Introduction: When War Meets Music
War changes the world. But while bullets fly and empires fall, music rises.
During both World War I and World War II, songs became powerful weapons—not of destruction, but of emotion. They inspired soldiers, comforted families, spread propaganda, and sometimes questioned the very purpose of war itself.
This documentary explores how war shaped music—and how music shaped history.
πΊ PART I: WORLD WAR I (1914–1918)
The Birth of Modern War Songs
World War I was called “The Great War.” It introduced trench warfare, chemical weapons, and global destruction on a scale never seen before. Yet amid the horror, songs became a lifeline.
π΅ “It’s a Long Way to Tipperary” – 1912
Originally written by Jack Judge, this upbeat marching song became the unofficial anthem of British troops. Soldiers sang it in trenches to stay hopeful.
It wasn’t about war—it was about home.
And that’s what made it powerful.
Tommy Atkins. The song they sing as the march along
Written and composed by Jack Judge and Harry Williams
Price 60 cents
Courtesy of Leslie's Weekly
Copyrighted
For the United States of America and Canada Chappell & Co., Ltd.
41 East 34th Street New York
347 Yonge Street Toronto
For all other countries, B. Feldman & Co., 2 & 3 Arthur Street, W.C. London, England
Copyright 1912 by B. Feldman & Co.
“Some of these resources may contain offensive stereotypes. Such materials should be seen in the context of the time period and as a reflection of the attitudes of the time. The items are part of the historical record, and do not represent the views of the library or the institution.”
Tommy Atkins. The song they sing as the march along
Written and composed by Jack Judge and Harry Williams
Price 60 cents
Courtesy of Leslie's Weekly
Copyrighted
For the United States of America and Canada Chappell & Co., Ltd.
41 East 34th Street New York
347 Yonge Street Toronto
For all other countries, B. Feldman & Co., 2 & 3 Arthur Street, W.C. London, England
Copyright 1912 by B. Feldman & Co.
“Some of these resources may contain offensive stereotypes. Such materials should be seen in the context of the time period and as a reflection of the attitudes of the time. The items are part of the historical record, and do not represent the views of the library or the institution.”
Lyrics
VERSE 1
Up to mighty London came an Irish man one day,
As the street are paved with gold, sure ev’ry one was gay;
Singing songs of Piccadilly,
Strand and Leicester Square,
Till Paddy got excited, then he shouted to them there:
CHORUS
“It’s a long way to Tipperary,
It’s a long way to go;
It’s a long way to Tipperary,
To the sweetest girl I know!
Goodbye Piccadilly,
Farewell, Leicester Square,
It’s a long way to Tipperary,
But my heart’s right there!”
“It’s a there!”
VERSE 2
Paddy wrote a letter to his Irish Molly O’,
Saying, “Should you not receive it, write and let me know!
“If I make mistakes in “spelling”, Molly dear”, said he,
“Remember it’s the pen that’s bad, don’t lay the blame on me”
CHORUS
VERSE 3
Molly wrote a neat reply to Irish Paddy O’
Saying, “Mike Maloney wants to marry me, and so
Leave the Strand and Piccadilly, or you’ll be to blame,
For love has fairly drove me silly hoping you’re the same!”
VERSE 1
Up to mighty London came an Irish man one day,
As the street are paved with gold, sure ev’ry one was gay;
Singing songs of Piccadilly,
Strand and Leicester Square,
Till Paddy got excited, then he shouted to them there:
CHORUS
“It’s a long way to Tipperary,
It’s a long way to go;
It’s a long way to Tipperary,
To the sweetest girl I know!
Goodbye Piccadilly,
Farewell, Leicester Square,
It’s a long way to Tipperary,
But my heart’s right there!”
“It’s a there!”
VERSE 2
Paddy wrote a letter to his Irish Molly O’,
Saying, “Should you not receive it, write and let me know!
“If I make mistakes in “spelling”, Molly dear”, said he,
“Remember it’s the pen that’s bad, don’t lay the blame on me”
CHORUS
VERSE 3
Molly wrote a neat reply to Irish Paddy O’
Saying, “Mike Maloney wants to marry me, and so
Leave the Strand and Piccadilly, or you’ll be to blame,
For love has fairly drove me silly hoping you’re the same!”
π΅ “Over There” – 1917
Composed by George M. Cohan, this song became America’s patriotic battle cry after the U.S. entered the war.
“The Yanks are coming…”
It boosted morale and encouraged enlistment. Music became recruitment propaganda.
π΅ “La Madelon” – France
This French cafΓ© song became symbolic of French soldiers’ daily life during WWI—mixing romance, humor, and resilience.
π£ PART II: WORLD WAR II (1939–1945)
Music as Propaganda, Hope & Resistance
World War II expanded across Europe, Asia, and the Pacific. Governments quickly realized music’s psychological power.
π¬π§ Britain’s Voice of Hope
π΅ “We’ll Meet Again” – 1939
Performed by Vera Lynn, this song became the emotional heartbeat of wartime Britain.
Families separated by bombings held onto its promise:
“We’ll meet again, don’t know where, don’t know when…”
Even today, it remains one of the most iconic WWII songs.
πΊπΈ America Swings to War
π΅ “Boogie Woogie Bugle Boy” – 1941
Performed by The Andrews Sisters, this upbeat swing track celebrated military life with rhythm and humor.
It showed that even during war, entertainment was necessary for morale.
π΅ “White Christmas” – 1942
Sung by Bing Crosby, this became the best-selling single of all time.
For soldiers overseas, it symbolized longing for peace and home.
[Verse 1: Bing Crosby & Choir]
I'm dreaming of a white Christmas
Just like the ones I used to know (Ooh)
Where the treetops glisten and children listen
To hear sleigh bells in the snow
[Verse 2: Bing Crosby & Choir]
I'm dreaming of a white Christmas
With every Christmas card I write (Ooh)
May your days be merry and bright
And may all your Christmases be white
[Verse 1: Choir]
I'm dreaming of a white Christmas
Just like the ones I used to know (Ooh)
Where the treetops glisten and children listen
To hear (To hear the sleigh bΠ΅lls in the snow)
[Verse 2: Choir, Bing Crosby, Both]
I'm dreaming of a white Christmas
With Π΅very Christmas card I write (Mm)
May your days be merry and bright
And may all your Christmases be white (Mm)
Mm-mm-mm (Mm)
π©πͺ & π―π΅ War Music
Nazi Germany and Imperial Japan also used music heavily for propaganda. Military marches and patriotic songs were broadcast widely to control public morale.
However, resistance songs secretly emerged in occupied territories—music became rebellion.
π₯ PART III: Post-War & Anti-War Songs
After WWII, musicians began questioning war instead of glorifying it.
π΅ “Blowin’ in the Wind” – 1963
Written by Bob Dylan, this became an anthem for peace movements during the Vietnam War.
π΅ “Imagine” – 1971
By John Lennon, the song envisioned a world without war, borders, or division.
π΅ “Sunday Bloody Sunday” – 1983
By U2, this powerful track reflected on conflict in Northern Ireland and questioned violence.
π΅ “War IS Over” – 2026
πΌ The Role of Music in War
Music during wartime served multiple purposes:
-
π️ Boosting morale
-
π» Propaganda tool
-
π Emotional comfort
-
✊ Symbol of resistance
-
π️ Call for peace
From marching songs to protest rock, war music evolved with society.
π¬ Final Reflection
War destroys cities.
But music rebuilds spirit.
The songs born from World War I and II still echo today—not just as historical artifacts, but as reminders of humanity in its darkest hours.
When we listen to these songs, we don’t just hear melody.
We hear history.....
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