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Theme from New York, New York
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"Theme from New York, New York"
Single by Liza Minnelli
from the album New York, New York
Released
June 21, 1977
Genre
Traditional pop
Length
3:16
Label
Capitol
Songwriter(s)
Fred Ebb, John Kander
"Theme from New York, New York"
Single by Frank Sinatra
from the album Trilogy: Past Present Future
Released
1980
Format
7" single
Recorded
1979
Genre
Jazz
Length
3:26
Label
Reprise
Songwriter(s)
Fred Ebb, John Kander
Producer(s)
Sonny Burke
Frank Sinatra singles chronology
"Night and Day"
(1977) "Theme from New York, New York"
(1980) "You and Me (We Wanted It All)"
(1980)
"Night and Day"
(1977) "Theme from New York, New York"
(1980) "You and Me (We Wanted It All)"
(1980)
"Theme from New York, New York" (or "New York, New York") is the theme song from the Martin Scorsese film New York, New York (1977), composed by John Kander, with lyrics by Fred Ebb. It was written for and performed in the film by Liza Minnelli. It remains one of the best-known songs about New York City. In 2004 it finished #31 on AFI's 100 Years...100 Songs survey of top tunes in American cinema.
Contents
[hide]
1 History
2 Certifications
3 In popular culture
4 Parodies
5 See also
6 References
7 External links
History[edit]
In 1979, "Theme from New York, New York" was re-recorded by Frank Sinatra for his album Trilogy: Past Present Future (1980), and has since become closely associated with him. He occasionally performed it live with Minnelli as a duet. Sinatra recorded it a second time for his 1993 album Duets, with Tony Bennett.
The first line of the song is:
Start spreadin' the news, I'm leaving today
I want to be a part of it: New York, New York.
The song concludes with the line:
If I can make it there, I'm gonna make it anywhere,
It's up to you, New York, New York.
Minnelli's original recording of the song (also used in the Tony Bennett version in Duets) uses the following closing line:
If I can make it there, I'll make it anywhere,
Come on come through, New York, New York.
It should not be confused with the song "New York, New York", from Leonard Bernstein/Adolph Green/Betty Comden's musical On the Town (1944), which features the lyric "New York, New York, it’s a helluva town / The Bronx is up and the Battery's down..."
Composers Kander and Ebb stated on the A&E Biography episode about Liza Minnelli, that they attribute the song's success to actor Robert De Niro, who rejected their original theme for the film because he thought it was "too weak".
The song did not become a popular hit until it was picked up in concert by Frank Sinatra during his performances at Radio City Music Hall in October 1978. (It was not even nominated for the Academy Award for 'Best Song'). Subsequently, Sinatra recorded it in 1979 for his 1980 Trilogy set (Reprise Records), and it became one of his signature songs. The single peaked at #32 in June 1980, becoming his final Top Forty charting hit. Sinatra made two more studio recordings of the song in 1981 (for his NBC TV special The Man and His Music) and 1993 (for Capitol Records). From the latter, an electronic duet with Tony Bennett was produced for Sinatra's Duets album.
The lyrics of the Sinatra versions differ slightly from Ebb's original lyrics. Notably, the phrase "A-number-one", which does not appear at all in the original lyrics, is sung twice at the song's rallentando climax. (Ebb has said he "didn't even like" Sinatra's use of "A-number-one").[1] The phrase is both the first and fourth on a list of three superlative titles the singer strives to achieve — "A-number-one, top of the list, king of the hill, A-number-one" — where Ebb's original lyrics (performed by Minnelli) were "king of the hill, head of the list, cream of the crop, at the top of the heap."
Despite Sinatra's version becoming more familiar, original singer Minnelli had two of the tune's most memorable live performances – during the July 4, 1986 ceremony marking the rededication of the Statue of Liberty after extensive renovations, and in the middle of the seventh inning of a New York Mets game, that was the first pro sports event in the metro area after the September 11, 2001 attacks. She also sang it in the Olympic stadium during the 1984 Summer Olympics, accompanied by 24 pianos and strobe lights.
Certifications[edit]
Region
Certification
Certified units/Sales
United Kingdom (BPI)[2]
Silver 250,000^
^shipments figures based on certification alone
In popular culture[edit]
The song has been embraced as a celebration of New York City, and is often heard at New York-area social events, such as weddings and bar mitzvahs. Many sports teams in the New York area have played this song in their arenas/stadiums, but the New York Yankees are the most prominent example. It has been played over the loudspeakers at both the original and current Yankee Stadiums at the end of every Yankee home game since July 1980. Originally, Sinatra's version was played after a Yankees win, and the Minnelli version after a loss.[3] However, due to a complaint from Minnelli, the Sinatra version is now heard regardless of the game's outcome.[4] As of the 2005 season, at the Richmond County Bank Ballpark following Staten Island Yankees games, the Sinatra version is heard regardless of the game's outcome, and was formerly done at Shea Stadium at the end of New York Mets games after the September 11, 2001 attack. Previously, Mets fans felt it was a "Yankee song", and began booing it when it was played. It actually first had snippets of the song played after World Series home runs by Ray Knight and Darryl Strawberry during Game 7 of the 1986 World Series. The song is also sometimes played at New York Knicks games. The Sinatra version is played at the end of every New York Rangers game at Madison Square Garden. It was played at the opening faceoff of Game 7 of the 1994 Stanley Cup Finals at the Garden.[5] The song has also been the post parade song for the Belmont Stakes from 1997 to 2009,[6] and again from 2011 to the present.[7] Sinatra's version of the song has been played at the end of all four Super Bowls that the New York Giants have won to date, as well as before kickoff of Super Bowl XLVIII, while Minnelli's version was heard after the Giants' Super Bowl XXXV loss.
The song was the musical basis for Jimmy Picker's 1983 three-minute animated short, Sundae in New York, which won the Academy Award for Best Short Film (Animated) that year, with a likeness of then-mayor Ed Koch somewhat stumbling through the song, with clay caricatures of New York-based celebrities (including Alfred E. Neuman) and finishing the song with "Basically I think New York is very therapeutic. Hey, an apple a day is...uh...great for one's constitution!" and burying his face in a big banana split with "THE END" written on his bald head. (Koch used the same rallentando climax Sinatra used, albeit with one big difference: "A-number one, top of the list, king of the hill..." followed by his impression of Groucho Marx completing, "...and incidentally a heckuva nice guy!")[8]
An instrumental version of the song is used as the main theme music for NBC's broadcasts of the Macy's Thanksgiving Day Parade. It is also played during the annual Times Square New Year's Day celebrations, immediately after "Auld Lang Syne".[9]
In DreamWorks' Madagascar (2005), the song is introduced in Central Park Zoo, and Marty later sings the song in the midst of Alex the Lion's delirium.[10]
In the 2015 James Bond film Spectre, the instrumental introduction of the song was played inside the Aston Martin DB10 for a few seconds, when Bond presses one of the control buttons during a car chase scene in Rome.
The song can be heard in the pilot episode of Blue Bloods which aired September 24, 2010.
Queen covered the song for the 1986 fantasy film Highlander. Unlike the other songs recorded for the film, it has never appeared on a Queen album.
Parodies[edit]
Swedish comedy group Galenskaparna och After Shave made a version of the song in 1985, called "Borås, Borås", about a town that is the mail order center of Sweden.
Martin Short sang a parody named "North Pole, North Pole" during the 2006 theatrical feature film The Santa Clause 3: The Escape Clause.
Stephen Colbert sang a parody of the song on the 10 June 2014 episode of The Colbert Report. His version talked about New York Gov. Andrew Cuomo's role in the state's success in a hockey tournament.
Professional wrestling team The New Day sang a parody on an episode of WWE Raw the night after they won the Tag Team Championships at SummerSlam in 2015. The episode was filmed at the Barclays Center in Brooklyn.
See also[edit]
New York City portal
"I Love L.A." by Randy Newman
"My Kind of Town", composed by Jimmy Van Heusen and Sammy Cahn
"I Left My Heart in San Francisco", by Tony Bennett, who also covered New York, New York in a duet with Sinatra.
References[edit]
Jump up ^ NPR: 'New York, New York', Present at the Creation
Jump up ^ "British single certifications – Frank Sinatra – New York New York". British Phonographic Industry. Retrieved June 25, 2013. Enter New York New York in the search field and then press Enter.
Jump up ^ Knight, Graham (2005-09-24). "Yankee Stadium". Baseballpilgrimages.com. Retrieved 2014-04-17.
Jump up ^ "10 Facts About Yankee Stadium". Mentalfloss.com. 2008-09-23. Retrieved 2014-04-17.
Jump up ^ Hockey Night in Canada: Game 7 of the 1994 Stanley Cup Finals (television). CBC. 1994-06-14. And Bob (Cole), they're hollering out all the artillery just for you, Sinatra, before the opening faceoff. It can't get any better than that for an excitement standpoint. Dick Irvin, Jr. told Bob Cole just before the opening faceoff, when Sinatra's song was played over the PA system.
Jump up ^ "Belmont Stakes Traditions". Horseracing.about.com. 2010-06-15. Retrieved 2010-10-07.
Jump up ^ "Sinatra's voice returns to Belmont Stakes". boston.com. Associated Press. June 4, 2011. Retrieved June 19, 2012.
Jump up ^ "Sundae in New York video". Zappinternet.com. Retrieved 2014-04-17.
Jump up ^ Ball Drop 2011 on YouTube
Jump up ^ Laurie, Timothy (2015), "Becoming-Animal Is A Trap For Humans", Deleuze and the Non-Human eds. Hannah Stark and Jon Roffe.
External links[edit]
Present at the Creation (segment of NPR radio show Morning Edition about the song)
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Medium format (film)
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This article is about medium-sized film formats. For formats of a different medium, see format (disambiguation).
This article is about medium format films in general. For the specific 120 and 220 film formats, see 120 film.
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Popular examples of Medium Format Film Cameras
A size comparison of medium-format film (left) and 35-mm film. Medium-format film lacks the sprocket holes of 35-mm film.
Medium format has traditionally referred to a film format in still photography and the related cameras and equipment that use[1] film. Generally, the term applies to film and digital cameras that record images on media larger than 24 by 36 mm (full-frame) (used in 35 mm photography), but smaller than 4 by 5 inches (which is considered to be large-format photography).
In digital photography, medium format refers either to cameras adapted from medium-format film photography uses, or to cameras making use of sensors larger than that of a 35 mm film frame. Often, medium-format film cameras can be retrofitted with digital camera backs, converting them to digital cameras, but some of these digital backs, especially early models, use sensors smaller than a 35 mm film frame. As of 2013, medium-format digital photography sensors were available in sizes of up to 40.3 by 53.7 mm, with 60 million pixels for use with commonly available professional medium-format cameras. Sensors used in special applications such as spy satellites can be even larger, but are not necessarily described as medium-format equipment.[citation needed]
In the film world, medium format has moved from being the most widely used film size (1900s through 1950s) to a niche used by professionals and some amateur enthusiasts, but one which is still substantially more popular than large format. In digital, medium format is a very expensive option, with typical brand new all-digital medium-format cameras retailing for $10,000 (Mamiya ZD) to $32,000 (Hasselblad H3D) in 2008.[citation needed]
While at one time or another a variety of medium-format film sizes were produced, today the vast majority of medium-format film is produced in the 6 cm 120 and 220 sizes. Other sizes are mainly produced for use in antique cameras, and many people assume 120/220 film when the term medium format is used.
The general rule with consumer cameras—as opposed to specialized industrial, scientific, and military equipment—is the more cameras sold, the more sophisticated the automation features available. Medium-format cameras made since the 1950s are generally less automated than smaller cameras made at the same time, having high image quality as their primary advantage. For example, autofocus became available in consumer 35 mm cameras in 1977, but did not reach medium format until the late 1990s, and has never been available in a consumer large format camera.
Contents
[hide]
1 Characteristics
1.1 Film handling
1.2 120, 220 and 620
1.3 70 mm film - still versus cine
2 System cameras
3 Digital medium format
4 "Lomography" and other low-budget medium-format cameras
5 See also
6 References
7 External links
Characteristics[edit]
The main benefit of medium-format photography is that, because of the larger size of the film or digital sensor (two to six times larger than 35 mm), images of much higher resolution can be produced. This allows for bigger enlargements and smooth gradation without the grain or blur that would characterize similarly enlarged images produced from smaller film formats. The larger size of the film also allows for better control of the depth of field and therefore more photographic creativity.
Cameras with a bellows typically support 'tilt and shift' of the lens. Together with 1:1 focusing (via a ground glass screen mounted at the rear in the film plane position), this permits landscape photography with an extremely large depth of field — from closest foreground to the far horizon — to be achieved.
Compared with 35 mm, the main drawbacks are accessibility and price. While 35-mm cameras, film, and photo finishing services are generally widely available and cheap, medium format is usually limited to professional photography shops and can be prohibitively expensive. Also, medium-format cameras tend to be bulkier than their 35mm counterpart.
Film handling[edit]
Medium-format film is usually roll film, typically allowing 8 to 32 exposures on one roll of film before reloading is needed. This is fewer than 35 mm cartridges, which typically take 12 to 36 pictures on one roll. This is somewhat offset by the fact that most medium-format systems used interchangeable film magazines, thereby allowing users to switch rolls quickly, allowing them larger numbers of exposures before needing to load new film, or to change film type. Some companies had bulk film backs that used 70mm double-perforated that allowed up to 75 feet of film to be loaded at one time. While rolls of large format film were produced at one time, their use was specialized, typically for aerial cameras installed in military aircraft or printing industry equipment.
Most large format film is sheet film, that is, film where each picture is on a separate piece of film, requiring that the camera be frequently reloaded, usually after every picture, sometimes using magazines of up to five pictures or reduction backs that allow multiple pictures on a single sheet of film. Medium-format sheet film was produced for some cameras, but these cameras tend to be smaller, lighter, and easier to use than large format gear. Sheet film was never commonly used in cameras smaller than medium format.
Film cost per exposure is directly related to the amount of film used, thus, the larger the film size, the more expensive each picture will be. An 8"×10" large format negative is far more expensive than a 6×6 cm medium-format picture, which is substantially more expensive than a frame of 35 mm film.
35 mm cartridges are generally easier to load and unload from a camera than medium-format rolls. A 35 mm cartridge is placed inside a camera, and in most motorized cameras this is all that is needed; the camera loads the film, and rewinds it into the cartridge for removal. Far fewer medium-format cameras are motorized, and medium-format roll film does not have sprocket holes, so loading often requires that marking on the backing paper of the film be lined up with markings on the camera, and on unloading, the backing paper must be carefully secured to protect the film from light.
120, 220 and 620[edit]
Main article: 120 film
Pentax 6×7 format SLR camera with perspective control lens
All medium-format cameras mass-produced today (as of 2012) use the 120 film format. Additionally, many are capable of using the 220 film format, effectively doubling the number of frames available with 120 film. Medium-format roll film is still available from specialty shops and photo labs, yet nowhere near as ubiquitous as 135 (35mm) film.
The 620 format was introduced by Kodak in 1931 as an intended alternative to 120. It was discontinued in 1995. The 620 format is essentially the same film on a thinner and narrower all-metal spool. While 620 film is required on a number of old Kodak Brownie cameras, many of these cameras can accommodate the slightly larger 120 rolls/spools. In other situations where the camera cannot accommodate a 120 spool, the 120 film can be rolled onto a 620 spool in a darkroom or changing bag.
This film is shot in a variety of aspect ratios, which differ depending on the camera or frame insert used. The most common aspect ratios are 6×6 cm (square/1:1) and 6×4.5 cm (rectangular/4:3). Other frequently used aspect ratios are 6×7 cm, 6×9 cm, and 6×17 cm panoramic. The 6×4.5 cm format is usually referred to as "645", with many cameras that use this ratio bearing "645" in their product name. Cameras that can switch to different aspect ratios do so by either switching camera backs, by using a frame insert, or by use of special multi-format backs. All of these dimensions are nominal; actual dimensions are a bit different. For example, 6×7 cm might give an image on film that is actually 56×70 mm; this enlarges exactly to fill an 8×10 sheet of paper. Another feature of many medium-format models is the ability to use Polaroid instant film in an interchangeable back. Studio, commercial and architectural photographers value this system for its ability to verify the focus and exposure.
70 mm film - still versus cine[edit]
For some professional medium-format cameras, those used in school portraiture for example, long-roll film magazines were available. Most of these accommodated rolls of film that were 100 ft (30.5 m) long and 70 mm wide, sometimes with perforations, sometimes without. Some cameras, such as the Hasselblad, could be equipped with film magazines holding 15 foot rolls of double perforated 70mm film passed between two cassettes. 70 mm was a standard roll film width for many decades, last used as late as the 1960s for 116 and 616 size roll films. It was also used for aerial photo-mapping, and it is still used by large format cinema systems such as IMAX.
70mm film used in still cameras, like Mamiya and Hasselblad, and 70mm print film used in IMAX projectors have the same gauge or height as 120 film. With 70mm cine projector film, the perforations are inset by 2.5mm to make room for the old-style optical sound tracks; a standard established by Todd-AO in the 1950s. IMAX cameras use 65mm film, which have perforations and pitch that match-up to the 70mm film used in IMAX projectors.
System cameras[edit]
Mamiya 645 Super and its possible configurations
1– Camera body ; 2– Lenses ; 3– Focusing screens ; 4– Power drive ; 5– Wind-up crank ; 6– Metered prism finder ; 7– Prism finder ; 8– Waist level finder ; 9– 120 roll film holder loaded with a film X ; 10– 120 roll film holder loaded with a film Y ; 11– 220 roll film holder, 35 mm roll film holder, Polaroid land pack film holder, digital back (only for more recent models), etc. ; 12– Cable release adapter
Many professional medium-format cameras are system cameras, which means that they have various interchangeable parts. Like most 35 mm SLRs, these cameras usually support different lenses, but in addition it is also standard for medium-format system cameras to support different winding mechanisms, viewfinders, and camera backs. This flexibility is one of the primary advantages of medium-format photography.
Digital medium format[edit]
Digital photography came to the medium-format world with the development of digital camera backs, which can be fitted to many system cameras. Digital backs are a type of camera back that have electronic sensors in them, effectively converting a camera into a digital camera. These backs are used predominantly by professional photographers. As with film, due to the increased size of the imaging chip (up to twice that of a 35 mm film frame, and thus as much as 40 times the size of the chip in a typical pocket point-and-shoot camera) they deliver more pixels than consumer-grade cameras, and have lower noise. Features like fan cooling also improve the image quality of studio models.
This market began in 1992 when Leaf Systems Inc. released their first digital camera back (4 Megapixels), named the "DCB" (often described as 'a brick'). Initially mounted on Sinar Studio cameras, the camera backs were later moved to medium-format units. By the late 1990s, a number of companies produced digital camera backs of various types.
In the 2000s, the number of vendors of both high-end medium-format camera systems and digital backs began to decrease. The performance of digital SLRs cut into the sale of film-based medium-format systems, while the tremendous development expenses for medium-format digital systems meant that not all vendors could profitably compete. Contax and Bronica ceased production of cameras, Kodak stopped making their DCS series of backs, and camera and back manufacturers began to integrate.
Camera maker Hasselblad merged with digital imaging firm Imacon and partnered with Fuji to design and produce a new line of digital-friendly medium-format cameras, the H-Series. Since the manufacturer plans to sell digital backs integrated with the camera, other makers of digital backs are far less likely to be able to sell backs for this camera.
Camera maker Mamiya has developed the Mamiya ZD back, but also announced a partnership with back maker Phase One. Camera maker Sinar was taken over in stages by the digital camera back manufacturer and developer Jenoptik, and partnered with Rollei for the development of the Hy6 medium-format camera systems. DHW Fototechnik presented at photokina 2012 an updated version of the Hy6, called the Hy6 Mod2.[2]
The Leaf Aptus 75S digital back offers 33MP resolution, with a shooting speed of 50 frames a minute. In early 2006 Hasselblad (H2D and H3D) and Phase One (P45) released a 39 megapixel back. In 2008, Phase One announced the P65+, a 60 megapixel back, the highest resolution single-shot digital back at that time (2008). Phase One continues to dominate high end non-interpolated imaging with the largest market share. Sinar continues to provide its primary Digital View Camera system while still supporting the HY6 medium format with a new platform independent eSprit 65 LV digital camera back. On 20 September 2010, Leaf released a 80MP digital back, the Aptus-II 12.[3] The Leaf Aptus-II 12's sensor size of 53.7 mm x 40.3 mm is 60% of the area of a 60 mm x 60 mm standard-sized frame, and 40% of the area of a 60 mm x 90 mm frame (however a 6x6 full-frame film exposure will still yield significantly larger amounts of detail[citation needed]).
Available since December 2010, Pentax 645D is 40 megapixel medium-format DSLR. The camera has 44x33 mm image sensor and the raw file is in DNG format. It is the first digital version of the company's 645 medium-format camera system and it is compatible with the existing 645 system lenses.[4]
In early 2014, for the first time Medium format uses CMOS sensor instead of CCD sensor for better image quality mainly in High ISO with a dynamic range of up to 14 f-stops. Phase One and Hasselblad use the same 50MP CMOS sensors made by Sony.[5][6] Similarly, the Pentax 645Z uses a 51.4 MP CMOS sensor.[7]
"Lomography" and other low-budget medium-format cameras[edit]
This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (April 2013) (Learn how and when to remove this template message)
Baldafix folding camera, one of a large number of old folding cameras which used medium-format film, with a roll of 120 film
While most professional medium-format cameras are very expensive, some inexpensive plastic imports, such as Diana and Holga, are gaining in popularity, particularly with toy camera enthusiasts. Many of these cameras are sold through the Austrian Lomographische AG. Due to the poor quality of the cameras, the exact image captured on the negative is somewhat random in nature. These cameras often have plastic lenses that offer poor or uneven focus, light leaks that oddly colorize an image, extreme vignetting, and a multitude of other attributes that are generally undesirable to photographers. While these elements certainly are flaws from the point of view of camera design, they can produce interesting, artistic, or enjoyable results. Because of the popularity of lomography and toy camera culture, medium-format photography has seen a resurgence with amateur photographers. Twin-lens reflex cameras (TLRs) and folders without the distortion and light leaks can be purchased on the used market in the same price range.
The Chinese Seagull TLR and medium-format cameras from the former Soviet Union such as the Russian Lubitel and somewhat better made Ukrainian Kiev-Arsenal 60 and 88 are also available at moderate prices. These cameras can deliver quality images, although the lenses and camera bodies are not at the level of those from Swedish, German, and Japanese manufacturers. Depending on the condition of the camera, they can produce images ranging from Lomographic to images close to the European and Japanese counterparts.
Used folding cameras, TLRs, and box cameras are also a cheap option to shoot medium format. Many U.S.-made folders, including most of the mass-produced Kodak folders use the discontinued 620 film requiring the user to respool 120 film or modify the film spool to fit.
See also[edit]
Alpa
Bronica
DHW Fototechnik
Hasselblad
Leica
Linhof
Mamiya
Minolta
Phase One
Press camera
Rolleiflex
References[edit]
Jump up ^ that
Jump up ^ "DHW Fototechnik unveils new version of Hy6 digital medium-format camera".
Jump up ^ "Leaf Aptus-II 12 digital camera back". Leaf Imaging Ltd. 20 September 2010.
Jump up ^ "Official Pentax web side on the Pentax 645D".
Jump up ^ "Phase One announces IQ250 50MP CMOS medium-format back". January 24, 2014.
Jump up ^ "Hasselblad replaces CEO, announces 50MP CMOS medium-format camera". January 21, 2014.
Jump up ^ "CMOS DEF". Popular Photography. 78 (7): 18. July 2014. |access-date= requires |url= (help)
External links[edit]
DHW Fototechnik (Manufacturer of the digital and analogue Rolleiflex medium-format cameras) English and German
Medium-format camera and film Film Photography Guide
Choosing a medium-format camera on Photo.net
Buying classical cameras - medium format by David Silver
The Medium Formats Overview by Roger W. Hicks
Configurations of various cameras - Camerabacks - Lens
Is a medium format camera right for you? British journal of photography
Rollei Repair Shops and Related Services worldwide by Ferdi Stutterheim
Retrieved from "https://en.wikipedia.org/w/index.php?title=Medium_format_(film)&oldid=822100320"
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Young Turk Revolution
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Young Turk Revolution
Part of the collapse of the Ottoman Empire

Declaration of the Young Turk Revolution by the leaders of the Ottoman millets in 1908
Date
1908
Location
Ottoman Empire
Result
Young Turks victory
Second Constitutional Era begins
Reinstatement of the parliament
Reinstatement of the 1876 constitution
Belligerents
Young Turks Ottoman government
Commanders and leaders
Sultan Abdul Hamid II
Part of a series on the
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The Young Turk Revolution (July 1908) of the Ottoman Empire was when the Young Turks movement restored the Ottoman constitution of 1876 and ushered in multi-party politics in a two stage electoral system (electoral law) under the Ottoman parliament. More than three decades earlier, in 1876, constitutional monarchy had been established under Sultan Abdul Hamid II during a period of time known as the First Constitutional Era, which only lasted for two years before Abdul Hamid suspended it and restored autocratic powers to himself. On 24 July 1908, Abdul Hamid capitulated and announced the restoration of Constitution, which established the Second Constitutional Era. After an attempted monarchist counterrevolution in favor of Abdul Hamid the following year, he was deposed and his brother Mehmed V ascended the throne.
Once underground, organizations (named committee, group, etc.) established (declared) their parties.[1] Among them "Committee of Union and Progress" (CUP), and "Freedom and Accord Party" also known as the Liberal Union or Liberal Entente (LU) were major parties. There were smaller parties such as Ottoman Socialist Party. On the other end of the spectrum were the ethnic parties which included; People's Federative Party (Bulgarian Section), Bulgarian Constitutional Clubs, Jewish Social Democratic Labour Party in Palestine (Poale Zion), Al-Fatat, and Armenians organized under Armenakan, Hunchakian and Armenian Revolutionary Federation (ARF). ARF, previously outlawed, became the main representative of the Armenian community in the Ottoman Empire,[2] replacing the pre-1908 Armenian elite, which had been composed of merchants, artisans, and clerics who had seen their future in obtaining more privileges within the boundaries of the state's version of Ottomanism.
Contents
[hide]
1 Background
2 Revolution
3 Aftermath
4 Bibliography
5 References
6 External link
Background[edit]
See also: Decline and modernization of the Ottoman Empire
Countering the conservative politics of Abdul Hamid's reign was the amount of social reform that occurred during this time period. The development of a more liberal environment in Turkey strengthened the culture, and also provided the grounds for the later rebellion. Abdulhamid's political circle was close-knit and ever changing. When the sultan abandoned the previous politics from 1876, he suspended the Ottoman Parliament in 1878. This left a very small group of individuals able to partake in politics in the Ottoman Empire.[3]
In order to preserve the legacy of the Ottoman Empire, many Turks felt a need for modernization of the country. However, Abdulhamid's method of rule was not in line with the developing nation. The origins of the revolution lie in the organization of two political factions. Neither agreed with Abdulhamid's reign, but each had separate interests. The Liberals were the upper class groups in the Ottoman Empire, and desired a more relaxed form of government with little economic interference. They also pushed for more autonomy of the different ethnic groups, which became popular among foreigners in the empire. In a slightly lower class formed a different group- the Unionists. Members were of working class, and foremost wanted a secular government. These two groups initially formed out of the same intent- to return to the old constitution, but cultural differences divided them.[3]
Revolution[edit]
Members of the military tradition, military officers, among the Young Turks revolted. The defense of their shrinking state had become a matter of intense professional pride which caused them to raise arms against their state. The event that triggered the Revolution was a meeting in the Baltic port of Reval between Edward VII of the United Kingdom and Nicholas II of Russia in June 1908. Though these imperial powers had experienced relatively few major conflicts between them over the previous hundred years, an underlying rivalry, otherwise known as "the Great Game", had exacerbated the situation to such an extent that resolution was sought. The Anglo-Russian Convention of 1907 brought shaky British-Russian relations to the forefront by solidifying boundaries that identified their respective control in Persia (eastern border of the Empire) and Afghanistan. Military officers fearing the meeting was a prelude to the partition of Macedonia, Army units in the Balkans mutinied against Sultan Abdülhamid II. A desire to preserve the state, not destroy it, motivated the revolutionaries.
The revolt began in July 1908.[4] Major Ahmed Niyazi, fearing discovery of his political moves by an investigatory committee sent from the capital, decamped from Resen on July 3 with 200 followers demanding restoration of the constitution. The sultan's attempt to suppress this uprising failed due to the popularity of the movement among the troops themselves. Rebellion spread rapidly due to the ideology of Ottomanism.
On July 24, sultan Abdul Hamid II capitulated and announced restoration of the 1876 constitution.[5]
Revolution
Demonstration in the Sultanahmet
Hristo Chernopeev's band, which will be part of march in deposing the countercoup
Flyer for the new constitution
Flyer for the new constitution
Greek lithograph celebrating the new constitution and the promised equality and brotherhood among the Ottoman subjects
Report about anarchic situation caused by Arnaut movement and terror in the Bitola Vilayet. (16 October 1909)
Aftermath[edit]
See also: Second Constitutional Era
The Ottoman general election, 1908 took place during November and December 1908. On the seventeenth of December, the Committee of Union Progress, a unionist organization, won a majority in the parliament. The Senate of the Ottoman Empire reconvened for the first time in over 30 years on December 17, 1908 with the living members from the First Constitutional Era. The Chamber of Deputies' first session was on 30 January 1909. These developments caused the gradual creation of a new governing elite. In some communities, such as the Jewish (cf. Jews in Islamic Europe and North Africa and Jews in Turkey), reformist groups emulating the Young Turks ousted the conservative ruling elite and replaced them with a new reformist one.
While the Young Turk Revolution had promised organizational improvement, once instituted, the government at first proved itself rather disorganized and ineffectual. Although these working-class citizens had little knowledge of how to control a government, they imposed their ideas on the Ottoman Empire. In a small Liberal victory, Kâmil Pasha, a Liberal supporter and ally to England, was appointed as the Grand Vizier on 5 August 1908. His policies helped to maintain some balance between the Committee of Union Progress and the Liberals, but conflict with the former led to his removal barely 6 months later, on 14 February 1909.[6]
The Sultan maintained his symbolic position, and in April 1909 attempted to seize power (Ottoman countercoup of 1909) by stirring populist sentiment throughout the Empire. The Sultan's bid for a return to power gained traction when he promised to restore the caliphate, eliminate secular policies, and restore the sharia-based legal system. On April 13, 1909, army units revolted, joined by masses of theological students and turbaned clerics shouting, "We want Sharia", and moving to restore the Sultan's absolute power. The 31 March Incident, on April 24, 1909 reversed the actions and restored the parliament by the Hareket Ordusu commanded by Mahmud Shevket Pasha. The deposition of Abdul Hamid II in favor of Mehmed V followed.
Bibliography[edit]
Campos, Michelle (2010). Ottoman Brothers: Muslims, Christians, and Jews in Early Twentieth-Century Palestine. Stanford, CA: Stanford University Press. ISBN 9780804776783.
Erickson, Edward (2013). Ottomans and Armenians: A Study in Counterinsurgency. Palgrave Macmillan. ISBN 1137362200.
Hanioğlu, M Şükrü (2001), Preparation for a Revolution: The Young Turks, 1902–1908, Oxford University Press, ISBN 0-19-513463-X .
Benbassa, Esther (1990), Un grand rabbin sepharde en politique, 1892‐1923 [A great sephardic Rabbi in politics, 1892–1923] (in French), Paris, pp. 27–28 .
Wikimedia Commons has media related to Young Turk Revolution.
Christian Rakovsky, The Turkish Revolution, August 1908
References[edit]
Jump up ^ (Erickson 2013, p. 32)
Jump up ^ Zapotoczny, Walter S. "The Influence of the Young Turks" (PDF). W zap online. Retrieved 11 August 2011.
^ Jump up to: a b Ahmad, Feroz (July 1968). "The Young Turk Revolution". Journal of Contemporary History. 3, The Middle East (3): 19–36. JSTOR 259696.
Jump up ^ The Encyclopædia Britannica, 15th Edition, 1983, page 788, Volume 13
Jump up ^ Quataert, Donald (July 1979). "The 1908 Young Turk Revolution: Old and New Approaches". Middle East Studies Association BUlletin. 13 (1): 22–29. JSTOR 41890046.
Jump up ^ Somel, Selçuk Akşin (2003). Historical Dictionary of the Ottoman Empire. The Scarecrow Press. p. 147. ISBN 0-8108-4332-3.
External link[edit]
Proclamation of the Young Turks, 1908
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