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The American Revolution and the 1783 partition of North America
Eliga H. Gould

‘As a sudden revolution – an unprecedented case – the independence of America has encouraged the wildest sallies of imagination.’ Today, few Americans have heard of Lord Sheffield, the Anglo-Irish peer who wrote these words in 1783, and even fewer, it is probably safe to assume, have read the work that they introduce. Yet for a time, Sheffield’s Observations on the Commerce of the American States was one of the most influential British statements on the American Revolution. 1 For readers in the former colonies (of whom there were quite a few), much of what

in Making the British empire, 1660–1800
Bulletin of the John Rylands Library
Elizabeth Evenden

This article explores the production of an edition of John Foxes Acts and Monuments (more popularly known as the ‘Book of Martyrs’), printed by Adam & Co. in 1873. The edition was prefaced by an Irish cleric, Rev. S.G. Potter, who, at the time of production, was vicar of St Lukes parish in Sheffield. This article investigates Potters career as a Protestant cleric and Orangeman, examining why he might have been chosen to preface a new edition of Foxes martyrology. Consideration is then given to the illustrations contained within the 1873 edition and what relation they bare to the woodcut illustrations in the editions of the Acts and Monuments printed during Foxes lifetime. This reveals a markedly different agenda behind the choice of illustration in the Elizabethan and Victorian editions.

Bulletin of the John Rylands Library
A Model for Historical Reflection in the Humanitarian Sector
Kevin O’Sullivan and Réiseal Ní Chéilleachair

, Manchester, Milan, Oslo, Ottawa and Sheffield. The result was a growing conversation about humanitarianism’s past and its potential to shape our understanding of the present. Those discussions have centred on three themes. The first is an insistence on moving beyond what David Lewis termed the aid sector’s ‘perpetual present’: ‘a state characterised by an abundance of frequently changing language and “buzzwords”’ ( Lewis, 2009: 33 ; see also

Journal of Humanitarian Affairs
The punk and post-punk worlds of Manchester, London, Liverpool and Sheffield, 1975–80
Author: Nick Crossley

This book argues that punk and post-punk, whatever their respective internal stylistic heterogeneity, enjoyed 'sociological reality' in Samuel Gilmore's and Howard Becker's sense. It elaborates the concept of 'music worlds', contrasting it with alternatives from the sociological literature. In particular it contrasts it with the concepts 'subculture', 'scene' and 'field'. The book then outlines a number of concepts which allow us to explore the localised process in which punk took shape in a sociologically rigorous manner. In particular it discusses the concepts of 'critical mass' and 'social networks'. The book also applies these concepts to the London punk world of 1976. It considers how talk about punk migrated from face-to-face networks to mass media networks and the effects of that shift. Continuing the discussion of punk's diffusion and growth, the book considers how punk worlds took shape in Liverpool, Manchester and Sheffield. In addition, however, the book offers a more technical analysis of the network structures of the post-punk worlds of the three cities. Furthermore, extending this analysis, and combining qualitative and quantitative forms of analysis, the book considers how activities in different local post-punk worlds were themselves linked in a network, constituting a national post-punk world.

Politics and reputation in 1980s Sheffield
Daisy Payling

8 ‘You have to start where you’re at’ Politics and reputation in 1980s Sheffield Daisy Payling In 1981 Sheffield City Council’s May Day celebrations splashed onto the front page of the Sheffield Star under the headline: ‘Uproar … as the red flag flies from Town Hall’.1 The flag, hoisted to celebrate International Labour Day, was taken by some as a sign of allegiance to the Soviet Union. Protestors draped a coffin with the Union Jack and brandished placards reading ‘Better Dead Than Red’.2 Five days later, the Sheffield Star published letters calling for the

in Waiting for the revolution
Britain 1876–1953

Music played a major role in the life of a global ideological phenomenon like the British Empire. This book demonstrates that music has to be recognised as one of the central characteristics of the cultural imperialism of the late nineteenth and early twentieth centuries. It begins with an account of the imperial music of Sir Edward Elgar and Sir Arthur Sullivan and the establishing of an imperial musical idiom. The book discusses the music composed for or utilized by official occasions: coronations, jubilees, exhibitions, tattoos, Armistice Day and Empire Day. Community singing was also introduced at the Aldershot Military Tattoo in 1927, sponsored by the Daily Express. The book examines the imperial content of a range of musical forms: operetta and ballet, films, music hall songs, ballads, hymns and marches. In one of the scenes depicting ballet, Indian dancing girls are ordered to reveal the riches of the land and the Ballet of Jewels. There were two staples of song in the second half of the nineteenth century: the drawing-room ballad and the music-hall song. Sir Henry Coward was Britain's leading chorus-master, and his 1911 musical world tour with Sheffield choir was the high point of his career. The book concludes with a discussion of practitioners of imperial music: the divas Emma Albani, Nellie Melba and Clara Butt, and the baritone Peter Dawson.

A tale of three cities
Nick Crossley

were unsure where their musical experiments were headed but by 164 Networks of sound, style and subversion playing with the punk format and introducing elements and influences from elsewhere they began to move beyond it. They were joined by others who had only ever been inspired by punk’s DIY ethos and the opportunities it created, never its style. Despite the existence of a lively punk world (Beesley 2009, 2010a, 2010b), many of Sheffield’s post-punk bands exemplify this second relation to punk. Cabaret Voltaire, for example, pre-date the Sex Pistols and

in Networks of sound, style and subversion
The dominions’ musical tour of 1911
Jeffrey Richards

Coward was born in Liverpool, the only son of Henry Coward, a Sheffield-born cutler ‘with a bent towards music’ who became a banjoist and ‘nigger minstrel’, and his wife the singer Harriet Carr. They toured for several years performing and then took over the Shakespeare Hotel, Williamson Square, Liverpool, where Henry was born. On his father’s death when Henry was only 8, Harriet returned to

in Imperialism and music
Aidan Mosselson

Sheffield A is a healthy, wealthy and leafy mix of greens, golf courses and gastropubs stretching from Fulwood and Ranmoor in the west to Nether Edge, Meersbrook and Dore in the south. This is the city that made international headlines in recent months with a campaign to protect its street trees from an incompetent and complacent council. Sheffield B is an adjacent but almost entirely unconnected city running down the Don from Upperthorpe to Hillsborough, up to Ecclesfield in the north and

in European cities