Coordinates: 53°33′38″N 2°17′57″W / 53.5606°N 2.2991°W / 53.5606; -2.2991

Salfordshire
Geography
Status	Hundred, Royal Manor
1831 area	212,170 acres (859 km²)
HQ	Salford
History
Created	11th century
Abolished	31 January 1971
Subdivisions
Type	Parishes

Lonsdale

Lonsdale

Amounderness

Blackburn

Leyland

Salford

West Derby

Hundreds of Lancashire

The hundred of Salford was an ancient division of the historic county of Lancashire, in Northern England. It was sometimes known as Salfordshire,^[1] the name alluding to its judicial centre being the township of Salford (the suffix -shire meaning the territory was appropriated to the prefixed settlement). It is also known as the Royal Manor of Salford^[2] and the Salford wapentake.^[1][3]

Origins[link]

The Manor or Hundred of Salford had Anglo-Saxon origins. The Domesday Book recorded that the area was held in 1066 by Edward the Confessor.^[4] Salford was recorded as part of the territory of Inter Ripam et Mersam or "Between Ribble and Mersey", and it was included with the information about Cheshire, though it cannot be said clearly to have been part of Cheshire.^[5][6][7]

The area became a subdivision of the County Palatine of Lancaster (or Lancashire) on its creation in 1182.

Salford Hundred Court[link]

In spite of its incorporation into Lancashire, Salford Hundred retained a separate jurisdiction for the administration of justice, known as the Court Leet, View of frankpledge, and Court of Record of our Sovereign Lord the King for his Hundred or Wapentake of Salford.^[8] Exceptionally for hundred courts, Salford survived until the 19th century.^[3] The lordship of Salford passed with the Duchy of Lancaster to the Crown, and a serjeant or bailiff was appointed to administer the hundred on the king's behalf.^[4] In 1436 the office of Hereditary Steward of the Wapentake of Salfordshire was granted to Sir Robert Molyneux of Sefton. The office was held by Sir Robert's successors, the Earls of Sefton until 1972.^[4]

The Portmote of the Borough of Salford merged with the Hundred Court in the 17th century, and the latter body took over the administrative business of the manorial borough.^[8] In 1792 police commissioners were established in Manchester and Salford, and the Hundred Court was left with few powers. By 1828 the activities of the court consisted of the following:^[8]

• A twice-yearly meeting of jury-men chose the borough reeve of Salford, along with two constables, a dog-muzzler, ale-taster and inspectors of flesh and fish for the town. The meeting also appointed constables in those townships that did not possess their own court leet. In these townships it also possessed powers to deal with noxious smells and smoke from factories, clearing obstructions of the highway, fencing of roads, foul ditches and enforcement of weights and measures.
• A three-weekly court for the recovery of debts of less than forty shillings. These were held every third Thursday by one of three deputy stewards (usually prominent local solicitors) appointed by the Earl of Sefton.^[9]

Reform[link]

Notice "to the inhabitants of the Hundred of Salford", published by magistrates the day after the Peterloo Massacre

In 1846 the court was reformed to become a Court of Record with its jurisdiction extended to debts not exceeding fifty pounds in value.^[9] In 1838 Manchester was incorporated as a municipal borough and granted its own court of record. The two courts were merged as the Salford Hundred Court of Record in 1869 by the Salford Hundred Court of Record Act 1868 (31 & 32 Vict. c. cxxx.). The court had jurisdiction in personal actions only.^[9][10] The municipal boroughs of Oldham, Bolton, Heywood and Rochdale successively had their areas exempted from the jurisdiction of the Hundred Court by Order in Council or private Act of Parliament between 1878 and 1893.^[8]

In 1910 a committee was appointed by the Chancellor of the Duchy of Lancaster to report on the practices, area and jurisdiction of the court, and whether it was "of benefit to the parties for whose use it was intended". One member of the three-man committee recommended the abolition of the court which had "little but its age to justify its continuance", while the majority called for amending legislation.^[11] Accordingly the Salford Hundred Court of Record Act 1911 (1 & 2 Geo. 5 c. clxxii.) was passed to restrict the area of the court to the county court areas of Manchester and Salford and to alter its procedures and costs.^[9][12]

Forty years later the court was again referred to a review committee.^[13] The committee's report recommended that the court be retained as it provided "a popular and speedy remedy for a large number of litigants in the area".^[10] In 1956 the court's area was extended to encompass the entire County Borough of Stockport, which was deemed to belong to the County of Lancashire and the Hundred of Salford for the purposes of assizes, quarter sessions and licensing.^[14] The Court of Record for the Hundred of Salford was abolished by section 43(1)(d) of the Courts Act 1971. The last hereditary steward, the seventh Earl of Sefton died on 13 April 1972.^[15]

Prisons[link]

Separate places of detention were maintained for the hundred: the New Bailey Prison in Salford, which was replaced by Strangeways Prison in 1868.^[9]

Constituent areas[link]

Salfordshire encompassed several parishes

The area it occupied, 212,170 acres (859 km²), corresponds loosely to the modern metropolitan county of Greater Manchester, though excludes those parts from the historic county boundaries of Cheshire, as well as most of that that forms the modern Metropolitan Borough of Wigan. Its area also extended into territory north of what is now Greater Manchester, including parts of Rossendale and Todmorden.

The parish of Manchester formed part of Salfordshire. It has been suggested that a Manchester-shire hundred was not favoured over one centred at Salford because Manchester had been ravaged as part of the Danish occupation.^[16]

The parish of Rochdale, in Salfordshire, included the chapelry of Saddleworth from the historic county boundaries of Yorkshire.^[3][4]

Parishes and townships[link]

Salfordshire comprised several parishes and townships during its history. These were not static, and changed according to the construction of churches and chapels and increases in population. For example, the township of Hundersfield was one of Rochdale parish's four original townships, but was itself split into four.^[17] Similarly, Prestwich-cum-Oldham was later split into two separate parishes of Prestwich and Oldham.

In 1830, Salfordshire was documented to consist of the following parishes and townships:^[18]

See also[link]

• List of hundreds of England and Wales

References[link]

Notes[link]

Bibliography[link]

External links[link]

• Map of the Ten Parishes of the Hundred of Salford in the mid 1800's

Salford may refer to:

• The City of Salford, a metropolitan borough of Greater Manchester, England
  • Salford, Greater Manchester, or Salford proper, an urban settlement within the City of Salford
• The County Borough of Salford, a former city and local government district located within the administrative county of Lancashire, England
• University of Salford, a major university in Greater Manchester
• Salford (hundred), also known as Salfordshire, an ancient judicial division of Lancashire, England
• Salford (UK Parliament constituency), an electoral area of North West England established in 1997, and represented in the United Kingdom's House of Commons
  • Salford East (UK Parliament constituency), an electoral area of North West England between 1950–1997
  • Salford North (UK Parliament constituency), an electoral area of North West England between 1885–1950
  • Salford South (UK Parliament constituency), an electoral area of North West England between 1885–1950
  • Salford West (UK Parliament constituency), an electoral area of North West England between 1885–1983
• Salford Cathedral, the Roman Catholic cathedral in the City of Salford
• The Roman Catholic Diocese of Salford, an ecclesiastical division of the Province of Liverpool under the Bishop of Salford
• Salford City Reds, a rugby league team in North West England
• Salford Symphony Orchestra, an orchestra in North West England
• Salford City Academy, a state comprehensive high school in Greater Manchester, England
• Salford (speedway), a motorcycle racing team from Salford, Greater Manchester

Other places named Salford[link]

• Salford, Bedfordshire, a village near Milton Keynes- south east England
• Salford, Oxfordshire, a village in South East England
• Salford, a hamlet adjacent to the village of Wavendon, in Buckinghamshire, England
• Salford Township, Montgomery County, Pennsylvania, a settlement in the United States
• Salford, a locality within South-West Oxford, Ontario, a township in Canada
• Salfords, a village in Surrey, England

See also[link]

• All pages with titles containing "Salford"

This disambiguation page lists articles associated with the same title. If an internal link led you here, you may wish to change the link to point directly to the intended article.

This article is an orphan, as few or no other articles link to it. Please introduce links to this page from related articles; suggestions may be available. (July 2011)

A major contributor to this article appears to have a close connection with its subject. It may require cleanup to comply with Wikipedia's content policies, particularly neutral point of view. Please discuss further on the talk page. (March 2011)

The Cold One Hundred
Background information
Origin	Salford, England
Years active	2010–present
Website	thecoldonehundred.tumblr.com
Members
Amory Neish Melling Jake Ward Joshua Harper Jacob Walker Samuel Dabrowski

The Cold One Hundred are an English indie rock band formed in Salford in early 2010. The band consist of Amory Neish-Melling (vocals), Jake Ward (guitar), Joshua Harper (guitar), Jacob Walker (bass) and Sam Dabrowski (drums).

A recent article printed in the Manchester Evening News said of the band: "Armed with a clutch of full-blooded romantic pop anthems... substance, along with intoxicating doses of idealism and romance, is something The Cold One Hundred clearly aren't lacking in. Combining Suede pomp, Clash punky freneticism and large splashes of Morrissey poetic swoon, The Cold One Hundred are classic Britpop elegance compacted into the neatest seven inch pop parcel... Make no mistake, as of 2011, The Cold One Hundred’s time is now."^[1]

History[link]

The Cold One Hundred first took shape when lead guitarist Jacob Ward and singer/lyricist Neish-Melling started bunking off University lectures to write songs, eventually roping in Harper, Walker and drummer Sam Dabrowski to complete the band line-up in February 2010.^[2] Within a month they were described as "A band with all the potential to break the mould of mundane Indie music".^[3]

The band's first demos, recorded at Sandhills Studios in Liverpool, received local acclaim as the band were hotly tipped as 'ones to watch' by Manchester-based High Voltage^[4] and Ark^[5] Magazines. The band has played live sessions for both BBC Radio Lancashire and BBC Radio Manchester, and are scheduled to go back into the studio in late 2011 with a view to a debut release.

The band supported Suede frontman Brett Anderson on his UK tour dates in October 2011.

In the short time since their formation, The Cold One Hundred have played numerous gigs across the UK, including supports with The Vaccines, The Heartbreaks and Cold Cave.

References[link]

1. ^ Sue, David. "Interview: The Cold One Hundred". Manchester Evening News. http://www.citylife.co.uk/news_and_reviews/news/10019159_interview__the_cold_one_hundred. Retrieved 22 March 2011. 
2. ^ Sue, David. "Interview: The Cold One Hundred". Manchester Evening News. City Life. http://www.citylife.co.uk/news_and_reviews/news/10019159_interview__the_cold_one_hundred. Retrieved 22 March 2011. 
3. ^ Lewis, Joe. "Interview TCOH". Ark. Ark. http://arkmag.co.uk/live-review-the-cold-one-hundred/. Retrieved 22 March 2011. 
4. ^ Cheetham, Richard. "New Noise: The Cold One Hundred". High Voltage. http://www.highvoltage.org.uk/article.php?type=10&id=347. Retrieved 22 March 2011. 
5. ^ Lewis, Joe. "TCOH Demo Review". Ark. http://arkmag.co.uk/the-cold-one-hundred-demos-2011/. 

External links[link]

• The Cold One Hundred

"The Lonesome Death of Hattie Carroll" is a topical song written by the American musician Bob Dylan. Recorded on October 23, 1963, the song was released on Dylan's 1964 album The Times They Are a-Changin' and gives a generally factual account of the killing of 51-year-old barmaid Hattie Carroll by the wealthy young tobacco farmer from Charles County, Maryland, William Devereux "Billy" Zantzinger (whom the song calls "William Zanzinger"), and his subsequent sentence to six months in a county jail.

The lyrics are a commentary on the racism of the 1960s. In 1963 when Hattie Carroll was killed, Charles County was still strictly segregated by race in public facilities such as restaurants, churches, theaters, doctor's offices, buses, and the county fair. The schools of Charles County were not integrated until 1967.^[1]

Killing[link]

The main incident of the song took place in the early hours of February 9, 1963, at the white tie Spinsters' Ball at the Emerson Hotel in Baltimore, Maryland. Using a toy cane, Zantzinger drunkenly assaulted at least three of the Emerson Hotel workers: a bellboy, a waitress, and—at about 1:30 in the morning of the 9th—Carroll, a barmaid. In addition to her work at the hotel, Hattie Carroll, at 51, was the mother of eleven children (the song says "ten") and president of a black social club.^[2][3][4]

Already drunk before he got to the Emerson Hotel that night, Zantzinger, 24 years old and 6′2″,^[1] had assaulted employees at Eager House, a prestigious Baltimore restaurant, with the same cane.^[2] The cane was a 25-cent toy.^[1] At the Spinsters' Ball, he called a 30-year-old waitress a "nigger" and hit her with the cane; she fled the room in tears.^[2] Moments later, after ordering a bourbon that Carroll didn't bring immediately, Zantzinger cursed at her, called her a "nigger" also,^[1] then "you black son of a bitch," and struck her on the shoulder and across the head with the cane. In the words of the court notes: " He asked for a drink and called her 'a black bitch', and ' black s.o.b'. She replied, 'Just a moment' and started to prepare his drink. After a delay of perhaps a minute, he complained about her being slow and struck her a hard blow on her shoulder about half-way between the point of her shoulder and her neck." She handed him his drink.^[5] After striking Carroll, he attacked his own wife, knocking her to the ground^[2] and hitting her with his shoe.^[1]

Very soon, within five minutes from the time of the blow, Carroll leaned heavily against the barmaid next to her and complained of feeling ill. Carroll told co-workers, "I feel deathly ill, that man has upset me so." The barmaid and another helped her to the kitchen. Her arm became numb, her speech thick. She collapsed and was hospitalized. Hattie Carroll died eight hours after the assault.^[2] Her autopsy showed hardened arteries, an enlarged heart, and high blood pressure. A spinal tap confirmed brain hemorrhage as the cause of death. She died in Mercy Hospital at 9a.m. on February 9, 1963.^[6]

Zantzinger was initially charged with murder. His defense was that he had been extremely drunk,^[2] and he admitted to no memory of the attack. His charge was reduced to manslaughter and assault, based on the likelihood that it was her stress reaction to his verbal and physical abuse that led to the intracranial bleeding, rather than blunt-force trauma from the blow that left no lasting mark. On August 28, Zantzinger was convicted of both charges and sentenced to six months' imprisonment.

Time magazine covered the sentencing:

In June, after Zantzinger's phalanx of five topflight attorneys won a change of venue to a court in Hagerstown, a three-judge panel reduced the murder charge to manslaughter. Following a three-day trial, Zantzinger was found guilty. For the assault on the hotel employees: a fine of $125. For the death of Hattie Carroll: six months in jail and a fine of $500. The judges considerately deferred the start of the jail sentence until September 15, to give Zantzinger time to harvest his tobacco crop.

— Time, "Deferred Sentence", September 6, 1963

After the sentence was announced, The New York Herald Tribune conjectured he was given a sentence that short to keep him out of the largely black state prison, reasoning that his notoriety would make him a target for abuse there. Throughout the United States, sentences over a year are generally served in a state prison; sentences under a year are usually served in a county jail or city lockup. Zantzinger instead served his time in the comparative safety of the Washington county jail, some 70 miles (110 km) from the scene of the crime.

In September, the Herald Tribune quoted Zantzinger on his sentence: "I'll just miss a lot of snow." His then-wife, Jane, was quoted saying, "Nobody treats his negroes as well as Billy does around here."^[1]

Song[link]

Zantzinger was convicted of manslaughter on August 28, 1963, and was not tried by a jury of peers but by a panel of three judges. The sentence was handed down on the same day that Martin Luther King, Jr. delivered his I Have a Dream speech in Washington. Bob Dylan, 22 at that time, was one of the celebrities at the march and on the journey home to New York he read about the conviction of Zantzinger and decided to write a topical protest song about the case. According to a 1991 Washington Post report, Dylan wrote the song in Manhattan, sitting in an all-night cafe.^[1] A recent radio documentary on the song said rather that he wrote it both in New York and at the home of his then lover, Joan Baez, in Carmel. According to Nancy Carlin, a friend of Baez who visited, "He would stand in this cubbyhole, beautiful view across the hills, and peck type on an old typewriter... there was an old piano up at Joan's... and peck piano playing... up until noon he would drink black coffee then switch over to red wine, quit about five or six."^[7] He recorded it on October 23, 1963, when the trial was still relatively fresh news, and incorporated it into his live repertoire immediately, before releasing the studio version on January 13, 1964. He also performed the song on Steve Allen's network television program soon after its release.

The wording of the lyrics, "a cane / That sailed through the air and came down through the room", either describe the arc of the cane's descent, or assert that the cane was thrown, or is a metaphor for the baselessness of the attack and its impact on society. And the next line, "doomed and determined to destroy all the gentle" presumably draws on poetic license as to the degree of malice evidenced.

The song juxtaposes Zantzinger's wealth and connections to the powerful with the brevity of that sentence. Despite the song's topical nature, Dylan continues to perform it in concert as of May 2009.^[8] His live-audience renditions of it appear on the albums The Bootleg Series Vol. 5: Bob Dylan Live 1975, The Rolling Thunder Revue (2002) and The Bootleg Series Vol. 6: Bob Dylan Live 1964, Concert at Philharmonic Hall (2004).

In Chronicles: Volume One, Dylan includes "Hattie Carroll" in a list of his early songs which he feels were influenced by his introduction to the work of Bertolt Brecht and Kurt Weill. He describes writing out the words of Pirate Jenny (or The Black Freighter) in order to understand how the Brecht-Weill song achieved its effect. Dylan writes: "Woody had never written a song like that. It wasn't a protest or a topical song and there was no love for people in it. I took the song apart and unzipped it—it was the free verse association, the structure and disregard for the known certainty of melodic pattern to make it seriously matter, give it its cutting edge. It also had the ideal chorus for the lyrics"^[9]

Literary critic Christopher Ricks considers the song to be "one of Dylan's greatest" and the recording on The Times They Are A-Changin' to be "perfect." He devotes an entire chapter to it, analyzing both the meaning as well as the prosody in his book on Dylan's songs as poetry. "But here is a song that could not be written better."^[10]

Impact on Zantzinger[link]

The song continued to haunt Zantzinger in later controversies until his death in 2009. After serving his sentence for manslaughter, Zantzinger returned to running the farm in Charles County. He also began selling real estate, and moved to more urban Waldorf, Maryland, still within Charles County. Eventually he moved to a 2-acre (8,100 m²) home in Port Tobacco, where he lived throughout the 1990s^[1] until moving to a new home in St. Mary's County around 2001^[11] in Chaptico, Maryland, called Bachelor's Hope.^[12]

In addition to federal tax delinquencies, Zantzinger fell more than $18,000 behind on county taxes on properties he owned in two Charles County communities called Patuxent Woods and Indian Head, shanties he leased to poor blacks.^[13][14] In 1986, the same year the IRS ruled against him, Charles County confiscated those properties. Nonetheless, Zantzinger continued to collect rents, raise rents, and even successfully prosecute his putative tenants for back rent.^[1] In June 1991, Zantzinger was initially charged with a single count of "deceptive trade practices."^[1] After some delay, Zantzinger pleaded guilty to 50 misdemeanor counts of unfair and deceptive trade practices.^[15] He was sentenced to 19 months in prison and a $50,000 fine.^[16] Some of his prison sentence was served in a work release program.^[17]

In 2001, Zantzinger discussed the song with Howard Sounes for Down the Highway, the Life of Bob Dylan. He dismissed the song as a "total lie" and claimed "It's actually had no effect upon my life," but expressed scorn for Dylan, saying, "He's a no-account son of a bitch, he's just like a scum of a scum bag of the earth, I should have sued him and put him in jail."^[18] Zantzinger died on January 3, 2009, at the age of 69.^[19]

Cover versions[link]

• Jonah Matranga used the melody of Dylan's song for his own "The Lonesome Death of Trayvon Martin" in 2012, commemorating Trayvon Martin who was killed by neighbourhood watch George Zimmerman 2012.
• Billy Bragg used the melody of Dylan's song for his own "The Lonesome Death of Rachel Corrie" in 2006, commemorating activist Corrie who was killed in the Gaza Strip by an Israeli bulldozer in 2003.^[20]
• The progressive rock/reggae band Rx Bandits recorded a cover of the song in 2005 for the Drive-Thru Records compilation Listen To Bob Dylan - A Tribute.
• The reggae singer Michael Rose, formerly of Black Uhuru, also did a cover of this song for a compilation produced by Dr. Dread titled Is It Rolling Bob?.
• The singer/songwriter folk artist Christy Moore performed a cover of the song on the 2006 Live in Dublin album. He released a studio version of the song on his album Burning Times.
• The Minnesota-based singer/songwriter Mason Jennings does a cover of the song in the biographical Bob Dylan movie I'm Not There released in November 2007.
• The English folk singer Martin Carthy recorded the song on his Signs of Life album in 1998.
• Robert Levon Been, bassist and guitarist of the band Black Rebel Motorcycle Club, often performs this song live.
• Phranc, an American folk singer, covered the song on her debut album Folksinger (Island Records, 1985).
• Julie Felix, an English (American born) female folk singer, covered the song on her Dylan tribute album Starry Eyed And Laughing: Songs By Bob Dylan.
• Cage The Elephant, an American band, also recorded a version for the Bob Dylan tribute album Chimes of Freedom: Songs of Bob Dylan Honoring 50 Years of Amnesty International.

References[link]

• Frazier, Ian, "Legacy of a Lonely Death". Mother Jones, November/December 2004, 42-47; partial version on line. Reprinted by The Guardian February 25, 2005, as "Life after a lonesome death" (full version with the full song lyrics).
• "Farmer Convicted in Barmaid's Death", New York Times June 28, 1963. p. 11
• "Farmer Sentenced in Barmaid's Death", New York Times August 29, 1963. p. 15
• Dylan, Bob (2004). Chronicles: Volume One. Simon and Schuster. ISBN 0-7432-2815-4. 

See Also[link]

List of Bob Dylan songs based on earlier tunes

External links[link]

• Legacy of a Lonesome Death Mother Jones November/December 2004 Issue
• Maryland Court Records
• "Rich Brute Slays Negro Mother of 10", August 29, 1963 article by Roy H. Wood as transcribed from book Absolutely Dylan by Patrick Humphries and John Bauldie, (1991). ISBN 0-14-016823-0 and ISBN 978-0-14-016823-5
• Song Lyrics and Meaning
• The Art of Bob Dylan's "Hattie Carroll", 1964 critique by Phil Ochs in Broadside Magazine.
• The Lonesome Death of Hattie Carroll Lyrics from Columbia Records
• The Lonesome Death of Hattie Carroll (BBC Radio 4 programme)