Morrissey versus NME in racism court battle

Former Smiths frontman attempts to sue ex-NME editor for libel.

Morrissey is attempting to sue Conor McNicholas, the NME's former editor and its publisher IPC Media for libel. A hearing was held at the High Court on Monday, which Morrissey did not attend. Today the senior libel judge, Mr Justice Tugendhat, will annouce whether this claim for a trial has been accepted.

The case centres around an interview that Morrissey gave to the NME in November 2007, in which he referred to an "immigration explosion". He was also quoted as saying: "Although I don't have anything against people from other countries, the higher the influx into England the more the British idenitity disappears."

In his written submission to the court, Morrissey said that the 2007 interview had attracted significant attention from the press and that "Question marks over my being a racist have never since receded". The former lead singer of the Smiths has always denied allegations of racism. Another controversial episode in the singer's career happened onstage in Finsbury Park in 1992, when he wrapped himself up in a Union jack, leading to accusations by the NME that he was "flirting with disaster" and racist imagery.

Morrissey first threatened to take legal action against the magazine soon after the interview was published in 2007. His lawyers set a deadline by which the publication had to apologise before legal action would begin, but the NME issued no such apology. Acting for the magazine, Catrin Evans alleged that the three year gap between Morrissey's first complaint and the recent hearing suggests that, "this is not a genuine bid for vindication ... [The claim] simply didn't figure at the forefront of his mind."

If Morrissey's claim is successful, the main evidence for the trial will be a full transcript of the 2007 interview and e-mail correspondence between Morrissey's manager and the NME.

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Why does food taste better when we Instagram it?

Delay leads to increased pleasure when you set up a perfect shot of your dinner.

Been on holiday? Take any snaps? Of course you did – but if you’re anything like me, your friends and family didn’t make it into many of them. Frankly, I can only hope that Mr Whippy and I will still be mates in sixty years, because I’m going to have an awful lot of pictures of him to look back on.

Once a decidedly niche pursuit, photographing food is now almost as popular as eating it, and if you thought that the habit was annoying at home, it is even worse when it intrudes on the sacred peace of a holiday. Buy an ice cream and you’ll find yourself alone with a cone as your companion rushes across a four-lane highway to capture his or hers against the azure sea. Reach for a chip before the bowl has been immortalised on social media and get your hand smacked for your trouble.

It’s a trend that sucks the joy out of every meal – unless, that is, you’re the one behind the camera. A new study published in the Journal of Personality and Social Psychology suggests that taking pictures of food enhances our pleasure in it. Diners at the food court of a farmers’ market in Philadelphia were asked either to photograph their meal or to eat “as you normally would”, then were questioned about how they found it. Those in the photography group reported that not only did they enjoy their meal more, but they were “significantly more immersed in the experience” of eating it.

This backs up evidence from previous studies, including one from this year in the Journal of Consumer Marketing, which found that participants who had been asked to photograph a red velvet cake – that bleeding behemoth of American overindulgence – later rated it as significantly tastier than those who had not.

Interestingly, taking a picture of a fruit salad had no effect on its perceived charms, but “when descriptive social norms regarding healthy eating [were] made salient”, photographing these healthier foods did lead to greater enjoyment. In other words, if you see lots of glossy, beautifully lit pictures of chia seed pudding on social media, you are more likely to believe that it’s edible, despite all the evidence to the contrary.
This may seem puzzling. After all, surely anything tastes better fresh from the kitchen rather than a protracted glamour shoot – runny yolks carefully split to capture that golden ooze, strips of bacon arranged just so atop plump hemispheres of avocado, pillowy burger buns posed to give a glimpse of meat beneath. It is hardly surprising that 95 million posts on Instagram, the photo-sharing site, proudly bear the hashtag #foodporn.

However, it is this delay that is apparently responsible for the increase in pleasure: the act of rearranging that parsley garnish, or moving the plate closer to the light, increases our anticipation of what we are about to eat, forcing us to consider how delicious it looks even as we forbid ourselves to take a bite until the perfect shot is in the bag. You could no doubt achieve the same heightened sense of satisfaction by saying grace before tucking in, but you would lose the gratification that comes from imagining other people ogling your grilled Ibizan sardines as they tuck in to an egg mayonnaise at their desk.

Bear in mind, though, that the food that is most successful on Instagram often has a freakish quality – lurid, rainbow-coloured bagel-croissant hybrids that look like something out of Frankenstein’s bakery are particularly popular at the moment – which may lead to some unwise menu choices in pursuit of online acclaim.

On the plus side, if a diet of giant burgers and salted-caramel lattes leaves you feeling queasy, take heart: if there is one thing that social media likes more than #avotoast, it is embarrassing oversharing. After a week of sickening ice-cream shots, a sickbed selfie is guaranteed to cheer up the rest of us. 

Felicity Cloake is the New Statesman’s food columnist. Her latest book is The A-Z of Eating: a Flavour Map for Adventurous Cooks.

This article first appeared in the 25 August 2016 issue of the New Statesman, Cameron: the legacy of a loser