Halifax

Wednesday

Martin Vander Weyer

Manchester won’t raise a statue to Andy Burnham

Already heard enough of ‘Is Manchesterism a thing and did Andy Burnham invent it?’ I’m afraid you’ll hear a great deal more between now and the Makerfield by-election – and long afterwards if Burnham wins the seat and the subsequent Labour leadership contest. So here’s a reminder that he defined Manchesterism in an interview last year as ‘consensual, business-friendly socialism that seeks to retake public control of all essential services’ – though in nine years as Greater Manchester’s mayor he achieved that latter objective only to the extent of imposing integrated fares and timetables on privately run buses. My own definition of Manchesterism, in response to his, was ‘manoeuvring shamelessly for power on the strength of other people’s achievements’.

Monday

Steerpike

Pronoun badges backfire for embarrassed banks

Pride month means only one thing: the chance for corporations to embarrass themselves with the latest right-on social media stunt. This year it was the turn of Halifax, which took to Twitter last week to declare that 'Pronouns matter' alongside an image of its new-style staff name badge, featuring the words 'she/her/hers' underneath. Other banks quickly piled in, with HSBC heralding this 'positive step forward for equality and inclusion' as 'it's vital that everyone can be themselves in the workplace.' https://twitter.com/HalifaxBank/status/1541692892175110146?

Thursday

Michael Hann

Makes me nostalgic for an era when music was more than a click away: Teenage Superstars reviewed

In Teenage Superstars, a long and slightly exhausting documentary about the Scottish indie scene of the 1980s and ’90s, there was a moment when a man revelling in the name of Stephen Pastel — his real name is Stephen McRobbie, and he must be pushing 60 now — was described as ‘the mayor of the Scottish underground’. Such a position — even one, as this, necessarily unelected — would be all but impossible to occupy today. With the internet and democratisation of music — its creation, its distribution, its consumption — has come the fallowing of what were once its most fertile fields: the local scenes created and inhabited by small numbers of interconnected people and encouraged by confident tastemakers — such as Pastel.