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'For Victorian Britons, George Bradshaw was a household name. | 0:00:05 | 0:00:08 | |
'At a time when railways were new, | 0:00:09 | 0:00:11 | |
'Bradshaw's guidebook inspired them to take to the tracks.' | 0:00:11 | 0:00:16 | |
I'm using a Bradshaw's Guide to understand how trains transformed | 0:00:16 | 0:00:20 | |
Britain, its landscape, | 0:00:20 | 0:00:22 | |
its industry, society and leisure time. | 0:00:22 | 0:00:26 | |
As I crisscross the country 150 years later, | 0:00:26 | 0:00:30 | |
it helps me to discover the Britain of today. | 0:00:30 | 0:00:33 | |
I'm embarking on a journey that will take me | 0:00:54 | 0:00:56 | |
from England's Midlands to moorlands, | 0:00:56 | 0:00:59 | |
beginning in a region that produced reforms and new ideas | 0:00:59 | 0:01:04 | |
alongside manufactured goods. | 0:01:04 | 0:01:07 | |
Bradshaw will how me to understand how the trains spread not only | 0:01:07 | 0:01:11 | |
the products of industry but arts and education too. | 0:01:11 | 0:01:14 | |
'This week I'm starting my journey in Britain's second-largest city, | 0:01:23 | 0:01:28 | |
'before following the path of the River Severn south past | 0:01:28 | 0:01:31 | |
'great cathedrals to the ancient spas and ports of the south-west, | 0:01:31 | 0:01:36 | |
'ending up in one of Britain's glorious national parks. | 0:01:36 | 0:01:40 | |
'Today's leg starts in the mighty metropolis of Birmingham | 0:01:42 | 0:01:46 | |
'and continues to the carpet town of Kidderminster, | 0:01:46 | 0:01:49 | |
'before arriving in the Roman city of Worcester. | 0:01:49 | 0:01:52 | |
'On this journey I have a blast in Brum... | 0:01:55 | 0:01:58 | |
BLOWS WHISTLE | 0:01:58 | 0:02:00 | |
Brilliant. That's the sound of the railways, isn't it? | 0:02:01 | 0:02:04 | |
'..pay homage to a magnificent organ that inspired a great composer... | 0:02:04 | 0:02:09 | |
The city fathers were very proud of this instrument | 0:02:09 | 0:02:13 | |
so it was a feather in their cap that somebody like Mendelssohn | 0:02:13 | 0:02:16 | |
should deign to play on it. | 0:02:16 | 0:02:18 | |
'..and get a dose of quack doctors and their bizarre remedies.' | 0:02:18 | 0:02:23 | |
There's one here called simply The Ills Of Humanity. | 0:02:23 | 0:02:27 | |
And Pink Pills For Pale People. | 0:02:27 | 0:02:30 | |
My journey will begin in Birmingham. | 0:02:41 | 0:02:43 | |
My guidebook remarks that "it's the great centre of the metal trades, | 0:02:43 | 0:02:47 | |
"scarcely a street being without its manufactory, | 0:02:47 | 0:02:50 | |
"carried on in small workshops." | 0:02:50 | 0:02:53 | |
I'm on my way and, as they say, | 0:02:53 | 0:02:56 | |
every rail journey begins with a whistle. | 0:02:56 | 0:02:58 | |
'On its journey from Saxon village to vast conurbation, | 0:03:02 | 0:03:07 | |
'Birmingham underwent its biggest growth spurge | 0:03:07 | 0:03:09 | |
'during the 19th century, when the population reached | 0:03:09 | 0:03:12 | |
'half a million and it was granted city status by Queen Victoria. | 0:03:12 | 0:03:17 | |
'It's success as a manufacturing centre was thanks in large part | 0:03:17 | 0:03:20 | |
'to its transport systems, the network of canals | 0:03:20 | 0:03:24 | |
'and Birmingham New Street station, which opened in 1854. | 0:03:24 | 0:03:28 | |
'As I arrive, it's being restructured | 0:03:33 | 0:03:36 | |
'so I'm escaping the noise and dust | 0:03:36 | 0:03:38 | |
'by heading to an area with more sparkle.' | 0:03:38 | 0:03:41 | |
Birmingham's Jewellery Quarter was known traditionally | 0:03:46 | 0:03:49 | |
as the City of 1,000 Trades | 0:03:49 | 0:03:52 | |
and even today it is the UK's largest centre | 0:03:52 | 0:03:54 | |
for the manufacture and retail of jewellery. | 0:03:54 | 0:03:57 | |
It now has its own railway station on the Birmingham Metro | 0:03:57 | 0:04:00 | |
and it's come to my ears that they make whistles here, | 0:04:00 | 0:04:03 | |
which is worth a peep. | 0:04:03 | 0:04:05 | |
'J Hudson and Company is the maker of the world-famous Acme whistle | 0:04:08 | 0:04:13 | |
'and has been manufacturing whistles here in the Jewellery Quarter | 0:04:13 | 0:04:16 | |
'since 1884. | 0:04:16 | 0:04:18 | |
'Joseph Hudson, the founder, was originally a farm worker | 0:04:25 | 0:04:28 | |
'from Derbyshire who, like many others during the Industrial | 0:04:28 | 0:04:31 | |
'Revolution, moved to Birmingham where he trained as a toolmaker. | 0:04:31 | 0:04:35 | |
'An inventor at heart, | 0:04:37 | 0:04:39 | |
'he tinkered away in the converted washroom of his back-to-back terraced house | 0:04:39 | 0:04:43 | |
'where he came up with the idea for a particularly powerful whistle. | 0:04:43 | 0:04:47 | |
'To find out more, I'm going to meet Holly Occhipinti, | 0:04:51 | 0:04:55 | |
'the company's development manager and resident historian.' | 0:04:55 | 0:04:59 | |
I imagine that whistles have been around for ever and a day, | 0:04:59 | 0:05:02 | |
so how was it that Joseph Hudson made a business of it in the 19th century? | 0:05:02 | 0:05:06 | |
Joseph Hudson managed to spot an opportunity in the public sector, | 0:05:06 | 0:05:10 | |
where a form of communication was needed over long distances | 0:05:10 | 0:05:13 | |
and so he thought about sound and how sound travels | 0:05:13 | 0:05:16 | |
and he came up with the whistle. | 0:05:16 | 0:05:18 | |
'Until then, whistles had been used as toys or musical instruments | 0:05:19 | 0:05:24 | |
'but Hudson spotted that a modernised version could appeal | 0:05:24 | 0:05:27 | |
'to a whole new market.' | 0:05:27 | 0:05:29 | |
And I suppose one of the early clients would have been the police force. | 0:05:30 | 0:05:33 | |
They were indeed. Here we actually have an 1883 Metropolitan police whistle. | 0:05:33 | 0:05:39 | |
This whistle is still produced in exactly the same way | 0:05:39 | 0:05:41 | |
-and is used by the police force today. -That's extraordinary. | 0:05:41 | 0:05:44 | |
Now what characteristics do you need in a police whistle? | 0:05:44 | 0:05:47 | |
It needs to be very easy to blow | 0:05:47 | 0:05:49 | |
because of picturing the Bobby on the beat chasing after criminals. | 0:05:49 | 0:05:52 | |
It needs to travel over long distances | 0:05:52 | 0:05:54 | |
and be heard over vehicle noise. | 0:05:54 | 0:05:57 | |
Well, I just walked up your stairs, so I'm a little bit out of breath. | 0:05:57 | 0:06:01 | |
BLOWS WHISTLE | 0:06:01 | 0:06:03 | |
Splendid sound, isn't it? | 0:06:03 | 0:06:05 | |
Now, what about my favourite subject, the railways. | 0:06:05 | 0:06:07 | |
Did they always know that they needed whistles? | 0:06:07 | 0:06:09 | |
Joseph Hudson certainly made sure in 1860 they knew they needed whistles. | 0:06:09 | 0:06:14 | |
Here we actually have an original that would've been | 0:06:14 | 0:06:16 | |
handmade by Joseph Hudson himself in his workshop in 1860. | 0:06:16 | 0:06:21 | |
This is a buffalo horn stationmaster's whistle. | 0:06:21 | 0:06:24 | |
BLOWS WHISTLE. | 0:06:26 | 0:06:28 | |
-Very shrill for a station. -It certainly would startle you. -Mm. | 0:06:28 | 0:06:31 | |
Afraid that people might fall onto the tracks in fright, | 0:06:33 | 0:06:36 | |
Hudson produced a lower tone for his railway whistle | 0:06:36 | 0:06:39 | |
by making the cavity larger. | 0:06:39 | 0:06:41 | |
The Thunderer whistle was born. | 0:06:41 | 0:06:43 | |
WHISTLE | 0:06:43 | 0:06:44 | |
-And so that's an improvement, is it, that one? -This is. | 0:06:44 | 0:06:47 | |
This is a Thunderer from 1884 | 0:06:47 | 0:06:49 | |
and is now the most popular stationmaster's whistle used today. | 0:06:49 | 0:06:53 | |
-We've produced around ten million. -Ten million whistles? -Ten million. | 0:06:53 | 0:06:57 | |
Let's give it a go. | 0:06:57 | 0:06:59 | |
BLOWS WHISTLE | 0:06:59 | 0:07:01 | |
Brilliant. That's the sound of the railways, isn't it? | 0:07:02 | 0:07:06 | |
'The manufacturing process of the Thunderer has barely | 0:07:06 | 0:07:09 | |
'changed in 100 years | 0:07:09 | 0:07:11 | |
'and it remains the most used whistle in the world, | 0:07:11 | 0:07:14 | |
'beloved of sports referees, partygoers and, of course, | 0:07:14 | 0:07:18 | |
'railway officials.' | 0:07:18 | 0:07:21 | |
So, I want to make a whistle and we start by stamping it. | 0:07:21 | 0:07:24 | |
-The name of the company there. -Yeah. -And what do you put on the side here? | 0:07:24 | 0:07:27 | |
We do a Great Western Railway, East African Railway | 0:07:27 | 0:07:31 | |
and we can pretty much put anyone else's name on it. | 0:07:31 | 0:07:33 | |
-Maybe my name today? -Your name, yeah? We could do. | 0:07:33 | 0:07:35 | |
-So what do I do? Pop it in there? -Just place it in. -Yeah. | 0:07:35 | 0:07:39 | |
-And give it a stamp? -Yeah. | 0:07:39 | 0:07:41 | |
'After the two halves of the whistle have been assembled, | 0:07:44 | 0:07:47 | |
'it's then soldered together... | 0:07:47 | 0:07:49 | |
-Now, can you see the solder just starting to melt on the side? -I can. | 0:07:49 | 0:07:52 | |
-I can see that. -Just give it a slight shake and tilt it up. | 0:07:52 | 0:07:56 | |
'..before being polished back to a high shine.' | 0:07:56 | 0:07:59 | |
-Already beginning to look very nice. -Yep. | 0:07:59 | 0:08:02 | |
Ah, that's lovely. | 0:08:04 | 0:08:05 | |
-Colin. -Hi, Michael. -Hello. Good to see you. | 0:08:07 | 0:08:11 | |
My whistle is taking shape but it still doesn't sound right. | 0:08:11 | 0:08:15 | |
BLOWS WHISTLE | 0:08:15 | 0:08:16 | |
-That's not going to start a train, is it? -No, not really. | 0:08:16 | 0:08:18 | |
-So we need to put something in it. -Yes. | 0:08:18 | 0:08:22 | |
-A pea. -A cork. -A cork. | 0:08:22 | 0:08:24 | |
-Is that what's steaming away over there? -Yes, it is. | 0:08:24 | 0:08:26 | |
So what you need to do is, we take the dish, | 0:08:26 | 0:08:29 | |
put them in the dish because it's really hot in there, to be honest. | 0:08:29 | 0:08:33 | |
Why do you heat these corks, Colin? | 0:08:33 | 0:08:34 | |
Just to make them soft and it's just easier for them | 0:08:34 | 0:08:37 | |
to actually push into the whistle itself. | 0:08:37 | 0:08:40 | |
So with any luck that is going to go in there. | 0:08:40 | 0:08:45 | |
There we are. It's inside. | 0:08:45 | 0:08:47 | |
The 9.47 is about to go. | 0:08:47 | 0:08:49 | |
BLOWS WHISTLE | 0:08:49 | 0:08:51 | |
Brilliant. | 0:08:51 | 0:08:53 | |
-Now I need to find a real train. Thank you, Colin. -Thank you. | 0:08:53 | 0:08:56 | |
-All the best. -Thank you, Michael. | 0:08:56 | 0:08:57 | |
'But before I head back to the station, | 0:09:00 | 0:09:03 | |
'I'm following my Bradshaw's past the 20th century brutalism | 0:09:03 | 0:09:06 | |
'and the heavy Victorian civic architecture | 0:09:06 | 0:09:09 | |
'to one of Birmingham's most remarkable buildings, | 0:09:09 | 0:09:12 | |
'which has, at its heart, a rare treasure.' | 0:09:12 | 0:09:14 | |
"The Town Hall at the top of New Street," says Bradshaw's, | 0:09:18 | 0:09:22 | |
"is a beautiful Grecian temple | 0:09:22 | 0:09:24 | |
"surrounded by rows of Corinthian pillars 40-feet high. | 0:09:24 | 0:09:29 | |
"It is a splendid public hall at one end of which | 0:09:29 | 0:09:32 | |
"is the most famous organ, one of the finest in Europe." | 0:09:32 | 0:09:36 | |
'Hoping for a glimpse of this marvellous to instrument, | 0:09:40 | 0:09:44 | |
'I'm going inside the grand auditorium to meet Richard Hawley, | 0:09:44 | 0:09:47 | |
'head of artistic programming.' | 0:09:47 | 0:09:49 | |
Richard, this fine building is called the Town Hall | 0:09:52 | 0:09:55 | |
but I think it was never intended to be the seat of city government, was it? | 0:09:55 | 0:09:59 | |
No, not at all. | 0:09:59 | 0:10:00 | |
It was envisaged to be the home of the music festival, | 0:10:00 | 0:10:03 | |
the Birmingham Triennial Festival, | 0:10:03 | 0:10:05 | |
that had been going since the late 1700s, | 0:10:05 | 0:10:07 | |
mainly to generate funds to build a hospital | 0:10:07 | 0:10:10 | |
and the spaces that the festival was using never quite matched | 0:10:10 | 0:10:14 | |
the aspirations of the people organising the festival, | 0:10:14 | 0:10:17 | |
and they championed for a specific purpose-built hall to be built, | 0:10:17 | 0:10:22 | |
which is why we have Town Hall. | 0:10:22 | 0:10:25 | |
Is it successful musically? Does it produce a fine acoustic? | 0:10:25 | 0:10:28 | |
It's a fantastic acoustic. | 0:10:28 | 0:10:30 | |
It was recognised immediately as one of the significant halls in Europe. | 0:10:30 | 0:10:35 | |
'With a world-class venue at their disposal, | 0:10:38 | 0:10:41 | |
'the organisers of the Triennial Music Festival | 0:10:41 | 0:10:44 | |
'set out to attract excellence. | 0:10:44 | 0:10:47 | |
'One of the most popular composers of the day | 0:10:47 | 0:10:49 | |
was the German Felix Mendelssohn, | 0:10:49 | 0:10:51 | |
'a leading light of the Romantic movement, | 0:10:51 | 0:10:54 | |
'whose triumphant Wedding March has been played | 0:10:54 | 0:10:57 | |
'for many a happy bride and groom.' | 0:10:57 | 0:10:59 | |
Joseph Moore, who was one of the leading figures behind the Triennial Festival, | 0:11:02 | 0:11:06 | |
contacted Mendelssohn the instant this building was open, | 0:11:06 | 0:11:09 | |
and Mendelssohn came to the festival in 1837, | 0:11:09 | 0:11:12 | |
and over the course of the next decade | 0:11:12 | 0:11:15 | |
he was convinced to premiere a major work, | 0:11:15 | 0:11:17 | |
a commission of Elijah, | 0:11:17 | 0:11:19 | |
which took place here in 1846. | 0:11:19 | 0:11:23 | |
And was he swayed at all by the presence of the organ, | 0:11:23 | 0:11:27 | |
which according to Bradshaw's, was very, very exceptional? | 0:11:27 | 0:11:30 | |
He was. We are actually fortunate for his insights. | 0:11:30 | 0:11:33 | |
You can see that the organ is set back into an alcove. | 0:11:33 | 0:11:37 | |
That was Mendelssohn's idea. | 0:11:37 | 0:11:38 | |
The console juts out at Mendelssohn's suggestion, | 0:11:38 | 0:11:41 | |
so that whatever organist is performing can hear | 0:11:41 | 0:11:43 | |
the acoustics properly, | 0:11:43 | 0:11:45 | |
so Mendelssohn is very much part of this building. | 0:11:45 | 0:11:48 | |
'The last Triennial Festival took place | 0:11:51 | 0:11:53 | |
'just before the outbreak of the First World War | 0:11:53 | 0:11:56 | |
'but the organ is still regularly played by Birmingham city organist, | 0:11:56 | 0:12:00 | |
'Thomas Trotter.' | 0:12:00 | 0:12:02 | |
Bradshaw's is quite enthusiastic about this organ, | 0:12:02 | 0:12:05 | |
saying that it contains 4,000 pipes acted upon by four sets of keys. | 0:12:05 | 0:12:10 | |
Now, here we seem to have four sets of keys, | 0:12:10 | 0:12:12 | |
so what's the number of pipes now? | 0:12:12 | 0:12:15 | |
It's grown a bit since then. | 0:12:15 | 0:12:16 | |
It's now 6,000, so it's almost double the size it was in the 1860s. | 0:12:16 | 0:12:22 | |
But the city fathers were very proud of this instrument | 0:12:22 | 0:12:26 | |
so it was a feather in their cap | 0:12:26 | 0:12:28 | |
that somebody like Mendelssohn should deign to play on it. | 0:12:28 | 0:12:32 | |
We know that the third time that he was here | 0:12:32 | 0:12:35 | |
was when he came to conduct premiere of his oratorio Elijah. | 0:12:35 | 0:12:40 | |
And how does Elijah go? | 0:12:40 | 0:12:41 | |
Well, it so happens I have a little bit of it here | 0:12:41 | 0:12:43 | |
so I'll give you a taste. | 0:12:43 | 0:12:45 | |
This is the final fugue, the sort of culmination of the whole piece. | 0:12:45 | 0:12:48 | |
It's called Lord, Our Creator, How Excellent Thy Name. | 0:12:48 | 0:12:51 | |
'Only a year after the premiere of Elijah, | 0:13:20 | 0:13:24 | |
'Felix Mendelssohn died at the age of 38. | 0:13:24 | 0:13:27 | |
'But his great oratorio was played at every subsequent festival, | 0:13:27 | 0:13:32 | |
'sustaining the link between the composer and Birmingham Town Hall.' | 0:13:32 | 0:13:35 | |
You have set the Grecian temple trembling | 0:13:46 | 0:13:49 | |
and me a-tingling. | 0:13:49 | 0:13:51 | |
Organ, organist and Town hall at their finest. | 0:13:51 | 0:13:54 | |
Thank you very much. | 0:13:54 | 0:13:56 | |
'It's time to bid farewell to the city | 0:13:58 | 0:14:00 | |
'and to make my way to Birmingham's Snow Hill station.' | 0:14:00 | 0:14:03 | |
My next stop will beat Kidderminster, which the guidebook tells me | 0:14:18 | 0:14:21 | |
"is celebrated for its manufactures, especially carpets, | 0:14:21 | 0:14:25 | |
"which have promoted the trade, wealth and population of the town." | 0:14:25 | 0:14:30 | |
I'm travelling there post-haste to discover a native of the town | 0:14:30 | 0:14:35 | |
who left his stamp on the world. | 0:14:35 | 0:14:37 | |
'Not every visitor to Kidderminster | 0:14:40 | 0:14:42 | |
'shared Bradshaw's enthusiasm for the place. | 0:14:42 | 0:14:45 | |
'The famous architectural commentator Sir Nikolaus Pevsner, | 0:14:45 | 0:14:48 | |
'writing in the mid-20th century, | 0:14:48 | 0:14:50 | |
'dismissed it as devoid of visual pleasure. | 0:14:50 | 0:14:53 | |
'But it's old carpet factories | 0:14:59 | 0:15:01 | |
'and fine churches give a strong sense of its Victorian prosperity, | 0:15:01 | 0:15:06 | |
'during which era Kidderminster's most famous son | 0:15:06 | 0:15:09 | |
'had a brilliant idea that revolutionised the Royal Mail.' | 0:15:09 | 0:15:13 | |
This is Sir Rowland Hill. | 0:15:16 | 0:15:18 | |
There had been a postage service before him but people paid for | 0:15:18 | 0:15:22 | |
their letters on collection, | 0:15:22 | 0:15:24 | |
according to the distance that they had travelled. | 0:15:24 | 0:15:26 | |
His innovation was that there should be a flat rate | 0:15:26 | 0:15:30 | |
and that it should be prepaid with a postage stamp. | 0:15:30 | 0:15:34 | |
The first bore the head of Queen Victoria at the age of 21 | 0:15:34 | 0:15:39 | |
and were known as Penny Blacks. | 0:15:39 | 0:15:41 | |
For the sheer simplicity of the idea, | 0:15:41 | 0:15:44 | |
it had all the others licked. | 0:15:44 | 0:15:46 | |
'I'll wait for the morning to slice open his story.' | 0:15:52 | 0:15:55 | |
'The next day dawns bright and clear and with a spring in my step | 0:16:03 | 0:16:08 | |
'I'm reporting for duty at Kidderminster's delivery office.' | 0:16:08 | 0:16:11 | |
-Good morning. Are you Rollo? -I certainly am. -I'm Michael. | 0:16:13 | 0:16:16 | |
-How do you do? -Pleased to meet you. | 0:16:16 | 0:16:18 | |
-So, it's sorting the morning's post? -Yes. | 0:16:18 | 0:16:20 | |
Is there anyway I can give you a hand with that? | 0:16:20 | 0:16:22 | |
-You're welcome to if you want to. -All right. What do you have to do? | 0:16:22 | 0:16:25 | |
First of all, it's post-coded so obviously you've got coded areas. | 0:16:25 | 0:16:30 | |
-This is a DY10 frame. -So now what do I do with the DY10s? | 0:16:30 | 0:16:33 | |
-That one there is Cookley and rural, that hole there. -Cookley, rural. | 0:16:33 | 0:16:37 | |
-Again rural. That's a rural area, Churchill. -Churchill. | 0:16:37 | 0:16:41 | |
-Vicar Street. -That's Superdrug in the town centre. | 0:16:41 | 0:16:44 | |
How long does it take you to learn all this stuff, Rollo? | 0:16:44 | 0:16:47 | |
Everybody says, that works here, the best way to learn the sorting | 0:16:47 | 0:16:50 | |
-is by going out and doing every delivery. -Ah, yes. | 0:16:50 | 0:16:52 | |
And that's how you pick it up. | 0:16:52 | 0:16:53 | |
Mind you, I'm born and bred Kidderminster so you know. | 0:16:53 | 0:16:55 | |
'The mail that Rollo and I are sorting has been through a machine | 0:16:57 | 0:17:01 | |
'that recognises postcodes and groups the letters accordingly. | 0:17:01 | 0:17:05 | |
'After Sir Rowland introduced uniform penny postage in 1840, | 0:17:07 | 0:17:12 | |
'the volume of mail doubled every 20 years until 1920, | 0:17:12 | 0:17:16 | |
'when a staggering six billion items passed through the postal system.' | 0:17:16 | 0:17:21 | |
Last night I visited the statue of Rowland Hill. | 0:17:23 | 0:17:26 | |
-Is he a bit of a hero of the postmen? -Yeah. | 0:17:26 | 0:17:29 | |
I mean, born and bred in Kidderminster in Blackwell Street. | 0:17:29 | 0:17:32 | |
I know his remains, now, are in Westminster Abbey, | 0:17:32 | 0:17:35 | |
which says a lot for the guy. | 0:17:35 | 0:17:37 | |
Can you imagine the situation before his innovation, | 0:17:37 | 0:17:40 | |
that people used to go to their local post office, | 0:17:40 | 0:17:43 | |
pick up the letter, | 0:17:43 | 0:17:44 | |
pay for it according to what distance it had travelled. | 0:17:44 | 0:17:47 | |
And, apparently, sometimes people used to put the message | 0:17:47 | 0:17:50 | |
on the outside of the envelope | 0:17:50 | 0:17:51 | |
and once they'd read the message they'd say, | 0:17:51 | 0:17:53 | |
-"Oh, no, I don't want that. I'm not going to pay for it." -Blimey. | 0:17:53 | 0:17:56 | |
THEY LAUGH | 0:17:56 | 0:17:58 | |
'The next stage of the process is delivery. | 0:17:58 | 0:18:01 | |
'Rollo has invited me to join him on his round, | 0:18:01 | 0:18:04 | |
'provided that I'm properly attired.' | 0:18:04 | 0:18:06 | |
Rollo, do you ever go to the railway station to pick up mail these days? | 0:18:13 | 0:18:17 | |
No, that's a long time ago. | 0:18:17 | 0:18:19 | |
They did when I first started on the job about, erm... | 0:18:19 | 0:18:22 | |
Well, I've been doing the job 32 years. | 0:18:22 | 0:18:24 | |
You used to have to meet the mail bags, | 0:18:24 | 0:18:26 | |
pick them up in the old cloth bags | 0:18:26 | 0:18:28 | |
and I still think that was a quicker system than the roads. | 0:18:28 | 0:18:32 | |
'The first mail train started running in 1838 | 0:18:34 | 0:18:37 | |
'with postal workers onboard sorting the letters in transit. | 0:18:37 | 0:18:42 | |
'The railways transformed the speed | 0:18:42 | 0:18:43 | |
'and efficiency of the Royal Mail service, | 0:18:43 | 0:18:46 | |
'crisscrossing the country while the nation slept | 0:18:46 | 0:18:49 | |
'and inspiring the great WH Auden to write one of his most famous poems.' | 0:18:49 | 0:18:54 | |
"This is the Night Mail crossing the border, | 0:18:55 | 0:18:57 | |
"Bringing the cheque and the postal order, | 0:18:57 | 0:18:59 | |
"Letters for the rich, letters for the poor, | 0:18:59 | 0:19:02 | |
"The shop at the corner and the girl next door, | 0:19:02 | 0:19:04 | |
"Pulling up Beattock, a steady climb, | 0:19:04 | 0:19:06 | |
"The gradient's against but she's on time." | 0:19:06 | 0:19:08 | |
NEWSREEL ANNOUNCER: Thousands are still asleep, | 0:19:11 | 0:19:13 | |
dreaming of terrifying monsters. | 0:19:13 | 0:19:15 | |
'The last mail train was withdrawn in 2004 | 0:19:24 | 0:19:28 | |
'but no substitute has been found for the postman delivering to your home.' | 0:19:28 | 0:19:32 | |
Here you go, Michael. | 0:19:33 | 0:19:35 | |
-The first one I've got is number four. -That's it. | 0:19:39 | 0:19:43 | |
'At the height of the Victorian period, | 0:19:43 | 0:19:45 | |
'there was a vast number of uniformed postman | 0:19:45 | 0:19:48 | |
'working in the United Kingdom.' | 0:19:48 | 0:19:50 | |
No dogs at that one so we're all right. | 0:19:50 | 0:19:52 | |
'In London there could be up to 12 deliveries a day, | 0:19:52 | 0:19:55 | |
'allowing correspondents to exchange letters back and forth within hours.' | 0:19:55 | 0:20:00 | |
Morning. I'll pop it in the letterbox for you. | 0:20:00 | 0:20:02 | |
-Morning, Rollo. All right? -Yeah. | 0:20:02 | 0:20:04 | |
-Do I know you from somewhere? -Yes, you do, I think. | 0:20:04 | 0:20:06 | |
-Where's that then? -I was a train driver. | 0:20:06 | 0:20:09 | |
I picked you up at Derby one day and brought you down to Burton on Trent. | 0:20:09 | 0:20:13 | |
-How nice to see you again. -Nice to see you again. | 0:20:13 | 0:20:15 | |
-So have you left the railway? -Three years ago, yeah. | 0:20:15 | 0:20:18 | |
-What was it, the journey with me that made you give it up? -No, no. | 0:20:18 | 0:20:22 | |
-Very nice to see you again. -Nice to see you again. | 0:20:22 | 0:20:24 | |
'Prepaid, flat-rate postage | 0:20:24 | 0:20:27 | |
'revolutionised the United Kingdom mail service | 0:20:27 | 0:20:29 | |
'and the idea then spread around the world. | 0:20:29 | 0:20:32 | |
'A Victorian concept that remains sacrosanct to this day.' | 0:20:32 | 0:20:36 | |
Well, Rollo, I'll never forget your name because it reminds me | 0:20:36 | 0:20:39 | |
of Sir Rowland Hill, | 0:20:39 | 0:20:40 | |
but I believe it is a serious crime to hold up the Royal Mail. | 0:20:40 | 0:20:44 | |
I will hold you up no longer. There are your letters. | 0:20:44 | 0:20:46 | |
Thanks ever so much, Michael. It's been a pleasure. | 0:20:46 | 0:20:49 | |
-A great pleasure for me. -Thank you. | 0:20:49 | 0:20:51 | |
'Handing back my cap and bag. | 0:20:53 | 0:20:54 | |
'it's time to return to the day job, | 0:20:54 | 0:20:57 | |
'which means embarking on the next stage of my journey. | 0:20:57 | 0:21:00 | |
'I'm boarding a train that will take me south through | 0:21:00 | 0:21:02 | |
'the West Midlands to Worcester.' | 0:21:02 | 0:21:04 | |
'The Victorian age was a time of great progress, | 0:21:06 | 0:21:08 | |
'not least in the medical profession | 0:21:08 | 0:21:10 | |
'and Bradshaw's notes that Worcester was well provided for.' | 0:21:10 | 0:21:14 | |
"I'm told that there are several charitable institutions here | 0:21:15 | 0:21:19 | |
"amply endowed, such as Queen Hospital for 29 women, | 0:21:19 | 0:21:24 | |
"St Oswald's for 28 women, | 0:21:24 | 0:21:26 | |
"Judge Barkley's for 12 persons | 0:21:26 | 0:21:29 | |
"and the General Infirmary." | 0:21:29 | 0:21:31 | |
I'd like to investigate how Victorians improved | 0:21:31 | 0:21:35 | |
and certified the standards of doctors and their remedies. | 0:21:35 | 0:21:39 | |
'Alighting at Worcester Foregate Street, | 0:21:43 | 0:21:46 | |
'I emerge in the heart of the old city. | 0:21:46 | 0:21:48 | |
'With my Bradshaw's to guide me | 0:21:48 | 0:21:50 | |
'I take in the magnificent brick-built Guildhall... | 0:21:50 | 0:21:53 | |
'..the 17th century almshouses... | 0:21:57 | 0:21:58 | |
..and, towering over everything, | 0:22:00 | 0:22:03 | |
the breathtaking Saxon cathedral. | 0:22:03 | 0:22:05 | |
'But my focus is on Victorian Worcester | 0:22:09 | 0:22:12 | |
'and specifically matters medical. | 0:22:12 | 0:22:15 | |
'So I'm heading to the university campus, | 0:22:15 | 0:22:17 | |
'which used to be the old Worcester Infirmary, | 0:22:17 | 0:22:20 | |
'to meet Caroline Rance, who is an expert on quackery.' | 0:22:20 | 0:22:23 | |
-Hello, Caroline. -Hello. | 0:22:25 | 0:22:27 | |
We meet in somewhat macabre surroundings. | 0:22:27 | 0:22:30 | |
Do you think in the 19th century patients were quite | 0:22:30 | 0:22:32 | |
susceptible to false remedies and false doctors? | 0:22:32 | 0:22:36 | |
They were, much like they are today, in fact. | 0:22:36 | 0:22:38 | |
There was a range of different quack remedies, as they were called, | 0:22:38 | 0:22:42 | |
and sometimes people were what we might now consider gullible, | 0:22:42 | 0:22:46 | |
but also, in a lot of occasions, it was quite a logical choice to make | 0:22:46 | 0:22:49 | |
if you wanted to go and buy a patent remedy | 0:22:49 | 0:22:52 | |
from a newspaper advert or from a chemist. | 0:22:52 | 0:22:55 | |
That was possibly much cheaper than going to see a doctor | 0:22:55 | 0:22:58 | |
and so it was a reasonable choice for many people. | 0:22:58 | 0:23:01 | |
'Quacks got their name from an old Dutch word "kwakzalver", | 0:23:03 | 0:23:07 | |
'meaning a hawker of salve or ointment. | 0:23:07 | 0:23:10 | |
'In the Middle Ages "to quack" meant to shout, | 0:23:10 | 0:23:13 | |
'which was how many of these salesmen | 0:23:13 | 0:23:15 | |
'advertised their wares in the marketplace.' | 0:23:15 | 0:23:18 | |
Although there were some that were absolutely fraudulent, | 0:23:18 | 0:23:20 | |
there were others that it did just about manage to stay within | 0:23:20 | 0:23:23 | |
the law and one of those was a company called Sequah in 1887. | 0:23:23 | 0:23:28 | |
This was started by somebody called William Hartley, | 0:23:28 | 0:23:30 | |
who was born in 1857 in Liverpool, | 0:23:30 | 0:23:33 | |
but he pretended to be an American | 0:23:33 | 0:23:35 | |
who was bringing over the big entertaining style | 0:23:35 | 0:23:39 | |
American medical shows to the UK. | 0:23:39 | 0:23:41 | |
He would initially just go around with his wagon. | 0:23:41 | 0:23:44 | |
He would do very entertaining shows that involved drawing people's | 0:23:44 | 0:23:47 | |
teeth very quickly. | 0:23:47 | 0:23:48 | |
At one point he claimed to be able to draw eight teeth in a minute. | 0:23:48 | 0:23:52 | |
And he would get the crowd all very excited and on his side | 0:23:52 | 0:23:55 | |
and he would then use that to do a sales pitch to sell his medicines. | 0:23:55 | 0:24:00 | |
'Hartley relied on showmanship | 0:24:00 | 0:24:02 | |
'and evoked the Wild West to whip up enthusiasm | 0:24:02 | 0:24:05 | |
for Sequah's cures. | 0:24:05 | 0:24:07 | |
'Others trod an even more morally dubious line.' | 0:24:07 | 0:24:11 | |
I see there an advertisement for "drunkenness cured", | 0:24:11 | 0:24:14 | |
which sounds very promising. | 0:24:14 | 0:24:17 | |
This sort of advert was published in the very | 0:24:17 | 0:24:19 | |
early 20th century by a company based in London. | 0:24:19 | 0:24:22 | |
The idea was that people within the family of an addict | 0:24:22 | 0:24:27 | |
would be able to use these powders. | 0:24:27 | 0:24:29 | |
They would slip it into his coffee or into his whisky | 0:24:29 | 0:24:31 | |
and that was all done in secret. | 0:24:31 | 0:24:33 | |
He was not to supposed to know that he was being treated. | 0:24:33 | 0:24:36 | |
So it doesn't exactly match modern ethical standards? | 0:24:36 | 0:24:39 | |
No and in terms of informed consent of the patient, | 0:24:39 | 0:24:42 | |
it certainly doesn't. | 0:24:42 | 0:24:43 | |
'Eventually the general medical profession asserted itself | 0:24:43 | 0:24:47 | |
'to put down the charlatans and their snake oil remedies. | 0:24:47 | 0:24:51 | |
'The leader of the campaign was Worcester surgeon | 0:24:51 | 0:24:53 | |
'and philanthropist Charles Hastings. | 0:24:53 | 0:24:56 | |
'Just down the corridor is the place where it all started | 0:24:56 | 0:24:59 | |
'and where I'm meeting Andrew Dearden of the British Medical Association.' | 0:24:59 | 0:25:04 | |
-Andrew. -Good morning, sir. | 0:25:04 | 0:25:06 | |
So, what is the significance of the old boardroom of the Infirmary in Worcester? | 0:25:06 | 0:25:11 | |
Well, this is where, in 1832, | 0:25:11 | 0:25:13 | |
Sir Charles Hastings led a meeting of about 50 doctors of his day | 0:25:13 | 0:25:16 | |
and established the Provincial Medical and Surgical Association | 0:25:16 | 0:25:20 | |
that later became the British Medical Association. | 0:25:20 | 0:25:23 | |
One of his concerns was that lots of doctors were working independently | 0:25:23 | 0:25:26 | |
but individually and what he wanted to do was to bring them together | 0:25:26 | 0:25:29 | |
to share and to expand their medical knowledge and information. | 0:25:29 | 0:25:32 | |
And I expect the oratory was pretty fine on that occasion. | 0:25:32 | 0:25:36 | |
"Gentleman, you will, at any rate, admit, that the objects | 0:25:36 | 0:25:39 | |
"I have thus hastily introduced to the notice of the meeting, | 0:25:39 | 0:25:42 | |
"are worthy of deep meditation. | 0:25:42 | 0:25:46 | |
"I cannot help indulging the delightful thought | 0:25:46 | 0:25:50 | |
"that the Association must have a direct tendency | 0:25:50 | 0:25:53 | |
"to extend the empire of knowledge | 0:25:53 | 0:25:56 | |
"and to increase our power over disease." | 0:25:56 | 0:26:00 | |
'The new Association worked towards the Medical Act of 1858, | 0:26:02 | 0:26:06 | |
'which commenced the end of quackery.' | 0:26:06 | 0:26:08 | |
What that did for the very first time | 0:26:10 | 0:26:12 | |
was to create a medical register. | 0:26:12 | 0:26:14 | |
So, when someone went to medical school, passed as a doctor, | 0:26:14 | 0:26:18 | |
they had to register themselves with the General Medical Council, | 0:26:18 | 0:26:21 | |
so any member of the public could see who was actually qualified | 0:26:21 | 0:26:25 | |
and could call themselves a doctor. | 0:26:25 | 0:26:27 | |
The other thing the British Medical Association did | 0:26:27 | 0:26:29 | |
was to publish a book in 1909 called Secret Remedies, | 0:26:29 | 0:26:33 | |
where many of the lotions and potions of the day | 0:26:33 | 0:26:35 | |
were examined by a well-known chemist | 0:26:35 | 0:26:37 | |
so that the public could actually see what it was that they were buying and taking. | 0:26:37 | 0:26:41 | |
Mother Seigel's Curative Syrup. | 0:26:41 | 0:26:43 | |
There's one here called simply The Ills of Humanity. | 0:26:45 | 0:26:49 | |
And Pink Pills For Pale People. | 0:26:49 | 0:26:53 | |
They don't sound altogether convincing, do they? | 0:26:53 | 0:26:56 | |
Not particularly. | 0:26:56 | 0:26:57 | |
I have to say the ingredients were not particularly convincing either. | 0:26:57 | 0:27:01 | |
So, it all began with 50 people. Where have you got to now? | 0:27:01 | 0:27:05 | |
Well, the British Medical Association now has over 156,000 members | 0:27:05 | 0:27:09 | |
both here in the UK and overseas. | 0:27:09 | 0:27:11 | |
-You couldn't fit all of them in this room, could you? -Not any more. | 0:27:11 | 0:27:15 | |
The thunderous sound of the organ in Birmingham Town Hall | 0:27:21 | 0:27:26 | |
reminds me that the city deserves to be known as much for its music | 0:27:26 | 0:27:30 | |
as for its metal bashing. | 0:27:30 | 0:27:33 | |
I thoroughly enjoyed my time delivering letters | 0:27:33 | 0:27:36 | |
as a tribute to Sir Rowland Hill. | 0:27:36 | 0:27:39 | |
Other eminent Victorians made improvements to the | 0:27:39 | 0:27:42 | |
standard of delivering health care, | 0:27:42 | 0:27:45 | |
giving quack doctors and quack remedies the whistle. | 0:27:45 | 0:27:49 | |
BLOWS WHISTLE | 0:27:49 | 0:27:50 | |
'On the next part of my journey I come eye-to -eye with a needle... | 0:27:58 | 0:28:02 | |
That one has got four punches in. Two big ones, two small ones. | 0:28:02 | 0:28:06 | |
They are eyes of the needle. | 0:28:06 | 0:28:08 | |
'..get to grips with some of Gloucester's finest... | 0:28:08 | 0:28:11 | |
That's a lovely feel, isn't it? Being in contact with that gorgeous cheese. | 0:28:11 | 0:28:15 | |
Glorious Gloucester! | 0:28:15 | 0:28:17 | |
'..and raise the roof in tribute to one of Britain's great composers.' | 0:28:18 | 0:28:23 | |
# And did those feet in ancient time... # | 0:28:23 | 0:28:29 |