tinasqueezer,
Although you modified what you said a little I still don't quite get the point and if I believe I get it I basically agree with what Dick says.Of course there are some differences in what can be done with Anglos vs Englishes but if we are not talking violin concertos but the standard folk and dance tunes I really see m(any) important ones.
The basic playing methods can be practised with both and I like Dick I think 'bellows articulation' has been sadly ignored among english players by "tradition" - something I regard as just bad habits or ignorance since the quality of muscial performance may suffer from it.

"I suppose my rant was kicked off by the assertion that we want EC's to sound like Anglos, and the way to do that was to be to use the bellows. Consider how the anglo player has to use the instrument: If a rapid run of notes is needed that require changes of bellows direction then the action is something like: Press first note, release first note, change bellows direction, press next note....etc. Getting this to sound continuous is what distinguishes a good Anglo player".

RE: I don't quite see what you mean here unless you are talking about staccatto playing only, but even so you can do staccatto by bellows articulation too but it likely comes out a bit different unless you are extremely good at it.
If talking legato playing there is nothing for the english player to assimilate from anglo playing but in the reverse the anglo player may have certain difficulty simulating english playing for long phrases.

"(yes I realise that some beginers will hold a button down and use the bellow to change note, but to me that just sounds like a donkey braying)"

RE: ?? again only IF you only look/listen for staccatto all the time,
do you?

"The fact that a note has to be released before the bellows direction can be changed is what leads to the distinctive anglo sound, not the use of bellows per-se".

RE: This I don't understand at all.By "released" - do you mean stopped? - That the note has to be ended "before the bellows direction can be changed" ro what do you mean?

"I have played with a number of accordion players who can produce strong rhythmic music and they certainly do not use bellows changes to achieve it. They use the technique which I mentioned in my first post, i.e. to use the note cut-off to give punch to a tune".

RE: Maybe so and maybe they were just lazy..:-) but "strong rhythm" definitely with any squeezebox is easier and more efficient to do by the bellows than by finger articulation so why not usse the option??It is difficult enough to produce "strong rhythmic music" with an english anyway but even so bellows reversals may help on the way.
(Better handles would also - have I said that before?..:-)

" I hope I am offering a technique that will lead to EC players not wrecking their bellows by trying to emulate the anglo!"

RE: "Wrecking bellows" I think is a myth but the argument does come up now and then.Old brittle bellows ( or cheap ones for exammple on the cheapest german style 20 key concertinas) , more or less broken already,may risk breaking a bit more from vigorous playing. I have tried intentionally to break some bellows a couple of times from pure curiosity but by any kind of violent playing I could not do it! Only by using a lot of force far beyond any practical musical activity and without sounding any notes I finally managed...