In 1849, the working-class poet Eliza Cook (1818–89) expanded her international profile by venturing into weekly periodical publication with Eliza Cook's Journal. Not only was this the first British journal named after a female editor but it also placed an unusual emphasis on music—unusual not least because few women in that epoch were given the opportunity to participate in the broader critical discourses on music. Cook's poetry was already widely disseminated through various musical settings by composers from William Balfe to Henry Russell; in her new journal, music further emerged as central to her philosophy of liberation for all. Placing street musicians alongside opera and salon concerts in an exhibition of remarkably eclectic taste, Cook saw the propensity for music making in all layers of society. She regarded musical culture as a soundscape of experience, emotion, and agency to which she, and all those from the laboring classes, not only had a right to access, engage in, and share but was part of their own innate being. Music symbolized imagination, freedom from the mundane, and limitless human potential. Efforts to secure music for “the people” were thus indissolubly linked to broader political rights for suffrage and equality.