Walking through Piccadilly Station the other day, after going to see the memorial to the dead of the M.E.N Arena atrocity, a trumpet blared out, weary and bitter. Suddenly it focused into the Coronation Street theme tune. I looked up and a couple of guys were sat drinking in the upstairs bar. One of them had opened his instrument case, taken out his trumpet and blasted out this tune. I scrambled for my iPhone and managed to record him just before he stopped, mid-flow. They looked hammered. People cheered. A couple of clippings exist, from Bradford Telegraph & Argus in the late 1960s, which cover the arrival of the American jazz player Roland Kirk, for a gig at the university. The matter-of-factness of these clippings cannot contain the lively sense of culture-clash, which begins right at the moment the completely blind Kirk emerges from a van in a boiler suit, asking cars to go around him. He then dines with the Telegraph & Argus correspondent, who feels it important to note that the waiter is thrown off-balance by his order of red meat, fish and vegetables, on the same plate: ‘Surf and Turf’ had not yet arrived in Bradford. Kirk then expressed his admiration for the Coronation Street theme tune, which he considered to be a ‘deep blues number’. It is, of course, but for the white working classes Coronation Street represented, it signified other things too, grittiness, a sense of stoicism and ‘northerness’, albeit reduced to a grainy surface. None of these aspects are incommensurate with ‘the blues’, but it is interesting to note how cultural documents can slip, and we can take a new sense of what the theme tune means. I wrote about this for the Ways of Looking festival in Bradford: Surf and Turf on Thornton Road. In Piccadilly Station it is taking on a whole slew of other meanings, as are all kinds of objects on the Manchester landscape at the moment.