Phil Campbell (b 1961) has been guitarist with Motörhead since 1983. That’s four fifths of the band’s 38 year existence. His have been the dirty great riffs at the core of classics such as “Killed by Death”, “Flying to Brazil”, “Eat the Rich", “Stone Deaf in the USA”, “Rock’n’Roll” and multiple others. He has appeared on 15 of their 21 studio albums, including Aftershock, their latest, which initially comes cover-mounted on a special edition of Classic Rock magazine, but receives a full release in late November.

Linda Thompson, one of Britain's great living singers, has just released her third solo album since her return to recording with 2001's Fashionably Late.

In their new, semi-fantastical concert movie Metallica: Through the Never, the gas-masked marauder who hunts the band’s fictional roadie, Trip, through a nightmare landscape, pictured below, is less cinematically memorable than Metallica themselves. Director Nimrod Antal gets his cameras up amongst them on-stage, as their muscles and eyes bulge and mouths gape, revving up the fans with how much they get off on this music, too.

This week Channel 4 embarks on a season of programmes about sex. Real sex, it claims, in real British bedrooms. A new series called Masters of Sex dramatises the story of William Masters and Virginia Johnson, who from 1957 pioneered research into sexual response. And then there is Sex Box, in which couples will perform the eponymous activity in the eponymous container and then come out and discuss it in front of Mariella Frostrup and a live audience. Would such a thing have been imaginable without Shere Hite?

The careers of writer Hanif Kureishi and director Roger Michell are indelibly linked, with a collaboration that has now lasted 20 years. In 1993 Michell, then an accomplished theatre director who was relatively new to the camera, directed Kureishi’s adaptation of his novel The Buddha of Suburbia for the BBC, with great success.

Normally we introduce these interviews with a few biographical details about the subject. With Yoko Ono, however, there hardly seems any point: she’s as much a part of late 20th-century history as an musician. But if the whole world knows who she is, her work is a different matter. John Lennon memorably described her as “the world's most famous unknown artist”. And despite recent critical success and an album out this week (Take Me to the Land of Hell), her reputation is still for being obscurely arty.

There’s a song in the musical version of Legally Blonde, in which peroxide ditz Elle celebrates her impending good fortune. “Oh my god, oh my god, you guys,” she sings exultantly as she prepares to accept her beau’s proposal of marriage. Since leaving the role at the start of 2011, Sheridan Smith has continued hollering the words more or less non-stop. Oh my god Trevor Nunn just texted to offer her a part. Oh my god Dustin Hoffman just left a voicemail.

This summer, the Royal Albert Hall became the centre of the Wagnerian universe. No one was going to ignore Bayreuth, where Frank Castorf‘s new Ring gave plenty of fuel for column inches; but somehow the singers and the orchestra seem to have got lost there among all the apparently uninterpretable stage paraphernalia. Here there was a unique context for the personenregie, the crucial relationships highlighted in Wagner’s many one-to-ones, as memorable as the spotlight on the music.

She’s the Kansas mezzo-soprano whose ruby slippers have now taken her across the globe, singing in all the great opera houses, but who has never lost the common touch. She’s not a diva, she’s a “Yankee Diva” – a contemporary creature who would never dream of throwing a tantrum or cancelling at short notice. She's Joyce DiDonato.

Marin Alsop may be one of America’s leading conductors, with stints as music director of the Colorado, Eugene and Richmond symphony orchestras, not to mention positions at the Bournemouth Symphony Orchestra, Royal Scottish National Orchestra, City of London Sinfonia, and of course her current roles at the head of the Baltimore and São Paulo State Symphony orchestras, but apparently none of that is as important as the fact that she’s a woman.