example: Mosaics became more realistic and vivid, with an increased emphasis on depicting three-dimensional forms. There was an increased demand for art, with more people having access to the necessary wealth to commission and pay for such work. According to N.H. Baynes (Byzantium, An Introduction to East Roman Civilization):

"With its love of luxury and passion for colour, the art of this age delighted in the production of masterpieces that spread the fame of Byzantium throughout the whole of the Christian world. Beautiful silks from the work-shops of Constantinople also portrayed in dazzling colour animals - lions, elephants, eagles, and griffins - confronting each other, or represented Emperors gorgeously arrayed on horseback or engaged in the chase."

"From the tenth to the twelfth century Byzantium was the main source of inspiration for the West. By their style, arrangement, and iconography the mosaics of St. Mark's at Venice and of the cathedral at Torcello clearly reveal their Byzantine origin. Similarly those of the Palatine Chapel, the Martorana at Palermo, and the cathedral of Cefalù, together with the vast decoration of the cathedral at Monreale, demonstrate the influence of Byzantium on the Norman Court of Sicily in the twelfth century. Hispano-Moorish art was unquestionably derived from the Byzantine. Romanesque art owes much to the East, from which it borrowed not only its decorative forms but the plan of some of its buildings, as is proved, for instance, by the domed churches of south-western France. Princes of Kiev, Venetian doges, abbots of Monte Cassino, merchants of Amalfi, and the kings of Sicily all looked to Byzantium for artists or works of art. Such was the influence of Byzantine art in the twelfth century, that Russia, Venice, southern Italy and Sicily all virtually became provincial centres dedicated to its production."

1185–1261[link]

The Entry of the Crusaders into Constantinople, by Eugène Delacroix, 1840.

The Latin Empire, Empire of Nicaea, Empire of Trebizond, and the Despotate of Epirus. The borders are very uncertain

In the course of a plot between Philip of Swabia, Boniface of Montferrat and the Doge of Venice, the Fourth Crusade was, despite papal excommunication, diverted in 1203 against Constantinople, ostensibly promoting the claims of Alexius son of the deposed emperor Isaac. The reigning emperor Alexius III had made no preparation. The Crusaders occupied Galata, broke the chain protecting the Golden Horn and entered the harbour, where on 27 July they breached the sea walls: Alexius III fled. But the new Alexius IV found the Treasury inadequate, and was unable to make good the rewards he had promised to his western allies. Tension between the citizens and the Latin soldiers increased. In January 1204, the protovestiarius Alexius Murzuphlus provoked a riot, it is presumed, to intimidate Alexius IV, but whose only result was the destruction of the great statue of Athena, the work of Phidias, which stood in the principal forum facing west.

In February, the people rose again: Alexius IV was imprisoned and executed, and Murzuphlus took the purple as Alexius V. He made some attempt to repair the walls and organise the citizenry, but there had been no opportunity to bring in troops from the provinces and the guards were demoralised by the revolution. An attack by the Crusaders on 6 April failed, but a second from the Golden Horn on 12 April succeeded, and the invaders poured in. Alexius V fled. The Senate met in St Sophia and offered the crown to Theodore Lascaris, who had married into the Angelid family, but it was too late. He came out with the Patriarch to the Golden Milestone before the Great Palace and addressed the Varangian Guard. Then the two of them slipped away with many of the nobility and embarked for Asia. By the next day the Doge and the leading Franks were installed in the Great Palace, and the city was given over to pillage for three days.

The great historian of the Crusades, Sir Steven Runciman, wrote that the sack of Constantinople is “unparalleled in history”.

“For nine centuries,” he goes on, “the great city had been the capital of Christian civilisation. It was filled with works of art that had survived from ancient Greece and with the masterpieces of its own exquisite craftsmen. The Venetians, wherever they could, seized treasures and carried them off. But the Frenchmen and Flemings were filled with a lust for destruction: They rushed in a howling mob down the streets and through the houses, snatching up everything that glittered and destroying whatever they could not carry, pausing only to murder or to rape, or to break open the wine-cellars. Neither monasteries nor churches nor libraries were spared. In St Sophia itself, drunken soldiers could be seen tearing down the silken hangings and pulling the silver iconostasis to pieces, while sacred books and icons were trampled under foot. While they drank from the altar-vessels, a prostitute sang a ribald French song on the Patriarch’s throne. Nuns were ravished in their convents. Palaces and hovels alike were wrecked. Wounded women and children lay dying in the streets. For three days the ghastly scenes continued until the huge and beautiful city was a shambles. Even after order was restored, citizens were tortured to make them reveal treasures they had hidden.

—^[36]

For the next half-century, Constantinople was the seat of the Latin Empire. The Byzantine nobility were scattered. Many went to Nicaea, where Theodore Lascaris set up an imperial court, or to Epirus, where Theodore Angelus did the same; others fled to Trebizond, where one of the Comneni had already with Georgian support established an independent seat of empire.^[37] Nicaea and Epirus both vied for the imperial title, and tried to recover Constantinople. In 1261, Constantinople was captured from its last Latin ruler, Baldwin II, by the forces of the Nicaean emperor Michael VIII Palaeologus.

The 1453 Siege of Constantinople, painted 1499

1261–1453[link]

Although Constantinople was retaken by Michael VIII, the Empire had lost many of its key economic resources, and struggled to survive. The palace of Blachernae in the north-west of the city became the main Imperial residence, with the old Great Palace on the shores of the Bosporus going into decline. When Michael VIII captured the city, its population was 35,000 people, but, by the end of his reign, he had succeeded in increasing the population to about 70,000 people.^[38] The Emperor achieved this by summoning former residents having fled the city when the Crusaders captured it, and by relocating Greeks from the recently reconquered Peloponnese to the capital.^[39] In 1347, the Black Death spread to Constantinople.^[40] In 1453, when the Ottoman Turks captured the city, it contained approximately 50,000 people.^[41]

Ottoman era[link]

On 29 May 1453, Turkish sultan Mehmed II "the Conqueror" entered Constantinople after a 53–day siege during which his cannon had torn a huge hole in the Walls of Theodosius II. Constantinople (Ottoman Turkish: Konstantiniyye) became the third capital of the Ottoman Empire.^{[citation needed]}

Mehmed had begun the siege on April 6, 1453. He had hired engineers to build cannons and bombs for the occasion. He also acquired scholars and imams to encourage the soldiers. He gave the Byzantine emperor Constantine Palaeologus (1449–1453) three chances to surrender the city, a duty enjoined by the Shariah (Muslim Holy Law).^[42] Mehmed guaranteed that the city's residents, including their riches, beliefs and honor, would be safe. However, Constantine did not accept these terms of surrender.^[43] After more than a month of fighting, Mehmed’s advisors were beginning to lose hope. Against their counsel, Mehmed continued to fight. The night before the final assault, he studied the previous attempts to take the city. He was comparing ways that would work and where they would not. On the morning of May 29, 1453 the sultan ordered the call of Azan (call to prayer).^[44] This was not a regular prayer session for religious reasons but rather a scare tactic. When the Byzantine forces saw the entire Ottoman army get on their knees to pray, the Byzantine army was witnessing how united the Ottoman Turks were and this worried them. As Eversley put it: "Their minds were defeated before their bodies."^[44]

The Ottoman sultan Mehmed II and Gennadius II.

Once the fighting started, it went on for forty-eight days. The wall was beginning to collapse when Constantine sent a letter to the pope asking for help. In response the pope sent five ships full of reinforcements, weapons and supplies. Another defense tactic involved Constantine blocking off the port so that the Ottoman army could not get ships into it. Mehmed had his people pave a path from oiled tree branches in order to bring eighty ships overland, and placed them into the gulf behind the enemy ships. Byzantine attempts to burn the Turkish ships failed. For the defenders, this meant loss of control over the Horn and that they were effectively cut off from reinforcements by sea.^[45]

Since the Byzantine army was still holding on after this defeat the sultan thought it was time to set up his secret weapon, a huge mobile tower. This tower could hold many soldiers who could be at the same level as the walls of the city, making it easier for them to break into Constantinople. The first group of Ottomans who entered the city were killed almost immediately, with the effect that the other Muslims began to retreat. Witnessing this, the sultan encouraged his soldiers. Soon after the sultan’s encouragement the Muslims broke the wall in two places and entered the city. In a last attempt to protect it, Constantine attacked the enemy sword raised; however he was defeated and killed.^[46]

Finally, Constantinople was under Ottoman rule. When Mehmed finally entered Constantinople through what is now known as the Topkapi Gate, he immediately rode his horse to the Hagia Sophia which he ordered to be sacked. He ordered that an imam meet him there in order to chant the Muslim Creed: “I testify that there is no God but Allah. I testify that Muhammad is the Prophet of Allah.”^[47] This turned the Greek cathedral into a Turkish mosque, solidifying Turkish rule in Constantinople.

Constantinople (Konstantiniyye) in Ottoman era (1572

The composition from the Ottoman Turkish point of view shows Mehmed as a clever, strong conqueror. Evidence of the bias toward portraying Mehmed as an intelligent military leader is reflected in the statement: "The sultan ordered the setting up of his secret weapon which he had invented himself."^[48] By contrast, the composition from the Byzantine point of view portrays Constantine Palaeologus as a brave leader who gave his life for the cause. As quoted from a Byzantine essay: "[Constantine] charged into the sea of the enemy soldiers, hitting left and right in a final act of defiance."^[49]

Other than the variations in their stories, the battle occurs in the same manner and neither of the compositions portrays the opposition in a brutally negative light.^{[citation needed]}

Mehmed’s main concern with Constantinople had to do with rebuilding the city’s defenses and repopulation. Building projects were commenced immediately after the conquest, which included the repair of the walls, construction of the citadel, and building a new palace.^[50] Mehmed issued orders across his empire that Muslims, Christians, and Jews should resettle the city; he demanded that five thousand households needed to be deported to Istanbul by September.^[50]

By 1459 the Sultan promoted a lot of energy to bringing prosperity to Constantinople. In several quarters of the city pious foundations were created; these areas consisted of a theological college, a school (or a Madrasa, usually connected to the mosque^[51]), a public kitchen, and a mosque.^[52] In the same year Mehmed sent out orders that any Greeks who left Constantinople as slaves or refugees were allowed to return to the city. These actions lead Constantinople to become a once again thriving capital of the Ottoman Empire.^[53]

Suleiman the Magnificent's reign over the Ottoman Empire from 1520 to 1566 was a period of great artistic and architectural achievements. The famous architect Mimar Sinan designed many mosques and other grand buildings in the city, while Ottoman arts of ceramics and calligraphy also flourished. Many tekkes survive to this day, some in the form of mosques while others have become museums such as the Cerrahi Tekke and the Sünbül Efendi and Ramazan Efendi mosques and türbes in Fatih, the Galata Mevlevihanesi in Beyoğlu, the Yahya Efendi tekke in Beşiktaş, and the Bektaşi Tekke in Kadıköy, which now serves Alevi Muslims as a cemevi.^{[citation needed]}

Importance[link]

Eagle and Snake, 6th century mosaic flooring ­Constantinople, Grand Imperial Palace.

Culture[link]

Constantinople was the largest and richest urban center in the Eastern Mediterranean Sea during the late Eastern Roman Empire, mostly as a result of its strategic position commanding the trade routes between the Aegean Sea and the Black Sea. It would remain the capital of the eastern, Greek-speaking empire for over a thousand years. At its peak, roughly corresponding to the Middle Ages, it was the richest and largest European city, exerting a powerful cultural pull and dominating economic life in the Mediterranean. Visitors and merchants were especially struck by the beautiful monasteries and churches of the city, in particular, Hagia Sophia, or the Church of Holy Wisdom: A Russian 14th-century traveler, Stephen of Novgorod, wrote, "As for St Sophia, the human mind can neither tell it nor make description of it."

It was especially important for preserving in its libraries manuscripts of Greek and Latin authors throughout a period when instability and disorder caused their mass-destruction in western Europe and north Africa: On the city's fall, thousands of these were brought by refugees to Italy, and played a key part in stimulating the Renaissance, and the transition to the modern world. The cumulative influence of the city on the west, over the many centuries of its existence, is incalculable. In terms of technology, art and culture, as well as sheer size, Constantinople was without parallel anywhere in Europe for a thousand years.

International Status[link]

Constantinople's monumental center.

The city provided a defence for the eastern provinces of the old Roman Empire against the barbarian invasions of the 5th century. The 18-meter-tall walls built by Theodosius II were, in essence, impregnable to the barbarians coming from south of the Danube river, who found easier targets to the west rather than the richer provinces to the east in Asia. From the 5th century, the city was also protected by the Anastasian Wall, a 60-kilometer chain of walls across the Thracian peninsula. Many scholars^[who?] argue that these sophisticated fortifications allowed the east to develop relatively unmolested while Ancient Rome and the west collapsed. With the emergence of Christianity and the rise of Islam, Constantinople became the last bastion of Christian Europe, standing at the fore of Islamic expansion, and repelling its influence. As the Byzantine Empire was situated in-between the Islamic world and the Christian west, so did Constantinople act as Europe’s first line-of-defence against Arab advances in the 7th and 8th centuries. The city, and the Empire, would ultimately fall to the Ottomans by 1453, but its enduring legacy had provided Europe centuries of resurgence following the collapse of Rome.

Architecture[link]

Interior view of the Hagia Sophia museum.

The Byzantine Empire used Roman and Greek architectural models and styles to create its own unique type of architecture. The influence of Byzantine architecture and art can be seen in the copies taken from it throughout Europe. Particular examples include St Mark's Basilica in Venice, the basilicas of Ravenna, and many churches throughout the Slavic East. Also, alone in Europe until the 13th century Italian florin, the Empire continued to produce sound gold coinage, the solidus of Diocletian becoming the bezant prized throughout the Middle Ages. Its city walls were much imitated (for example, see Caernarfon Castle) and its urban infrastructure was moreover a marvel throughout the Middle Ages, keeping alive the art, skill and technical expertise of the Roman Empire.

Religious[link]

Constantine's foundation gave prestige to the Bishop of Constantinople, who eventually came to be known as the Ecumenical Patriarch, vying for honour with the Pope,^[54] a situation that contributed to the Great Schism that divided Western Catholicism from Eastern Orthodoxy from 1054 onwards. Constantinople is also of great religious importance to Islam, as the conquest of Constantinople is one of the signs of the End time in Islam.

Popularity[link]

Page depicting Constantinople in the Nuremberg Chronicle published in 1493, forty years after the city's fall to the Turks

• Constantinople appears as a city of wondrous majesty, beauty, remoteness, and nostalgia in William Butler Yeats' 1928 poem "Sailing to Byzantium".
• Constantinople, as seen under the Byzantine emperor Theodosius II, makes several on-screen appearances in the television miniseries "Attila" as the capital of the Eastern Roman Empire.
• Robert Graves, author of I, Claudius, also wrote Count Belisarius, a historical novel about Belisarius. Graves set much of the novel in the Constantinople of Justinian I.
• Constantinople provides the setting of much of the action in Umberto Eco's 2000 novel Baudolino.
• Constantinople's change of name was the theme for a song made famous by The Four Lads and later covered by They Might Be Giants and many others entitled "Istanbul (Not Constantinople)".
• "Constantinople" was also the title of the opening track of The Residents' EP Duck Stab!, released in 1978.
• Constantinople under Justinian is the scene of the book A Flame in Byzantium (ISBN 0312930267) by Chelsea Quinn Yarbro, released in 1987.
• "Constantinople" is the title of a song by The Decemberists.
• Stephen Lawhead's novel Byzantium (1996) is set in 9th-century Constantinople.
• Filmmaker Peter Jackson said he wanted images of Minas Tirith in his The Lord of the Rings trilogy to look like "Constantinople in the morning".^{[cite this quote]}
• Folk Metal band Turisas makes multiple references to Constantinople in their song "Miklagard Overture", referring to it as "Konstantinopolis", "Tsargrad", and "Miklagard".
• Constantinople makes an appearance in the MMORPG game Silkroad as a major capital, along with a major Chinese capital.
• Constantinople makes an appearance in the "Rome Total War" expansion "Barbarian Invasion" belonging to the Eastern Roman Empire
• Constantinople also makes an appearance in "Medieval Total War". It is a starting province and city of the Byzantines.
• Constantinople makes an appearance in the game "Age of Empires II: The Age of Kings" in the fifth scenario of the Barbarossa campaign and again in the third scenario of the Attila the Hun campaign in the expansion pack "Age of Empires II: The Conquerors Expansion".
• Constantinople is the main setting of the game "Assassin's Creed: Revelations", the fourth major title in the best-selling "Assassin's Creed" series.^[55]

See also[link]

People from Constantinople[link]

• List of people from Constantinople

Secular buildings and monuments[link]

The Bucoleon Palace as it survives today

A fragment of the Milion (Greek: Μίλ(λ)ιον), a mile-marker monument

Mehmed II's entry into Constantinople, painting by Fausto Zonaro (1854–1929)

• Augustaion
  • Column of Justinian
• Basilica Cistern
• Baths of Zeuxippus
• Column of Marcian
• Forum of Constantine
  • Column of Constantine
• Great Palace of Constantinople
  • Bucoleon Palace
• Hippodrome of Constantinople
  • Horses of Saint Mark
  • Obelisk of Theodosius
  • Serpent Column
  • Walled Obelisk
• Milion
• Palace of Lausus
  • Cistern of Philoxenos
• Palace of Blachernae
  • Palace of the Porphyrogenitus
  • Prison of Anemas
• Valens Aqueduct
• Walls of Constantinople

Churches, monasteries and mosques[link]

• Atik Mustafa Pasha Mosque
• Bodrum Mosque
• Chora Church
• Church of Saints Sergius and Bacchus
• Church of St. Polyeuctus
• Church of the Holy Apostles
• Eski Imaret Mosque
• Fenari Isa Mosque
• Gül Mosque
• Hagia Irene
• Hagia Sophia
• Hirami Ahmet Pasha Mosque
• Kalenderhane Mosque
• Koca Mustafa Pasha Mosque
• Nea Ekklesia
• Pammakaristos Church
• Stoudios Monastery
• Vefa Kilise Mosque
• Zeyrek Mosque

Miscellaneous[link]

• Ahmed Bican Yazıcıoğlu
• Byzantine calendar
• Byzantine silk
• Byzantium
• Ecumenical Patriarch of Constantinople
• Eparch of Constantinople (List of eparchs)
• Fall of Constantinople
• Golden Horn
• Istanbul
• List of people from Constantinople
• Massacre of the Latins
• Nika riots
• Notitia urbis Constantinopolitanae
• Sieges of Constantinople
• Third Rome
• University of Constantinople

Notes[link]

References[link]

• Bury, J. B. (1958). History of the Later Roman Empire: From the Death of Theodosius I to the Death of Justinian. Dover Publications. 
• Crowley, Roger (2005). Constantinople: Their Last Great Siege, 1453. Faber and Faber. ISBN 978-0-571-22185-1. 
• Freely, John (1998). Istanbul: The Imperial City. Penguin. ISBN 978-0-14-024461-8. 
• Freely, John; Ahmet S. Cakmak (2004). The Byzantine Monuments of Istanbul. Cambridge University Press. ISBN 978-0-521-77257-0. 
• Gibbon, Edward (2005). The Decline and Fall of the Roman Empire. Phoenix Press. ISBN 978-0-7538-1881-7. 
• Hanna-Riitta, Toivanen (2007). The Influence of Constantinople on Middle Byzantine Architecture (843-1204). A typological and morphological approach at the provincial level. Suomen kirkkohistoriallisen seuran toimituksia 202 (Publications of the Finnish Society of Church History No. 202). ISBN 978-952-5031-41-6. 
• Harris, Jonathan (2007). Constantinople: Capital of Byzantium. Hambledon Continuum. ISBN 978-1-84725-179-4. 
• Harris, Jonathan (2003). Byzantium and the Crusades. Hambledon and London. ISBN 978-1-85285-501-7. 
• Herrin, Judith (2008). Byzantium: The Surprising Life of a Medieval Empire. Princeton University Press. ISBN 978-0-691-13151-1. 
• Mansel, Philip (1998). Constantinople: City of the World's Desire, 1453-1924. St. Martin's Griffin. ISBN 978-0-312-18708-8. 
• Phillips, Jonathan (2005). The Fourth Crusade and the Sack of Constantinople. Pimlico. ISBN 978-1-84413-080-1. 
• Runciman, Steven (1990). The Fall of Constantinople, 1453. Cambridge University Press. ISBN 978-1-84413-080-1. 
• Treadgold, Warren (1997). A History of the Byzantine State and Society. Stanford University Press. ISBN 978-0-8047-2630-6. 

External links[link]

Wikimedia Commons has media related to: Constantinople

• Constantinople, from History of the Later Roman Empire, by J.B. Bury
• History of Constantinople from the "New Advent Catholic Encyclopedia."
• Monuments of Byzantium - Pantokrator Monastery of Constantinople
• Constantinoupolis on the web Select internet resources on the history and culture
• Info on the name change from the Foundation for the Advancement of Sephardic Studies and Culture
• Welcome to Constantinople, documenting the monuments of Byzantine Constantinople
• Byzantium 1200, a project aimed at creating computer reconstructions of the Byzantine monuments located in Istanbul as of the year 1200 AD.

Coordinates: 41°00′44″N 28°58′34″E / 41.01224°N 28.976018°E / 41.01224; 28.976018

The Residents are an American art collective best known for avant-garde music and multimedia works. The first official release under the name of The Residents was in 1972, and the group has since released over sixty albums, numerous music videos and short films, three CD-ROM projects and ten DVDs. They have undertaken seven major world tours and scored multiple films. Pioneers in exploring the potential of CD-ROM and similar technologies, The Residents have won several awards for their multimedia projects. Ralph Records, a record label focusing on avant-garde music, was started by The Residents.

Throughout the group's existence, the individual members have ostensibly attempted to operate under anonymity, preferring instead to have attention focused on their art output. Much outside speculation and rumor has focused on this aspect of the group. In public, the group appears silent and costumed, often wearing eyeball helmets, top hats and tuxedos - a long-lasting costume now recognized as their signature iconography. Their albums generally fall into two categories: deconstructions of Western popular music, or complex conceptual pieces, composed around a theme, theory or plot. They are noted for surrealistic lyrics and sound, disregard for conventional music composition, and the over the top, theatrical spectacle of their live performances.

History[link]

Origins[link]

The Residents hail from Shreveport, Louisiana, where they met in high school in the 1960s. In 1966 the members headed west for San Francisco, but after their truck broke down in San Mateo, California, they decided to remain there.

While attempting to make a living, they began to experiment with tape machines, photography, and anything remotely to do with art that they could get their hands on. Word of their experimentation spread and in 1969, a British guitarist and multi-instrumentalist named Phil Lithman^[1] and the mysterious N. Senada (whom Lithman had picked up in Bavaria where the aged avant-gardist was recording birds singing) paid them a visit, and decided to remain.

The two Europeans would become great influences on the band. Lithman's guitar playing technique earned him the nickname Snakefinger, after his frantic playing on the violin during the performance with the Residents at The Boarding House in San Francisco 1971, where his fingers' speed made them look like snakes in the eyes of the less-musically proficient, but imaginative Residents.

The group purchased crude recording equipment, instruments and began to make tapes, refusing to let an almost complete lack of musical proficiency stand in the way. Like all information pertaining to the early days of the band, this is provided by The Cryptic Corporation and may or may not be invented.

1969–1972: Residents Unincorporated[link]

In 1969 the group began to make the first of their unreleased tapes. Rumors have surfaced of two (of perhaps hundreds) unreleased reel-to-reel items titled Rusty Coathangers for the Doctor and The Ballad of Stuffed Trigger. The actual titles are in question (as is the notion that these were album-length recordings), but the first title has been confirmed by a former head of the now defunct Smelly Tongues fan club. Further evidence of pre-1970 recordings surfaced with the release of the song I Heard You Got Religion, supposedly recorded in 1969, and released originally as a downloadable track from Ralph America in 1999. Cryptic says there are lots of tapes dating back decades, but they were all recorded before the group had officially become The Residents so the band does not consider them to be part of their discography.

The album The Ballad of Stuffed Trigger has never been released in any form.^[2] "Uncle Willie", former Residents fan club president, wrote in his book Uncle Willie's Highly Opinionated Guide to The Residents that, while searching through the band's archives, he came across "a suite named The Ballad of Stuffed Trigger," but not a complete album.

In 1971 the group sent a reel-to-reel tape to Hal Halverstadt at Warner Brothers, since he had worked with Captain Beefheart (one of the group's musical heroes). Halverstadt was not overly impressed with the Warner Bros. Album (He describes it as "okay at best" in Uncle Willie's Cryptic Guide to the Residents), but awarded the tape an "A for Ariginality". Because the band had not included any name in the return address, the rejection slip was simply addressed to "The Residents". The members of the group then decided that this would be the name they would use, first becoming "Residents Unincorporated", then shortening it to the current name.

The first performance of the band using the name "The Residents" was at The Boarding House in San Francisco in 1971. That same year another tape was completed called Baby Sex. The original cover art for the tape box was a silk-screened copy of an old photo depicting a woman fellating a small child. (Considered artistically rude at that time, it would be viewed as child pornography today).

In 1972 they moved to San Francisco and formed Ralph Records.^[3] By this time, The Cryptic Corporation was operating as a partnership and incorporated to take over the running of Ralph Records.

1972–1980: Album era[link]

Before the Santa Dog single and while recording Meet the Residents, The Residents undertook one of their first major projects: the ambitious Vileness Fats film project. Intended to be the first-ever long form music video, The Residents saw this project as the opportunity to create the ultimate cult film. After four years of filming (from 1972 to 1976) the project was reluctantly canceled because of time, space and monetary constraints. Fifteen hours of footage were shot for the project yet only about three-quarters of an hour of that footage has ever been released.

Santa Dog is considered by The Residents themselves and their fans to be the "official" start of the band's recorded output. This is so because it was the first to be released to the public. Shortly after this release, the band left San Mateo and relocated to San Francisco. They sent copies of Santa Dog to west coast radio stations with no response until Bill Reinhardt, program director of KBOO-FM in Portland, Oregon received a copy. Santa Dog had the strange kind of sonic weirdness he was looking for and it was played heavily on his popular (Radio Lab) show. Bill met The Residents at their Sycamore St. studio in the summer of 1973 with the news of his broadcasts. They were overjoyed that they had finally got media acceptance and he was celebrated with the news that KBOO was the first station to play a Residents record on the air. Inviting him in and treating him like family, The Residents gave Reinhardt exclusive access to all their eclectic recordings, including copies of the original masters of Stuffed Trigger, Baby Sex and the Warner Bros. Album. He promoted these along with Meet the Residents regularly on his radio program. There was considerable resistance to the commercial viability of Residents material. To aid in their promotion, Bill was given 50 of the first 1,000 copies of Meet the Residents. Some were sent to friends, listeners and critics and two dozen were left for sale on consignment at Music Millennium Records where they sat unsold for months. KBOO DJ, Barry Schwam (Schwump, who also recorded with The Residents) promoted them on his program as well. Eventually KBOO airplay attracted many loyal fans and Portland became the epicenter of a worldwide cult phenomenon.

The Residents, at this time, were at a rough point in their career. According to official Residents lore, there was internal turmoil which resulted in a large, "embarrassing" food fight; they decided to resolve this tension in 1974 by recording what would later become Not Available —representative of N. Senada's Theory of Obscurity taken to its logical conclusion. The album was recorded and then placed in storage in order to be issued only when everyone had forgotten about it. However, contractual obligations related to the much-delayed release of Eskimo forced its release in 1978 after the band had almost forgotten about it. The Residents were not bothered by this deviation from their plan since the 1978 decision to release the album would not affect the philosophical conditions under which it was originally recorded.

The Third Reich 'n Roll came next, a pastiche on 1960s rock and roll with an overarching Nazi theme, represented visually on the album cover, which featured Dick Clark in an SS uniform holding a carrot, with a number of Hitlers dancing on clouds behind him. On each side of the record was a single composition, approximately 17½ minutes long, using recordings of classic rock and roll songs that were spliced, overdubbed and edited with new vocals, instrumentation and tape noises.^[3] The original songs were finally removed leaving entirely new and bizarre performances. The music video for this album was shot on the sets that were built for Vileness Fats.

Following The Third Reich 'n' Roll came Fingerprince, a particularly ambitious project not unlike the earlier Not Available recordings. The band's original intention with Fingerprince was to release it as the very first "three-sided" album – they had found a way to simulate a third side by arranging the grooves on one side of the vinyl album to play a completely different program of tracks depending on which series of grooves the needle was dropped on. However, this idea was dropped when the band discovered that the Monty Python comedy troupe had executed the very same idea three years earlier with their Matching Tie and Handkerchief album. The "third side" was later released as an EP titled Babyfingers, and the Babyfingers tracks have since been re-integrated into the Fingerprince album on the CD reissues.

The Residents followed Fingerprince with their Duck Stab/Buster & Glen album – their most easily comprehensible album up to that point. This album got the band some attention from the press (namely NME, Sounds and Melody Maker), and dropped most of their reliance upon the Theory of Obscurity.

Eskimo (1979) contained music consisting of non-musical sounds, percussion, and wordless voices. Rather than being songs in the orthodox sense, the compositions sounded like "live-action stories" without dialogue. The Residents remixed the "songs" in disco style, the results of which appeared on the EP Diskomo. Eskimo was reissued in surround sound on DVD in 2003. Eskimo's cover presents the first instance of the group wearing their signature eyeball masks and tuxedos, which would be featured in many subsequent releases, films, live appearances, and promotional materials.

Commercial Album (1980) consisted of 40 songs, each consisting of a verse and a chorus and lasting one minute.^[3] The songs pastiched the advertising jingle although the songs were not endorsements of known products or services. The liner notes state that songs should be repeated three times in a row to form a "pop song". The Residents purchased 40 one-minute advertising slots on San Francisco's most popular Top-40 radio station at the time, KFRC, such that the station played each track of their album over three days. This prompted an editorial in Billboard magazine questioning whether the act was art or advertising.

When MTV was in its infancy, The Residents' videos were in heavy rotation since they were among the few music videos available to broadcasters. The Residents' earliest videos are in the New York Museum of Modern Art's permanent collection and were eventually released together in 2001 on the Icky Flix DVD, which includes an optional audio track of remixes.

1981-1990: Performance art and concept albums[link]

The Mole Trilogy and The Mole Show (1981-83)[link]

In 1981, a trilogy of albums, starting with Mark of the Mole, was to be released.^[3] A tour ensued, and was narrated nightly by Penn Jillette. The Mole Trilogy is made up of parts I, II and IV. The performance featured The Residents performing behind a burlap screen, occasionally wearing disguises (such as their iconic eyeball masks), while dancers and actors appeared in front of painted backdrops used to help illustrate the story. Penn Jillette would come out between songs telling long intentionally pointless stories. The show was designed to appear to fall apart as it progressed: Penn pretended to grow angrier with the crowd, and lighting effects and music would become increasingly chaotic, all building up to the point where Penn was dragged off stage and returned, handcuffed to a wheelchair, to deliver his last monologue. During one performance, an audience member assaulted Penn while he was handcuffed to the wheelchair.

The 13th anniversary show (1985-86)[link]

After their Japanese distributor approached them for a two-week run in Japan, The Residents created the 13th Anniversary tour. While the musical performance was more mainstream, the stage show was another over-the-top spectacle, featuring inflatable giraffes, dancers in eye ball masks illuminating the darkened stage with work lights, and a lead vocalist who seemed to change costumes throughout the show from wearing his eyeball mask to wearing a Richard Nixon mask, and at one point wearing only a wig and fake ears. After the two-week run in Japan, the Residents took the show through the US. During the US leg of the tour the band encountered a few problems, including having the tour manager having to fan a member's keyboard because of overheating, being booked in a pool hall and having someone run on stage only to be thrown back into the audience.

Backstage at the Hollywood Palace show on December 26, 1985, one member's eyeball mask (Mr. Red Eye) was stolen, so it was replaced with a giant skull mask.^{[citation needed]} The eye was returned by a devoted fan who discovered where the thief lived and stole it back, although Homer Flynn said the person who returned the mask was most probably the thief. It was put into retirement because they said it was "unclean" and in a bad condition—a superfluous shell. After this, the lead Resident was known as Mr. Skull.^{[citation needed]}

The last show of this tour was in January 1987 at The Warfield in San Francisco, with a special appearance by Penn & Teller.^{[citation needed]}

Cube E (1989-1990)[link]

"Cube E" was a three-act performance covering the history of American music. It was a step up from previous shows, featuring more elaborate dance numbers and sets. It was also the first show composed exclusively of music written for the show. The show was almost entirely backlit, with blacklights highlighting fluorescent pieces of costumes and set.

They introduced the first part, which covered cowboy music, on German television as "Buckaroo Blues". It featured the singer and two dancers wearing giant cowboy hats around a glowing campfire. Part two was called "Black Barry" and focused on slave music and the blues. The act ended when a giant cube head rose from the back of the stage. Part three, "The Baby King," featured Elvis songs performed by an elderly Elvis impersonator for his grandchildren. The show ended with an inflated Elvis dying as a result of the British Invasion.

Other works[link]

In the late 1980s, they created the epic recording God in Three Persons, a story about the exploitation of two Siamese twins with healing powers by a male dominant force and The King & Eye, a surreal biography of Elvis Presley and the birth of rock and roll.

1991-97: Multimedia projects[link]

In the 1990s, they created Freak Show. This marked the beginning of The Residents' obsession with emerging computer technology in the 1990s.^[3] Much of the music was made with MIDI devices. Freak Show also served as the name for a CD-ROM released by the Voyager Company on January 1994^[4], shortly after Laurie Anderson's first multimedia CD-ROM experiment, Puppet Motel. Freak Show was also a stage performance by a theater company at the Archa Theater in Prague that premiered on November 1, 1995, and a comic book. Several of the songs were also performed live during the 1997 25th anniversary concerts at the Fillmore in San Francisco. After the CD-ROM's success, the album was re-released as The Freak Show Soundtrack with a different cover. A limited edition, The Freak Show Special Edition, was released in 2002 to mark their 30th anniversary.

Other multimedia projects by The Residents included The Gingerbread Man and Bad Day on the Midway.

1998-2008: Tours and storytelling projects[link]

Wormwood (1998-99)[link]

Based on Bible stories, Wormwood featured the Residents departing from pre-programmed music and again using a live band. The band wore ecclesiastical robes and performed in a brightly lit fluorescent cave. The male and female lead singers switched leads, depending on what characters they needed. Act one consisted of one-off stories about individual Bible characters. Act 2 focused on suites of songs about Bible figures such as Abraham, Moses, and King David. During a performance in Athens, Greece, Nolan Cook, their guitarist, had to leave the stage after taking a rock to the head from an audience member.

Demons Dance Alone and Animal Lover (2002-05)[link]

The Residents recorded the dramatic album Demons Dance Alone (also a tour and DVD in 2002) and Animal Lover in 2005. Singer Molly Harvey began as a Ralph employee but by the mid-90s contributed to virtually all of The Residents' many projects. The Residents' increased reliance on Harvey, essentially handing her half of the vocal duties since at least Demons Dance Alone, parallels their artistic revitalization. Nolan Cook, Carla Fabrizio, Toby Dammit, Eric Drew Feldman, and many other artists continuously worked with the band over the last five years, recording and performing live. The new artists helped to counter what Allmusic derided as a "sonic palette [confined to] factory presets from their new Macintosh audio" of the CD-ROM era.^[5]

In February 2005, The Residents toured Australia as part of the What is Music? festival, performing a two hour retrospective set titled the 33rd Anniversary Tour: The Way We Were. These shows saw a fairly minimal band; three eyeball-headed Residents (one on guitar and two laptop/sample operators), a "stage hand" performer, and a male and female vocalist in costumes reminiscent of the Wormwood Tour. Video projections and unusual flexible screens were added to the stage set, creating an unsettling ambiance. The performances on the Way We Were tour were recorded and were released on CD and DVD in 2005.

Storytelling projects (2006-09)[link]

Summer of 2006 brought the internet download project, River of Crime (Episodes 1–5). River of Crime was their first project with Warner Music Group's Cordless Label. Following the success of River of Crime, The Residents launched their weekly Timmy video project on YouTube. In 2007 they did the music for the documentary Strange Culture and also released a double instrumental album, Night of the Hunters. On the Fourth of July, 2007, the planned October release of their latest project with Mute Records, The Voice of Midnight (a music theater adaptation of E.T.A. Hoffmann's short story "Der Sandmann"), was announced on their website.

On the May 21 they announced on their website that their first North America tour since Demons Dance Alone for a project titled The Bunny Boy was set to begin on October 9 in New York – later an earlier date was added for Santa Cruz. Soon, it was announced that the tour would also include Europe, starting November 13. On June 3, the Residents.com website boasted the planned release of The Bunny Boy which was released on September 1. The website had posted information in which Foxboro claimed this would be a Farewell Tour; it was later revealed that this was nothing more than a mistake by Foxboro.

November 3, 2009 saw three new releases. The Ughs! is a mostly instrumental album made up of music composed earlier in their career, which had been completely reworked for the Voice of Midnight album. Ten Little Piggies is a futurist compilation, ten songs from projects that may or may not be released in the future. Finally Is Anybody Out There is a DVD collecting all the Bunny Boy videos from the series posted on YouTube. The episodes are streamlined and not exactly the same as the originals.

2010-present: Talking Light and beyond[link]

In January 2010 the Residents began a series of tours titled Talking Light, touring North America and Europe. During the tours, which lasted until April 2011, The Residents appeared as a trio (with the explanation that the fourth member "Carlos" had grown tired of the music business and "gone home" to Mexico to care for his mother) and adapted new identities and costumes. The singer, Randy, wore an old man mask, and the other two, keyboardist Chuck and guitarist Bob, wore dread lock wigs and some kind of illuminated optical gear over their faces. The songs were stories about various characters' obsessions with ghosts, imaginary people and supernatural phenomena. One of these performances was featured as part of the edition of the All Tomorrow's Parties festival curated by Matt Groening in May 2010 in Minehead, England. The band released several albums related to the Talking Light concept, including the instrumental albums Dollar General and Chuck's Ghost Music, live album Bimbo's Talking Light, and studio album Lonely Teenager.

In October and November 2011, the Residents presented an early version ofSam's Enchanted Evening at The Marsh performance center in Berkeley, with the lead singer appearing as Randy Rose.^[6]. A new version of "Sam's Enchanted Evening" was subsequently performed in March 2012 at Henry Street Settlement in New York City in a production directed by Travis Chamberlain, co-starring Joshua Raoul Brody and Jibz Cameron (aka, Dynasty Handbag).

On January 10, 2012, The Residents released "Coochie Brake"; it focused on an ambient, slightly ethnic sound, with lyrics in Spanish spoken by, apparently, a new singer.

Identity[link]

Much of the speculation about the members' true identities swirls around their management team, known as "The Cryptic Corporation."^[7] Cryptic was formed as a corporation in California by Jay Clem (born 1947), Homer Flynn (born April 1945), Hardy W. Fox (born 1945), and John Kennedy in 1976, all of whom denied having been band members. (Clem and Kennedy left the Corporation in 1982, much to the chagrin of some fans.^[8]) The Residents themselves do not grant interviews, though Flynn and Fox have conducted interviews with the media.

Nolan Cook, a prominent collaborator with the group in both their live and studio work (as well as being a live member of I Am Spoonbender), denied in an interview that Fox and Flynn are the Residents, saying that he has come across such rumors, and they are completely false. However, Cook himself is considered a member of the band by some, as he is known to wear the same head coverings as the rest of the group during live shows, even wearing the trademark eyeball mask during the Wormwood tour.

William Poundstone, author of the Big Secrets books, compared voiceprints of a Flynn lecture with those of spoken word segments from the Residents discography in his book Biggest Secrets. After noting similar patterns in both, he concluded "the similarities in the spectograms second the convincing subjective impression that the voices are identical." He posited that "It is possible that the creative core of the Residents is the duo of Flynn and Fox." A subset of that belief is that Flynn is the lyricist and that Fox writes the music. In addition BMI's online database of the performance rights organization (of which the Residents and their publishing company, Pale Pachyderm Publishing (Warner-Chappell), have been members for their entire careers), lists Flynn and Fox as the composers of all original Residents songs. This includes those songs written pre-1974 (the "Residents Unincorporated" years), the year Cryptic formed.^[9]

Simon Reynolds wrote in his book Rip It Up and Start Again: Post Punk 1978-1984 that "The Residents and their 'representatives' were one and the same",^[10] elaborating on one of his blogs that "this was something that anybody who had any direct dealings with Ralph figured out sooner rather than later." Reynolds quotes Helios Creed, who identifies The Residents as a keyboardist named "H", a singer named Homer, and "this other guy called John"; and Peter Principle of Tuxedomoon, who claims that "we eventually figured out that the guy doing the graphics and the engineer in the studio were in fact the Residents."^[11]

Cryptic openly admits the group's artwork is done by Flynn (among others), under various names that, put together, become Pornographics, but the pseudonym is rarely spelled the same way twice (examples: Porno Graphics, Pore No Graphix, Pore-Know Graphics); and that Fox is the "sound engineer" — meaning that he is the main producer, engineer, master, and editor of all their recordings. (Since 1976, the Residents' recordings have all listed their producer as "The Cryptic Corporation," presumably meaning Fox in particular.) Many other rumors have come and gone over the years, one being that 60s experimental band Cromagnon shared members with the band.

Most recently, the group's Facebook presence lists the members of the Residents as "Randy, Chuck and Bob." Furthermore, a synopsis for their 2012 stage production Sam's Enchanted Evening provides the name Randy Rose as that of "the Residents' lead singer." While it is clear that the Cryptic Corporation has chosen to share this information publicly, no further confirmation--nor any context as to the roles of "Chuck" and "Bob" in the group, or if these names are, indeed, the names of the group's members--appears to have been issued to date.

Discography[link]