Stephen Basdeo takes a look at the life of one of New York’s pioneering social reformers, Jacob A. Riis.
The Underclass of 19th-Century New York City: The Work of Jacob A. Riis (1849-1914)
“One man’s terrorist is another man’s freedom fighter”: Deciding what is and what is not an act of terror
Tyler Welch explains why it IS possible to distinguish terrorist acts from the actions of legitimate freedom fighters.
Organized Crime
What distinguishes a well-planned murder committed by a robber to a low-life thug extorting protection money from a business owner? In this post, Tyler Welch discusses how we can define organised crime, and how such groups emerge and flourish.
Jack ‘Sixteen-String’ Rann (1750–74)
“Do not be deceived: bad company corrupts good morals.” (1 Corinthians 15: 33, ASV)
“Robin Hood’s Rescue of the Three Squires” and the Political Economy of Banditry
Robin Hood hated the sheriff of Nottingham and everything he stood for, but that doesn’t mean that he objected to the sheriff keeping law and order.
Reading Robin Hood in World War Two (1939–45): Data from Mass Observation
Did film completely destroy the market for Robin Hood books? Perhaps not as quickly as we might think.
Pierce Egan’s “Robin Hood Ballads” (1840)
Pierce Egan’s “Robin Hood” was an early Victorian bestseller. In the first edition, Egan also appended a collection of Robin Hood ballads alongside his novel, for which he provided the illustrations.
Goldilocks and the Three Bears: A Tale of Vagrancy and Imprisonment, by Robert Southey (1774-1843)
The original Goldilocks was a haggard old woman and a criminal vagrant who gets sent to prison for being up to no good.
Criminality and Animal Cruelty in 18th-Century England
In 1824, the lawyer, Andrew Kapp, asked, “Do not these creatures, when they are bruised and wounded, shew an equal sense of pain with ourselves? Are not their shrieks and mournful cries, as so many, calls upon their tormentors for pity? And do not their dying pangs, and the painful convulsions of their tortured bodies, cause uneasiness in every human spectator?”
Visions of “Piers Plowman” in the 18th Century
Joseph Ritson stated that the poem was “a dull performance and scarcely merits the care of a modern impression.”
