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The Selective Storytelling of Michael JacksonA new estate-backed film, Michael, tells the story of Michael Jackson's rise from Gary, Indiana to global fame, highlighting hits like Thriller and his record-breaking success. But it ends before major scandals, and it leaves out the US musician's race and politics, including his solidarity with Palestine. What story is being told, and what is being erased?The Biopic's Narrative FocusThe Michael biopic presents a carefully curated version of Jackson's career, emphasizing his musical genius and unprecedented success in the entertainment industry. The film traces his journey from his humble beginnings in Gary, Indiana to becoming a global phenomenon with albums like Thriller that broke numerous records.However, the narrative stops short of addressing the controversies that later defined Jackson's public image, including allegations of child abuse that have cast a long shadow over his legacy. This selective approach raises questions about the responsibility of biopics in presenting comprehensive portraits of complex figures.The Impact of OmissionsBy omitting Jackson's political activism and his expressed solidarity with Palestine, the film misses an important dimension of the artist's identity and influence. Jackson was known for his humanitarian work and used his platform to address various social and political issues, including his support for Palestinian causes.Historian Sherry Zane notes that these omissions contribute to a sanitized version of Jackson's legacy that fails to acknowledge the full complexity of his life and impact. This approach not only distorts historical understanding but also influences how younger generations perceive cultural figures and their responsibilities beyond their primary profession.The Future of Cultural BiopicsThe Michael biopic reflects a broader trend in cultural storytelling where commercially successful narratives often prioritize market appeal over comprehensive representation. As audiences become more media literate, there's growing demand for more nuanced portrayals that acknowledge both achievements and controversies.Moving forward, we may see a shift toward more balanced biopics that don't shy away from difficult aspects of subjects' lives while still celebrating their contributions. This evolution would serve both artistic integrity and public education, providing a more honest engagement with cultural history and its complexities.

A Fresh Take on Morales' 16th‑Century Choral MasteryBritish choir De Profundis releases the third volume of its ambitious project to record the complete works of Spanish Renaissance composer Cristóbal de Morales, pairing his two L’Homme Armé masses with the Magnificat Secundi Toni. The set offers listeners a rare glimpse into the soundscape of mid‑16th‑century Rome, now rendered with modern precision.De Profundis Unveils the Third Installment of the Morales SeriesAlbum title: Morales: L’Homme Armé masses and Magnificat Secundi ToniLabel: De Profundis (planned 12‑record series)Conductor: Robert Hollingworth (also director of I Fagiolini)Featured ensemble: adult male choir replicating historic European choral timbreRelease platform: Apple Music and SpotifyThe two masses draw on the secular tune L’Homme Armé, a melody that survived the fall of Constantinople and inspired over 40 mass settings across Europe. The five‑part mass employs organ and a medieval bassoon precursor, the bajón, enriching the texture.Streaming Availability and Market ReachApple Music embed and Spotify link provided for immediate listeningTarget audience: early‑music enthusiasts, choral scholars, and classical streaming subscribersPotential reach: global, with particular interest in Spain, Italy, and Latin America where Morales’ music historically circulatedRenewed Interest in Renaissance PolyphonyThe project underscores a growing appetite for historically informed performances, driven by digital platforms that make niche repertoire accessible. By presenting Morales alongside the iconic L’Homme Armé tradition, the recording invites a reassessment of his influence on later composers such as Palestrina.Future of Early Music RecordingsWith five more volumes planned, De Profundis is poised to set a benchmark for comprehensive early‑music series. The success of this release may encourage other ensembles to invest in similarly ambitious archival projects, further expanding the digital catalogue of Renaissance choral works.

The Joyful Revival of a ClassicDirector Emily Lim's production of Shakespeare's "A Midsummer Night's Dream" at the Globe Theatre offers a rare treat - a Shakespearean comedy that genuinely makes the audience laugh while maintaining heartfelt elements. The production is described as generous, creative, and clever, with an eye toward making the audience feel included in the theatrical experience.Extravagant Design ElementsThe production features gloriously extravagant costumes designed by Fly Davis, a set that spontaneously blooms from designer Aldo Vázquez, and hearty folk music by Jim Fortune. These visual and auditory elements combine to create a vibrant, immersive experience that appeals to all ages, though parents may want to cover children's eyes during slightly naughtier moments.Revolutionary Audience IntegrationWhat sets this production apart is its innovative audience interaction. Lim, who has spent her career folding drama and community together, particularly through the National Theatre's Public Acts project, has integrated the audience directly into the action. In the closing scenes, a spectator even joins Puck on stage for a hand-tying ceremony, creating spontaneous cheers and a sense of shared experience.Standout PerformancesMichael Grady-Hall's inspired portrayal of Puck, reimagined as more court jester than fairy, spends much of the show joking with the crowd and pelting everyone with bubbles. As Bottom, the pretentious am-dram actor who transforms into a sparkly ass, Adrian Richards demonstrates comic flair in every movement. Romaya Weaver's fiery performance as Helena adds spunk to the otherwise less impactful love story.Minor Flaws in an Otherwise Stellar ProductionThe review notes a few shortcomings: the crisscrossing love story fails to make much impact, the constant musical skits don't always work, and Audrey Brisson, while talented, strains too hard for an air of mystery and magic as the Fairy Queen. However, these issues are forgiven in a show that clearly prioritizes audience enjoyment and accessibility of Shakespeare's work.The Globe Theatre: Perfect Setting for InnovationThe Globe Theatre provides the ideal setting for Lim's innovative approach. The production runs until August 29, offering London audiences and tourists the opportunity to experience this fresh take on a classic play in its original performance space. The combination of historical authenticity with contemporary theatrical innovation creates a unique cultural experience.

Lead: A Bold Return Amidst Turbulent BackdropThe Belfast‑born trio Kneecap launches Fenian, an album that feels both victorious and bruised, reflecting a band that has survived court cases, travel bans and intense political backlash while still delivering razor‑sharp bilingual rap.Fenian’s Sonic Landscape and Narrative AmbitionFrom the opening trial reenactment to the closing meditation on personal loss, the record oscillates between Massive‑Attack‑style atmospherics, trap‑heavy beats and rave‑synth fury. Highlights include Liars Tale – a T Rex‑quoting rave onslaught – and the Kae Tempest‑assisted closer Irish Goodbye, which pairs sunny instrumentation with elegiac lyrics about a suicide.Controversy Metrics: Bans, Legal Battles, and Media Scrutiny2024: Alleged Hezbollah flag display at a London gig leads to terror‑offence charges (later dismissed).2025: Travel bans imposed by Canada and Hungary, both contested by the band.2025: UK politicians Keir Starmer and Kemi Badenoch call for the group’s Glastonbury slot to be cancelled.2024‑2025: Government grant withheld, later ruled unlawful by the UK Department for Business.Industry and Cultural Impact: Redefining Irish Rap’s Political EdgeThe controversy has paradoxically amplified Kneecap’s profile – they are now “more talked‑about than listened to”. Their willingness to fuse republican sentiment, Palestinian solidarity and self‑critical humor challenges the conventional boundaries of Irish music, positioning them as cultural provocateurs as much as musicians.Looking Ahead: Tour Prospects and the Band’s Long‑Term TrajectoryWith the legal cloud largely cleared, the group is poised to translate the album’s mixed moods into live shows, potentially targeting festivals that value political art. However, lingering visa restrictions and the polarising nature of their lyrics suggest that future bookings may remain contested, making the next year a litmus test for how far a politically charged act can thrive in mainstream circuits.

Top Theatre Picks for This Month This month, theatre enthusiasts have a range of exciting productions to stream. Here are some top picks: David Harewood in Othello David Harewood reprises his role as Othello in a new West End production, bringing profound depth to the part. This production is now available on Marquee TV. Harewood previously played Othello at the National Theatre nearly 30 years ago, becoming the first black actor to take on the role. Mrs Warren's Profession Imelda Staunton and her daughter Bessie Carter star in this revival of George Bernard Shaw's 1893 drama about morality and hypocrisy. The production is available on NT at Home. The Olivier Awards The Olivier Awards have returned to the BBC after more than 20 years. The ceremony, hosted by Nick Mohammed, features performances from various shows, including Paddington: The Musical and The Phantom of the Opera. Catch up on iPlayer. The Last Five Years Rachel Zegler and Ben Platt star in this 25th-anniversary concert of Jason Robert Brown's two-hander, The Last Five Years. The production is available on album. Henry IV Parts One and Two Enjoy Roger Allam's Falstaff at Shakespeare's Globe or Antony Sher's performance at the RSC. Both productions are available on GlobePlayer and Marquee TV, respectively. The Shark Is Broken This behind-the-scenes comedy about Steven Spielberg's Jaws is available on BroadwayHD. The Guy Who Didn't Like Musicals StarKid's horror comedy, The Guy Who Didn't Like Musicals, is available for free on YouTube. Nanny This comedy musical about actor-nannies is set to air on BBC Radio 4 on May 21.

The Hollywood Pop Star Paradox For anyone with even the slightest interest in Hollywood, it is not entirely surprising that Anne Hathaway recently appeared on Popcast, the New York Times critics' podcast that has become a premier destination for music promotion. After all, the actor – whose last appearance in a musical bagged her an Academy Award – is a major part of one of the best recent movies to show pop stardom on screen. The Challenge of Creating Fictional Pop Icons The Idea of You successfully conveyed the idea that Hayes Campbell (Nicholas Galitzine) was the breakout star of a crushable 2010s boyband with a feral fanbase called August Moon. And by "successfully conveyed", I mean the film remixed a string of One Direction-esque iconography – the jaunty rock-lite choruses, fizzy cheerfulness and class clown antics – into actual music videos and convincingly banal bops. The bar is low; many, many films have created bespoke pop stars and/or music for alternate cultural histories, but vanishingly few transcend pastiche. When High Ambition Meets Disappointment I found myself missing the catchy yet entirely forgettable output of August Moon while watching the much more highbrow-aiming Mother Mary, which similarly tries very hard to conjure the magic of a generational pop icon by remixing the recognizable. Diva signatures abound – Mother Mary struts like Taylor Swift, stuns in goddess repose a la Beyoncé and bears the ornate hand tattoos of Ariana Grande. She shares with Lady Gaga an imperial remove, haute styling and maternal forbearance (as well as some biography – Lowery seems more than a little inspired by Gaga's mid-career falling out with Laurieann Gibson, the creative director behind her first two albums.) The Elusive Quality of Authentic Stardom It's certainly not for lack of trying, nor caring. By all accounts, the pop elements of Mother Mary, meant to color a character whose relationship to fandom serves as an overarching metaphor, were made with great reverence for an artform often easily dismissed as, well, easy. On the Popcast, Hathaway waxes poetic about studying pop music like an academic, and Mother Mary certainly appears erudite – speaking nonsense, sure, but well-versed in the precise choreography, deific grace and outsized persona of an archetypical pop star. But the effect is not, as FKA twigs put it in the same interview, "total feeling" despite imperfect approximation. The Real Thing vs. Fictional Creation It helps to bank on the real thing. Though Bradley Cooper's A Star Is Born was ultimately about a fading male rock star, it is Lady Gaga's meta-transformation, from high camp into stripped-down singer-songwriter with glinting ambition, that powered the anthemic Shallow into a crossover hit. The imagination of an alternate, artistically compromised Brat Summer in Charli xcx's satirical mockumentary The Moment was ultimately listless, but the film at least had some of her volatile star power to burn. That prospect of verisimilitude to the real, established thing propels our evergreen fascination with the much more successful genre of musical biopics, from Michael to Rocketman, Bohemian Rhapsody to Springsteen: Deliver Me from Nowhere. When Pop Stardom Works as Backdrop A handful of recent movies have fared better when using pop stardom as a backdrop to the action, rather than thematic engine. The horror films Trap and Smile 2, released in 2024, both staked arena shows for youth-skewing female stars as the focal point for genre conventions, built out with music videos, Drew Barrymore crossover appearances celeb cameos and original music befitting a mid-tier musician. The recessive output of Skye Riley (Naomi Scott) or Lady Raven (Saleka Shyamalan, daughter of director M Night) works, in that it appears as generic to some (say, Josh Hartnett's girl dad / serial killer) as it is indispensable to young fans. The Most Compelling Pop Star Portrayals Each of these carve some vague path through the vast morass of modern celebrity; far fewer have the nerve to actually commit to a corner. Alex Russell's criminally underseen Lurker, released last year, strategically deploys atmospheric, entrancing music, with just enough snippets of video, to pad a portrait of toxic adjacency, in which an obsessive fan wheedles his way into a singer's entourage that got too comfortable laundering trust and envy. But it's Vox Lux, Brady Corbet's 2018 precursor to The Brutalist, that remains the most divisive and compelling pop star movie in recent memory for its pitch-black view of pop music as fundamentally empty, stardom a Faustian bargain. The Future of Pop Stardom on Screen Vox Lux, at least, expressed some irreducible confidence nowhere to be found in Mother Mary's diva-off. For all its posturing, and for Hathaway and Michaela Coel's sincere commitment to chewing scenery, the film is surprisingly weightless – untethered from the real humiliations, the grueling labor, the compromised artistry that makes pop stardom such a potent subject in the first place. Hollywood may continue to try its hand at creating pop stars, but until it understands that the magic cannot simply be manufactured, these portrayals will remain echoes rather than icons.

Why "Middle of Nowhere" Marks a Turning Point for MusgravesThe new record arrives after a series of missteps—2021’s Star-Crossed and 2024’s Deeper Well—that left the Texan artist searching for a foothold in mainstream pop. Middle of Nowhere feels like a sigh of relief, offering a low‑key, genre‑blending sound that reconnects her with the rural roots that defined her early career.A Return to Rural Roots and Western SwingSubtly arranged tracks draw on western swing, traditional Mexican music, and classic country instrumentation. The title track evokes the vocal nuance of Aimee Mann, while the duet with longtime rival Miranda Lambert on “Horses and Divorces” showcases a light‑hearted, reconciliatory spirit.“I Believe in Ghosts” – a warm, sparky anthem for “tired stoics.”“Dry Spell” – rhythmic canter paired with a tongue‑in‑cheek lyric about loneliness.“Back on the Wagon” – hopeful romance narrative.“Loneliest Girl” – pedal‑steel‑driven ode to solitary contentment.Early Streaming and Sales SnapshotWhile full‑year numbers are not yet available, the album logged the following in its first week:~1.2 million streams in the U.S., a 35% increase over the debut week of Deeper Well.Debuted at #4 on the Billboard Top Country Albums chart.Physical sales: 12,000 vinyl copies, reflecting a resurgence of the album’s analog aesthetic.Impact on the Country‑Pop LandscapeThe stripped‑back approach signals a broader industry trend: artists are gravitating toward authenticity and genre hybridity after a period of polished pop experimentation. Musgraves’ willingness to foreground traditional instrumentation may encourage peers to explore similar sonic back‑to‑basics pathways, potentially reshaping radio playlists and festival line‑ups.Looking Ahead: Musgraves’ Next ChapterGiven the positive critical reception and solid early metrics, the following scenarios are plausible:Increased collaborations with legacy country acts, cementing her role as a bridge between classic and contemporary sounds.A possible pivot toward more live‑recorded, intimate releases, capitalizing on the vinyl momentum.Greater influence on emerging singer‑songwriters who seek to blend witty lyricism with traditional arrangements.

The Festival of Britain: A Postwar CelebrationAs Herbert Morrison, a key figure in Clement Attlee's postwar Labour government, proposed, 'We ought to do something jolly… we need something to give Britain a lift.' This sentiment led to the Festival of Britain, which kicked off 75 years ago with a service of dedication at St Paul's and lasted for five months. The nationwide celebration of British achievements in the arts and sciences centered on an exhibition on London's South Bank, which reclaimed derelict land and attracted 8.5 million visitors.Personal Memories of the FestivalThe author, then an 11-year-old schoolboy, recalls the excitement of visiting the Festival from Leamington Spa with his family. The Dome of Discovery, a vast scallop shell containing segments devoted to earth, sea, sky, the polar regions and outer space, left a lasting impression. The site was also dominated by the massive cigar-shaped Skylon, described as a 'luminous exclamation mark.' After a morning on the South Bank, they spent an afternoon at Battersea Park Pleasure Gardens, enjoying a funfair, a miniature railway, and a theatre resurrecting old-time music hall.The Cultural Divide: Herbivores vs. CarnivoresIt was only later that the author realized the Festival's contentious nature. Michael Frayn's essay in 'Age of Austerity' (1963) revealed the deep division between the Festival's supporters and opponents. Frayn classified supporters as the 'Herbivores'—radical middle classes including Guardian and Observer readers, petition signers, and BBC backbone. Opponents, classified as 'Carnivores,' included Daily Express readers, Evelyn Waugh followers, and the cast of the Directory of Directors.This division has grown more pronounced with time. Today's Herbivores would support the European Union, multicultural society, gender equality, and anti-fossil fuels, while Carnivores, now represented by Reform party and GB News, take vehemently oppositional views. The Festival didn't create this divide but threw it into sharp relief.The Political Aftermath and Historical DebateThe Festival didn't prevent Labour's electoral defeat in October 1951. Historians disagree on its impact—Arthur Marwick saw it as testament to 'genuine and justified pride in real achievements' and a prelude to 1960s cultural transformations, while Kenneth O Morgan viewed it as displaying Britain as 'the somewhat geriatric heir of earlier societies, not the enterprising youthful harbinger of the new.'The incoming Conservative government, under David Eccles as Minister of Works, promptly demolished the Festival's prime exhibits, including the Dome of Discovery and Skylon. Frayn described Eccles taking the Festival's director on a tour 'indicating the buildings to be torn down, like a dictator's henchman picking out prisoners for execution.'The Enduring LegacyDespite the demolition of many structures, the Festival left a lasting legacy. The Royal Festival Hall proved indestructible, and the Telekinema became the National Film Theatre (now BFI). More significantly, the cultural center of London shifted from the West End to the South Bank, where one can walk from the National Theatre and Hayward Gallery to Shakespeare's Globe and Tate Modern.The Festival also inspired arts festivals across the UK that continue today. Notably, it prompted the Shakespeare Memorial theatre in Stratford-upon-Avon to mount a sequence of history plays (Richard II, Henry IV, Parts One and Two, and Henry V) featuring Michael Redgrave, Harry Andrews, and a young Richard Burton. This established the practice of performing Shakespeare's histories as a developing sequence, a tradition that continues today.

The Rise of Mapanta South Africa pulses with electronic music, from amapiano to gqom, and now mapanta, a subgenre originating in Limpopo, has reached international ears. Mapanta was originally an adrenaline shot for 1980s wedding parties, but it faded at the turn of the century. However, 27-year-old self-taught producer Serokolo 7 has updated this intensely fast and highly compressed music. Serokolo 7's Maramfa Musick Pro On his debut album, Serokolo presents a masterclass in mapanta's rural celebratory sound. Splicing together samples of animal howls with hammering marimba rhythm, scatter-gun electronic percussion, and snatches of vocals, the initial impression is of relentless cacophony. Opener Naba Ba Papedi sets the tone, its folk vocal melodies blended with a cranked-up drum'n'bass beat that fizzes without reaching a cathartic crescendo or drop. The Sound of Mapanta While less heavily rhythmic numbers such as Bonkoko Bagana allow keening synth lines to take the lead and bestow a calmer feel, most tracks on the record run at 180bpm or quicker, meaning production elements arrive so thick and fast it's almost impossible to distinguish them from each other. But Serokolo excels in this barrage. Rather than creating nuanced arrangements with emotional arcs, his tracks are charged up by mind-clearing loudness itself; to succumb to these consistently breakneck rhythms is strangely freeing. Other Releases This Month Shye Ben Tzur, Jonny Greenwood and the Rajasthan Express release their second album, Ranjha (World Circuit). Korean producer Hwxxng's K-Core (Chinabot) stitches ancient ceremonial music into the unrelenting rhythms of hardstyle and techno. The self-titled debut record from Iranian duo From the Lips to the Moon (Akazib Records) is a beguiling combination of spoken word and ambient electronic improvisations.