The Sun's interview with violinist Nicola Benedetti was a masterclass in sexism

Why have words at all when you could use the space for derogatory comments and suggestive pictures?

Yesterday I stumbled across this "interview" with violinist Nicola Benedetti in the Scottish Sun, in which Matt Bendoris - ostensibly a grown man and not a fifteen year old Nuts columnist - gives a masterclass in female objectification.

In it, Bendoris tastefully focuses on Benedetti's appearance, not her music:

So I guess Nicola won’t be posing for the lads’ mags anytime soon. Pity, because she looks fit as a fiddle when we meet at Edinburgh’s plush Sheraton Hotel.

But Nicola doesn’t always take the bonniest photo — she’s beaky in pics sometimes, which is weird because in the flesh she’s an absolute knock-out.

The classical musician is wearing skinny jeans which show off her long legs. She’s also busty with a washboard flat tummy, tottering around 5ft 10in in her Dune platform wedges.

He also urges Benedetti's cellist boyfriend Leonard Elschenbroich to get her pregnant:

The one possession she never lets out of sight is her 1712 Earl Spencer Stradivarius — made by the legendary 18th Century Italian violin master Antonio Stradivari himself.

No wonder as it’s worth £2million and is on loan from American banker Jonathan Moulds.

Me: “Gie’s a shot.”

She gasps: “Absolutely not! No one gets to touch this baby.”

Talking of babies, she’d like those too.

Nicola says: “It’s eight years since I won Young Musician of the Year. In the next eight years I’d hope to be a better violinist and I’d like to have started a family. I’ll be in my early 30s so I would probably like a baby or two by then.”

Better get busy making sweet, sweet music, Leonard. Lucky boy...

After reading the article, I had a question for Mr Bendoris:

I guess there’s a certain skill in writing about a artist and focusing on their physical attributes instead of their art. It requires you to wilfully ignore all of that talent. Bendoris must have trained in the Sun’s cultural isolation chamber, watching endless streams of Big Brother repeats and reading nothing but his own previous columns. Two weeks later, he emerged sweating and crying, screaming “Art is dead”. He was ready.

It’s like interviewing David Hockney and writing about how long and thick his willy is, asking if viewers would enjoy "elitist" painting more if he’d tie a brush to his dick and shake it at a canvas. Except that wouldn’t actually happen cause, you know, every Sun reader knows willies are horrible - not like lovely boobies though, eh lads?

Why do they bother including words at all if they’re just pushing wank fantasy material? They’d get more suggestive pictures in without all that bloody text. There’s an irony in deriding classical music as "elitist" and then sexually objectifying one of its best modern proponents. It’s not the general public who are wrong for ignoring classical music; it’s Nicola Benedetti for arrogantly refusing to get her tits out and bringing it down to “their” level.

Bendoris’ retort was that he loved “folk who get outraged on someone else’s behalf” which is disingenuous. I’m personally outraged that someone would actually write this shit and try to sell it to me as news. I’m offended that a company thinks I am that stupid, misogynist and ignorant - and you should feel insulted, too. But you know, mostly I’m not offended. I’m just disappointed that in 2012 this passes for journalism and there are still numpties out there willing to defend it.

I don’t think most Sun readers are as lecherous and paleolithic as Matt Bendoris and his editor Simon Houston. I hope they vote with their wallet. Right, enough of this filth. Let’s have some nice classical music.

Alan Williamson is editor of Split Screen, where this post originally appeared. He tweets as @agbear.

Violinist Nicola Benedetti. Photograph: Getty Images
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When Theresa May speaks, why don’t we listen?

Not many Prime Ministers have to repeat themselves three times. 

Theresa May is the candidate of Brexit and market panic. She ascended to the highest office because, in the fraught weeks after Britain’s vote to leave the European Union, she represented a safe haven for nervous Conservative MPs, the dependable family mutual that remained open while all along the Conservative high street, her rivals were shutting up shop.

Her popularity, as revealed in high poll ratings outside Westminster, too, owes itself to the perception that she is a serious politician in serious times, happily installed atop the ship of state to guide it through the rocky waters of Brexit negotiations.

May’s premiership has been defined by market panics of a different kind, however. The first is in the currency markets, where sterling takes a tumble whenever she pronounces on Britain’s future relationship with the European Union, falling both after her conference speech on 2 October and after her start-of-the-year interview with Sophy Ridge on 8 January. The second is in the opinion pages, where May’s stock oscillates wildly from bullish to bearish.

In the first months of May’s government, she was hailed as an Anglo-Saxon counterpart to Angela Merkel: a solid centre-right Christian democrat who would usher in a decade of conservative hegemony. More recently, she has been compared to Gordon Brown because of her perceived indecisiveness and repeatedly accused of failing to spell out what, exactly, her government’s Brexit objectives are.

In a symbol of the splits on the right between the Brexiteers and Remainers, the Economist, that bible of free-market globalisation and usually a reliable tastemaker as far as Westminster groupthink is concerned, began 2017 by dubbing the Prime Minister “Theresa Maybe”. Though May’s Downing Street is less concerned with the minutiae of what goes on in the public press than David Cameron’s, the contention that she is indecisive was a source of frustration.

There is an element of truth in the claim that May still views the world through a “Home Office lens”. One senior minister complains that Downing Street considers the Ministry of Justice as a “rogue outpost” of May’s old stomping ground, rather than a fully fledged department with its own interests and perspectives.

Yet even the most authoritarian of home secretaries would struggle to secure a conviction against May on the charge of opacity as far as her Brexit approach is concerned. She has hit the same grace notes with the reliability of a professional musician: Brexit means freedom from the jurisdiction of the European Court of Justice and control over Britain’s borders, two objectives that can only be achieved as a result of Britain’s exit not only from the EU but also the single market. This was confirmed on 17 January in the Prime Minister’s Lancaster House speech in London.

David Cameron used to say that he would never have “a people”. Certainly, there is no Cameroon tendency in the country at large to match the generation of council house residents that became homeowners and lifelong Conservatives because of Margaret Thatcher and Right to Buy. However, there is, unquestionably, a Cameroon people or faction to be found at almost every rung of London’s financial services sector or at editorial meetings of the Economist, though it as at the Times and the Sun where the treatment of May is at its most noticably rougher than in the Cameron era. 

Michael Gove, her old rival, is not only employed as a columnist by the Times; he enjoys the confidence and admiration of Rupert Murdoch. That the Times secured the first British interview with Donald Trump was a coup for Murdoch, an old associate of the president-elect, and for Gove, who conducted it. It left May in the unlovely position of making history as the first prime minister to be scooped to a first meeting with a new American president by a sitting MP in modern times. It also attested to a source of frustration among May’s allies that she is, for all her undoubted popularity, still ignored or doubted by much of the right-wing establishment.

That condescension partly explains why her words are often listened to briefly, acted on hastily and swiftly forgotten, hence the pound’s cycle of falling when she makes an intervention on Brexit and rising shortly thereafter. The Lancaster House speech was designed to break this pattern. Downing Street briefed the most potent paragraphs at the weekend so that the markets could absorb what she would say before she said it.

As a result, the pound rallied as May delivered her speech, which contained a commitment to a transitional deal that would come into effect after Britain has left the EU. Some financiers believe this arrangement could become permanent, which once again demonstrates how much they underestimate May’s ability to enforce her will.

Being underestimated by Cameron’s people, in Westminster and the City, has the unintended effect of shoring up Theresa May’s position. A prolonged and sustained bout of panic would increase the pressure for a soft landing, but its absence makes it harder for Labour to oppose her effectively, although it has largely acquiesced to the Tory plan for Brexit, at least as far as membership of the single market is concerned. 

Yet for all the plaudits that the Prime Minister’s Lancaster House speech attracted, for all her undoubted popularity in the country, she is in the anomalous position of being a Conservative Prime Minister who has priorities on the European stage other than the preservation of the City of London and to whom Rupert Murdoch is not a natural ally.

As such, she may find that her deadlier enemies come from the right.

Stephen Bush is special correspondent at the New Statesman. His daily briefing, Morning Call, provides a quick and essential guide to British politics.