This Time No Mistakes by Will Hutton

I have admired Will Hutton for many years and devoured his book, The State We Are In, and his writing in the Observer. His most recent book is This Time No Mistakes - how to remake Britain.

Following a helpful introduction, Hutton begins by exploring the economic story of the USA. He looks at the freewheeling entrepreneurs: JP Morgan in banking and Carnegie in steel and their push for monopoly. [the links are to posts I have written for my History of British Manufacturing.] The monopolies were countered by antitrust legislation. The otherwise free market system though had inbuilt instability and banks and businesses crashed all too often  After four decades of spectacular growth, the Wall Street crash and subsequent Great Depression demanded action which took the form of Roosevelt’s New Deal. 

This had three main strands: regulation, the provision of credit with protection and a massive investment in infrastructure with a focus on employing those otherwise out of work.  So we have the federal mortgage lenders, the SEC and a raft of social security legislation. It worked and formed the consensus of western economics for nearly half a century. Hutton acknowledges also the massive benefit to the US economy of production for WW2 of which I wrote in War on Wheels and Dunkirk to D Day.

The consensus began to crack in the seventies with the oil shocks and inflation.  Hutton suggests that it was raised interest rates to cool inflation that led to the strengthening dollar and the flight of US manufacturing overseas. In the UK, as I wrote in Vehicles to Vaccines, it was North Sea oil that had a similar effect. Hutton suggests, in a later chapter, that UK interest rates raised for the same reason added to the strength of sterling.

The forces of the right, believing in the market and the small state, were ready in the wings and entered the scene with Ronald Reagan as the charismatic US face; much the same as Margaret Thatcher.

Neither Clinton nor Obama altered this new direction and left  a country of disgruntled former workers ready to embrace Trump's  brand of nationalism.

This very much sets the scene for the book.

Hutton then looks at the Tory years with particular focus on Thatcher and the way manufacturing was decimated. He explores the Brexit arguments and then the failed administrations of May, Johnson and Truss.

The next focus is on laissez faire and the way successive governments have embraced this doctrine combined with the straight-jacket of the small state.

In critiquing the doctrine he draws on the writing of Adam Smith, Chadwick and Engels, the action of Luddites, Tolpuddle martyrs and the Chartists, and finds practical examples of good practice in the Rochdale Cooperative and Robert Owen’s New Lanark. Interesting for me who has written on him he draws on John Ruskin's works on political economy in particular Unto his Last. Hutton of course writes on Marx and his critics.

1859 was a key date with the formation of the Liberal party. Hutton follows this by writing on influential thinkers: Green, Hobson, Hobhouse and their pupils Asquith and Keynes. 

Interestingly he quotes from Churchill's Poverty: the study of town life

“ A poverty-stricken working class could not possibly spend sufficiently to drive the economy forwards, while the aristocratic elite and upper-middle class were too small to compensate. Instead, they saved, with the savings’ surfeit flowing overseas to empire and the financing of other countries’ industries.” 

I have to observe that this is what we are witnessing in today's economy.

The growing union movement and the Liberal party found common cause and together selected Lib/Lab parliamentary candidates.

A somewhat belated fruition of this was the reforming Liberal Government of 1906-1911 and Lloyd George's budget.

I found it interesting that in 1918 when the franchise was enlarged to give the vote to some women, consideration was given but rejected for proportional representation, a topic to which Hutton returns a number of times in the book.

The interwar years contained the disastrous return to the Gold Standard and the hardship this caused. It contained too the ground breaking writing of Keynes whose influence Hutton warmly embraces. Sadly for Britain, governments did not share in the embrace but instead built tariff barriers around Imperial Preference which shielded Britain from healthy competition. The adherence to the small city remained key.

Moving to the post-war, Hutton rejoices in Beveridge and is admiring of Attlee and his government. He possibly offers warmer praise for Harold Macmillan and his Middle Way.

As a critique of post-war industry, Hutton offers this:

“ cosseted, dividend-hungry, rentier shareholders, aggressive shop stewards, disengaged finance and unenterprising managements looking for safety behind tariffs and cartels, rather than putting money into research and new products.” 

This is very much what I found in my research into British manufacturing since 1951 as expressed in Vehicles to Vaccines.

Looking at governments, he sees missed opportunities and barriers. For Wilson the barriers were the multiplicity of trades unions, but also a city wedded to laissez faire. Heath is criticised, but Hutton points out that he did want to remove barriers that reduce competition. The SDP and Blairism in practice are both filled with missed opportunities, although the Blair/Brown years did bring vital change, not least in the focus on early years in Sure Start.

Looking at a way forward Hutton would like to seeing a co-operation of New Liberal and Ethical Socialist. The fundamental shift through is from the emphasis on the 'I' to the 'We'. He draws on the thinking of the Fairness Foundation. 

There is much to be done. Hutton suggests that massive investment is needed to counter climate change, in infrastructure, skills, scientific research and levelling up. Increased borrowing would be possible if lenders could see that their money is being wisely spent. Increased taxation would be needed to service the debt. Our tax take is lower than many countries - but a poorly designed tax system needs attention. 

A sovereign wealth fund is needed. Hutton looks at how British funds and banks currently invest - most goes to real estate and overseas. This needs to be reversed.

Housing, education and health care are key issues where those already on the ladder not only have massive advantage but also live in silos removed from the rest of society.

None of this will just happen. A whole host of national and business governance issues need to be address in tandem. Hutton does not avoid the elephant in the room: we must build a vibrant relationship with the EU.

"The aim must be to create an environmentally sustainable, high-productivity Britain that is less unequal, fairer and economically dynamic, and which, while global in its reach, is firmly anchored in its own continent. That is what Britain must invest for – a ‘We Society’ around which the private and public sectors can coalesce."

Cherish city's artscape

I take the title of the introduction I wrote for this season's Hello Lincoln. I reproduce the article below, but I want first to set out just why our city's artscape is in need of being cherished.

It is about being a city which embraces excellence in all its forms and not just a city what was notable in the past.

In order to be a place of excellence, I believe a number of factors need to be present. Excellence in education, which we have in our universities and college; excellence in work and employment, which we have in Siemens, Lindum and James Dawson but also a host of very creative businesses; excellence in architecture and heritage, which we have in abundance. It also needs excellence in the provision of arts and culture. It is simply no good if people living here have to go elsewhere to ‘feed their souls’.

I have written elsewhere of Charlotte Bronte who only found her eyes opened to art in the then new National Gallery when she visited London. In Lincoln we are amazingly lucky because, unlike Charlotte Bronte, we don’t have to go to London to have the experience she had; we have it on our door step. The Usher Gallery is surely, in its own way, as beautiful a building as the National Gallery and its setting on the hill nestling below the cathedral surely knocks Trafalgar Square for six. It has in recent years welcomed exhibitions that would make cities many times our size green with envy. It speaks of a city that is significant.

We do of course need more that just that. Many of the people of this city live in some of the most deprived wards in the UK. It is vital that our provision of art and culture reaches as far as it can and is as accessible as it can be. At the Drill Hall, we are delighted to be working in partnership with the YMCA to bring the experience of theatre to young people living in their part of the city and also to be working with the Mansions of the Future project to make art accessible in the very centre of Lincoln.

The Usher has the potential to be a massive force for good. It has been neglected and does need investment to be fit for purpose in the 21st century. The building is one with its collection, and this is important. It was built for the purpose for which it is still used and is a necessary complement to the art on display. It can speak loud and clear to the Lincoln community and to our many visitors.

The reference to visitors is important. We will soon have two wonderful heritage sites and visitors, I am sure, will come in their thousands. However, once they have visited the cathedral and castle, what next? To my mind, it is vital to have strong cultural offering to encourage those vital repeat visits.  I would argue that high quality public performance is part of this, but also the opportunity to experience great visual art in the place built to show it.

Both the Drill Hall and the Usher have a further vital role to play. They need to be places where today’s and indeed tomorrow’s artists can work. In today’s world, art cannot be something that is just ‘consumed’; there is a hunger to participate. Both places are ideally suited to this.

What kind of a City is Lincoln?

It is a question I have asked before but in a different context; this time it is much more about whether we are a city that looks back, or one that looks now? Let me explain.

Millions of pounds have been spent at the castle, and indeed are being spent at the cathedral, to enable visitors and, of course, local residents to see what Lincoln was. All this is done in a very engaging and expert way, and that is wonderful. But is that all, and should it be all? What about the creative people of today? More to the point, what about you and me - now?

We all get on with our day to day lives, and much is far from easy. We need, from time to time, to be taken out of ourselves to experience something totally different. Here I declare my hand, I am chair of trustees at the Lincoln Arts Trust which cares for and runs Lincoln Drill Hall. So I would suggest that it is a pretty good thing to go to the Panto and have good laugh. I know, from talking to audience members, that the experience of a performance of Les Miserables or Phantom of the Opera truly lifts the spirits. It may be music; it may be comedy or theatre; it depends what is your particular cup of tea.

It is more that just live performance; it is the other ways artists speak to us. The work going on at Mansions of the Future is reaching many more people than some existing venues and that is good, but those other places can too.

As I have written elsewhere, I have come to the world of arts and culture quite late in life. I still remember the thrill of seeing paintings in an art gallery and, rather than shuffling round bored and embarrassed, having someone open my eyes to what I am seeing. I am currently writing about Charlotte Bronte, the author Jane Eyre, and have found in her letters that the same was true for her; she had her eyes opened when she visited London and the then new National Gallery.

In Lincoln we are amazingly lucky because, unlike Charlotte Bronte, we don’t have to go to London to have the experience she had; we have it on our door step. The Usher Gallery is surely in its own way as beautiful a building as the National Gallery, and its setting on the hill nestling below the cathedral surely knocks Trafalgar Square for six. It has in recent years welcomed exhibitions that would make cities many times our size green with envy.

More than this, Lincoln as city is radically different to the one I first worked in only twenty years ago. Its biggest population group by far is 18 to 25. These are young people at an incredibly important time in their lives. They already have world class universities and colleges; for their nourishment, they need access to great performance and truly engaging art. The same is true of you and me, and tragically we are at risk of losing both, for ever.

The Drill Hall is at risk of closure, which is why we are running our Buy a Brick campaign. The Usher Gallery too is as risk of ceasing to be an art gallery at all and the County Council are consulting all of us for our opinion.

With both, the question is the same: do we want to live in a city where we have on our doorstep excellent live performance and a gallery that can welcome world class art? Both need to be accessible and I know that more work is needed to achieve this. 

But, what do you think?

My article in the Lincolnshire Echo of 14 March 2019

Let's talk

The late Jo Cox gave this country a great deal, but not least when she said, "we are far more united and have far more in common than that which divided us."

The Queen perhaps continued the theme when she said to the Sandringham WI, '“As we look for new answers in the modern age, I for one prefer the tried and tested recipes, like speaking well of each other and respecting different points of view; coming together to seek out the common ground; and never losing sight of the bigger picture.”

In The Guardian of Saturday 16 February, Ian Jack quoted both in his piece about a visit to Brexit voting Boston in Lincolnshire with a couple of people from Remain voting Lambeth in London.

In the same paper Jonathan Freeland lauded the action of school children in demonstrating against those of their elders who ignore global warming. He offered his argument with some delicious humour:

"Such is the upside-down, topsy-turvy state of our world, that the children are now the adults and the adults are the children. In Westminster, our supposed leaders – men and women of mature vintage – keep stamping their feet and demanding what no one can give them.

They insist they should be allowed to gobble up all the birthday cake and still have cake left to eat, threatening to storm out of the European Union and slam the door behind them. As Dominic Grieve, the former attorney general, rightly puts it: “Threatening to leave is the behaviour of a three-year-old who says that they are going to hold their breath if they do not get the toy that they want.”

In Washington, meanwhile, Donald Trump, aged 72 and three-quarters, has screamed and screamed and screamed until he is sick, pounding his little fist on the table as he demands money for the big wall of bricks he wants to build, and today declaring a national emergency to get his way. The House speaker, Democrat Nancy Pelosi, assessed the situation accurately last month, when Trump was shutting down the government: “It’s a temper tantrum by the president. I’m the mother of five, grandmother of nine. I know a temper tantrum when I see one.”

Marina Hyde then despaired at how our adult leaders are spending the days as the clock ticks down to Brexit:

" If we crash out of the EU without a deal, I hope someone publishes a coffee-table book detailing each of the irrelevant arguments we had on each day as the Brexit doomsday clock ticked down. T-minus 42 days: was Churchill a shit or not? T-minus 41 days: where do you stand on the Boer war?

There is something truly grotesque about all this playing out as children around the country and the world strike from school to protest against climate emergency. In Westminster, a generation who will never be forgiven don’t even have the thing they won’t be forgiven for on their radar. It is left, shamefully, to actual kids to point it out. With absolute ironical inevitability, then, May made the time to criticise the nation’s young for their actions. Apparently, the climate strike “wastes lesson time”. Just to be clear, Prime Minister, on Thursday a party colleague requested an emergency parliamentary debate on Winston Churchill, who literally DIED IN 1965. Can you grown-ups give the kids another lecture on time-wasting, please?"

I strikes me that we, 'ordinary' people, need to talk to each other. Our politicians are failing us in a big way. They must not be allowed to succeed. So, whether you favoured Brexit or wanted to Remain, let's start talking before it's too late.

What's more, I will offer a venue for that conversation. Who's up for it?

Lincoln Drill Hall - why it matters

On the anniversary of some women first exercising their right to vote, I was privileged to see two pieces of drama Made in Lincoln

The first, The World at their Feet, I had seen before at Lincoln Drill Hall in November. This evening we saw the final scene without props or theatre lighting. Maggie and I were moved to tears, as we had been first time round. It was the combination of a story that mattered, great writing, great direction and great acting. This was a performance by a community theatre company, The Lincoln Mystery Players of a piece written and directed in Lincoln. It was so powerful. I have no doubt at all that the writer Stephen Gillard, director Sam Miles and a number of the players are heading for fulfilling careers.

The second, The Forgotten Suffragette, I am ashamed to say I didn't hear first time round when it was broadcast on BBC Radio Lincolnshire. It was acted by Phoebe Wall-Palmer and Rachel Baynton, ably supported by theatre students and the incomparable Simon Hollingsworth. This fine piece of writing was also Made in Lincoln by Proto-type Theater working with the Lincoln Performing Arts Centre. If World at her Feet moved my emotions, the Forgotten Suffragette set my mind racing.

It matters that those setting out on a career have a place to perform and hone their art. It made me think more deeply about my role as chair of the Lincoln Arts Trust, whose activity is the promotion of arts and culture principally through the care and running of Lincoln Drill Hall. It made me ask, 'what really matters?' Is it popular professional performance that plays to full houses, or do I need to dig a little deeper?

This last year I have witnessed full houses, not least the wonderful talk given to an audience ranging in age from eight to eighty by Michael Morpurgo as part of the Lincoln Book Festival and, of course, the BBCProms and the Soldier's Tale. I have also been swept away by Les Miserables performed by Jamie Marcus Productions with no cast member over the age of nineteen. I have seen new work, where we paid what we thought. I can't wait to see the Panto, also by Jamie and Julie Marcus and produced with such high performance values with actors who know their craft.

  

Yet, when I do dig deeper, I find that the Panto reaches far more people than anything else and, through it, young people have their first taste of theatre which can result in a lifelong love. Our CEO Chris Kirkwood has written further on this.

Many young people find their own skills in our Fishtank Theatre Group, now also being run at the YMCA on Tritton Road. Some take part on the New Youth Theatre who take over the Hall for a week of performances each year. We have our monthly disco run by and enjoyed by people with disabilities. Saturday lunchtime is where people come to meet and eat whilst listening to talented musicians. Three times a year, Saturday is also when Compassionate Lincoln hold their Big Soup in support of community initiatives. There is the community performances, as well as World at her Feet, pieces by Common Ground Theatre , performances by the Lincoln Symphony Orchestra and the acclaimed Lincolnshire International Chamber Music Festival with their monthly concerts at the Hall.

In truth there is so much that matters.

Michael Morpurgo with Charlie Partridge - photography by Phil Crow

The BBC Proms at Lincoln Drill Hall

"Welcome to this evening's Prom at Lincoln Drill Hall"

Never in a million years did I imagine ever saying those words, yet on the evening of 4 August 2018, I did to a full house. But why Lincoln Drill Hall?

Introducing the broadcast afternoon performance, BBC Proms Director, David Pickard, explained that it came about through serendipity. The whole Proms season was commemorating the centenary of the end of WW1, David had always wanted to perform the Stravinsky's The Soldiers Tale and, following Hull last year, wanted to find a venue outside London. Lincoln Drill Hall fitted the bill perfectly as a well regarded arts centre with a flexible performance space and with a strong military history.

Petroc Trelawny, introducing the piece, explained that Stravinsky had collaborated with CF Ramuz to produce The Soldier's Tale inspired by Russian folk tales telling of a runaway soldier who sells his violin to the devil in exchange for a book that can predict his future.

Scored for a trio of actors and seven musicians, the Hebrides Ensemble with Daisy Marwood, Laurence Guntert and Tom Dawze, enchanted the audience with stage direction by James Bonas and choreography by Cydney Uffindell-Phillips.

It was the 4th Battalion of the Lincolnshire Regiment for whom the Drill Hall was home. They were territorials, young men from a whole variety of walks of life, who came here to be available to serve King and Country. This Hall saw them drill, it saw them muster, it saw some return wounded.

In late July 1914 they were at their annual camp in Bridlington. It was there that the order came for them to return to the Drill Hall. They arrived on the morning of 4 August 1914 but were then sent home to await orders.

I am sure there was euphoria here that morning 104 years ago. Then in the afternoon there would have been silence…

Equality?

We would love it if you could join us at Lincoln Drill Hall on Sunday 8 July at 7pm at the launch of an exhibition of work by Lincolnshire makers interpreting what one hundred years of some women getting the vote means to them. We will be joined by performance poet Gemma Baker. 

​

Compassionate Lincoln Big Soup

You are invited to join us for lunch (soup of course!) and hear pitches from local people with big ideas for making a difference in our community.

The formula is simple: 5 x 5 x 5 - Buy a £5 ticket - Hear pitches of no-more than 5 minutes in length - Dig a bit deeper with 5 questions from the audience. Once all the pitches have been made, lunch will be served and audience members can discuss the ideas they’ve heard - which one will make the most impact? which is the most exciting? which do we want to support the most? Then we vote! The winning pitch will receive all the ticket money from today’s event to turn their idea into a reality.

“When local people invest in the enthusiasm of others, making a positive difference becomes so much easier.” - Steve Kemp, CompassionateLincoln.

The Big Soup is organised by CompassionateLincoln - a campaign to encourage community-led action in response to the challenges our city faces: https://vimeo.com/171755688 

If you have a project for which you would like support please e-mail compassionatelincoln@gmail.com

The Big Soup will be held at Lincoln Drill Hall on 16 June. If you would like to come along and vote, follow this link to tickets.