The Death of Christian Britain
The Death of Christian Britain
The Death of Christian Britain
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— <strong>The</strong> <strong>Death</strong> <strong>of</strong> <strong>Christian</strong> <strong>Britain</strong> —<br />
familiar and common, not just on Sunday afternoons playing at bandstands<br />
in public parks, but on Saturdays and weekday evenings playing at street<br />
corners. Mr J. Partridge recalled how in Hackney during his childhood in<br />
the 1900s ‘Salvation Army bands on a Sunday morning, used to come and<br />
play, and you’d all turn out and listen to that or open your windows’. 98<br />
<strong>The</strong>ir repertoire was dominated by religious hymns and psalms, and their<br />
familiarity made them well known in daily life. Interviewees recall the<br />
singing <strong>of</strong> hymns on works outings and even in workplaces, especially<br />
among women millworkers, pitbrow lasses, fishermen, fish gutters and<br />
miners. 99 Music was one <strong>of</strong> the important male connections to religiosity.<br />
<strong>The</strong> rise <strong>of</strong> the brass band from the 1870s in the working-class communities<br />
<strong>of</strong> the Midlands, northern England, South Wales and central Scotland<br />
created a characteristic male world, combining the masculinity <strong>of</strong> militaristic<br />
uniforms, the machismo <strong>of</strong> the brass instrument, and the religious content<br />
<strong>of</strong> the sacred music. To this was added the male voice choir in Wales which,<br />
uniquely in <strong>Britain</strong>, developed a strong and enduring association with<br />
Nonconformist religion. And organ music was not confined to churches.<br />
When the movies came to Barrow-in-Furness in the 1900s they were<br />
screened at an open-air fairground in the Market Square with ‘a beautiful<br />
organ on the front, a huge organ right across the front <strong>of</strong> the marquee’<br />
playing ‘gorgeous’ hymns and classical music which attracted people in<br />
their hundreds. 100 Even modern cultural forms, with ‘secular’ content, could<br />
be surrounded with religious symbols.<br />
Music was also an important religious theme in the home. Many interviewees,<br />
mostly <strong>of</strong> upper-working-class or middle-class parents, recall<br />
Sunday evenings between the 1870s and 1910s around a piano or harmonium<br />
singing psalms and hymns. Religious music in the home was not just<br />
an addition but sometimes a substitute for formal church connection – as<br />
a Scripture Reader discovered whilst door-to-door evangelising in Islington<br />
in about 1898:<br />
55 Popham Road: Mrs Hooker. Had conversation upon spiritual<br />
matters. Is rather sceptical: sometimes thinks there is a heaven, and<br />
sometimes she thinks there is not, but she certainly did not believe<br />
there is a hell. She does not attend a place <strong>of</strong> worship; they generally<br />
had some music at home, which she thinks is as good as going to<br />
church. 101<br />
Reginald Collins from Liverpool recalled the family singing in the 1900s<br />
and 1910s: ‘We used to sing together but not organised. Me dad used to<br />
sing. He used to – he used to sing some wonderful songs. Moody and<br />
Sankey’s hymns, you know. And “Blind Boy”, I remember him – remember<br />
him cry – we cried over that, yes.’ 102<br />
Boys, however, had severe problems with churches. Whilst girls loved<br />
wearing Sunday-best dresses, and revelled in the recollection in oral<br />
138