Remember Gangnam Style, the music video that went viral in 2012? PSY’s cheeky lyrics and daft moves attracted 1.6 billion hits on YouTube, sparked dozens of parodies and turned the world on to K-pop. And that was just the beginning; K-pop has since mushroomed into a global phenomenon characterised by catchy tunes and fast-paced dance routines performed by beautiful young people in snappy outfits.

“But what’s in it for you?”. It was a simple enough question, asked by an accomplished opera singer. It stemmed from hearing that the new version of the Iford Arts opera company I was running was aiming for a different kind of guiding philosophy: it would have a repertory ensemble, who would be paid weekly wages and would work under a clearly defined code of conduct that placed them front and centre of our organisation, attempting to return agency to them.

Todd Haynes’ documentary about the Velvet Underground has to be one of the better uses of time by a film-maker during the Covid pandemic. He spent lockdown putting the film together with a team of archivists and editors working remotely. It’s a beautifully shot and ingeniously collaged portrait of the decadent New York band which weaves together an extraordinary wealth of archive footage and some choice and apposite interviews. 

Writing something people want to stream one billion times is inconceivable for most of us. But then, most of us aren't Rock and Roll Hall of Famer Daryl Hall. Alongside John Oates, he is behind some of the greatest pop songs of all time: "Maneater"; "She's Gone; "Out of Touch"; "Rich Girl"; "I Can't Go For That (No Can Do)"; and of course, the billion-stream masterpiece that is "You Make My Dreams".

Frank Marshall might not be the biggest household name, but his footprint on Hollywood is unrivalled. He has produced hits ranging from Indiana Jones and Back to the Future to Jason Bourne and Jurassic World. He also takes occasional forays into directing, such as the madcap Arachnophobia and cannibalistic rugby tale Alive.

Listen to "The Blues are Brewin", "You Better Go Now", or even "I’ll be Seeing You", and you can hear the hurt reverberate in every note Billie Holiday sang. Her voice rang with the wisdom of experience – perhaps too much experience. She lived a wild, impulsive life, until it was cut short by cirrhosis of the liver when she was only 44, handcuffed to a hospital bed with only $700 to her name. 

Today is World Mental Health Day and of course that means an awful lot of hugs and homilies, thoughts and prayers, deep-breathing exercises and it’s-good-to-talk platitudes from people speaking from positions of immense privilege – ranging from the well-meaning to outright grifters.

Music awards shows are a strange beast: part window display, part industry conference and part party. Especially if you don’t have Brit Awards or Mercury Prize budget to create a whizz-bang spectacle, the ceremonies can be an interminable pileup of attempts to earnestly celebrate both musicians and behind-the-scenes figures, in front of a room full of increasingly drunk and impatient people.

On the Record, the latest documentary from Kirby Dick and Amy Ziering (acclaimed directors of The Hunting Ground), dives into the sexual misconduct allegations against music mogul Russell Simmons, the so-called ‘Godf

Nisha Ganatra’s musical dramedy, penned by first time screenwriter Flora Greeson, isn’t going to win any prizes for originality and is almost unforgivably corny. But the feel-good vibes and winning combination of Tracee Ellis Ross and Dakota Johnson are still likely to win audiences over.