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Billie Eilish, Taylor Swift, Ariana Grande and Camila Cabello have all appealed to their millions of followers to take coronavirus more seriously, as other artists are criticised for continuing tours

Billie Eilish, Taylor Swift and Ariana Grande are among the pop stars using their considerable clout with fans to appeal for behavioural change during the coronavirus outbreak.

Eilish delivered a five-minute Instagram story to her 57 million followers, saying: Ive seen a lot of young people out in the world, all over the place, going to the club or going to the beach or just going out and hanging out, and its really irresponsible. She highlighted that young fans could pass it to more vulnerable relatives, and added: Please take responsibility for your endurance of this.

Swift spoke to her 128.2m Instagram followers to say: I love you guys so much and need to express my concern that things arent being taken seriously enough right now Im seeing lots of get-togethers and hangs and parties still happening. This is the time to cancel plans. Dont assume that because you dont feel sick that you arent possibly passing something on to someone elderly or vulnerable to this.

On Sunday, Grande wrote to her 72m Twitter followers: I keep hearing from a surprising amount of people statements like This isnt a big deal it is incredibly selfish and dangerous to take this situation that lightly. The We will be fine because were young mindset is putting people who arent young and/or healthy in a lot of danger. You sound stupid and privileged and you need to care more about others. Like now.

Ariana Grande (@ArianaGrande)


March 15, 2020

US singer Camila Cabello said: Especially as young people, even if we are healthy, its important to practice compassion and help others that could be suffering. We are in this together, lets not be indifferent to others risk. She advised her 48m Instagram followers to practise meditation to help quell any anxiety.

Their appeals come as other music stars have been criticised for going ahead with concerts during the crisis. Welsh indie band Stereophonics played a series of arena concerts over the weekend, attracting tens of thousands of fans, and defended the decision by saying: The UK governments position was that at this phase there was no need for a ban on large public gatherings. Acting on this guidance, we continued with the last three shows of our UK tour on Friday, Saturday and Sunday, as did many other events across the entertainment industry.

Music stars including Lewis Capaldi, pictured performing in London last week, have been criticised for going ahead with concerts. Photograph: Burak ng/Redferns

Scottish pop singer Lewis Capaldi used the same reasoning for playing an arena concert after Scotland announced the cancellation of large-scale events but before the ban came into force.

A spokesperson said of the Scottish governments advisory document: The advice applies from Monday March 16, and is not expected to have a significant impact on the spread of Covid-19, and this is not its purpose, but that it aims to relieve pressure on public services, including emergency services. Security, first aid, medical and welfare teams were paid for by the organisers as normal and the venue had additional signage in place to highlight best practice on hygiene during the event.

Tens of major tours have been cancelled, including those by Elton John, Foo Fighters and Celine Dion.

Stars are now looking to livestreaming as an alternative. Coldplay frontman Chris Martin took to Instagram Live yesterday to perform his bands songs as well as a cover of David Bowies Life on Mars. Maybe 9/11 was the last time I felt like we were all together, he said.

The performance was part of a new initiative from the World Health Organization and Global Citizen called Together, at Home. John Legend is the next performer lined up for the series.

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As the 78-year-old producer embarks on his first ever solo tour, we rate his greatest work including a No 1 that is still the sound of the future

20. Giorgio
Son of My Father (1972)

Before he dived fully into electronics, Moroder was an architect of bubblegum pop. He began by mixing the two in 1972, re-recording one of his German compositions in English, and adding a Moog synthesiser; Chicory Tips cover of this became a UK No 1, and a football terrace staple. Moroders facility for melody and novelty was established.

19. Giorgio Moroder
(Theme from) Midnight Express (1978)

Only six years after his first hit, Moroder wrote an Oscar-winning full film score. The theme to Alan Parkers 1978 drama showed that Moroder had always understood the sadness breathing in machine music, with a poignant, synthesised woodwind melody.

18. Japan
Life in Tokyo (1979)

An early Japan single, co-written by Moroder, full of the same icy British pop pluck as 1979s nascent electronic star, Gary Numan. It finally became a hit in 1982. Here, stuttering synths augment a lyric evoking A sound of distant living / Locked up in high society, especially in the disintegrating final minute.

17. Coldplay
Midnight (Giorgio Moroder remix) (2014)

This electronic dance-influenced remix was so good that Coldplay re-released it as a single. Giorgio adds a pounding EDM pulse, house piano and himself on vocoder in the middle-eight, speaking about how much love he can give in French.

16. Giorgio Moroder
From Here to Eternity (1977)

The rolling, cosmic basslines, cascading Moog effects at the ends of phrases and synthesiser stabs helped invent the space disco sound, aided by supremely cheesy, space-themed lyrics, which Moroder sings: From here to eternity / Thats where she takes me.

15. Giorgio Moroder & Raney Shockne
611 Time Out (2016)

Moroder and Raney Shocknes 2016 soundtrack to the Tron Run/r video game is full of addictive, deep, dark techno. This is the best track, the sound of metal-on-metal and runaway velocity. On the full soundtrack, Autechre add a remix to boot.

Donna Summer. Photograph: Jack Mitchell/Getty Images

14. Donna Summer
Hot Stuff (1979)

Moroder, British co-producer Pete Bellotte and Donna Summer met in Munich in 1974, where she was singing after leaving a touring production of Hair. Five years later, they incorporated rock into their well-established brand of disco-pop and Moroder co-produced this still-brilliant, international smash hit.

13. Einzelgnger
Good Old Germany (1975)

This experimental electronic pop album as Einzelgnger Lone Wolf helped flex Moroders muscles for the future. This is the best track: playful and melodic, full of fluttering riffs and stuttering vocals.

12. Giorgio Moroder
Valley of the Dolls (1980)

A lost nugget of electronic funk from Adrian Lynes 1980 coming-of-age film, Foxes, about teenage girls growing up in the disco age in Los Angeles. A menacing, strutting minor-key bassline conjures up the mood of the city, before breaking into disjointed sequences of mechanical shimmers, Salsoul strings, and punchy brass.

Giorgio Moroder performing live in 2015. Photograph: Don Arnold/WireImage

11. Giorgio Moroder
74 Is The New 24 (2014)

A late-period banger from Moroders comeback album, recorded after Daft Punk brought his huge influence back to the mainstream with Giorgio by Moroder on 2013s Random Access Memories. The vocoder effect stating the title reclaiming ones free bus-pass years with renewed energy is an absolute joy.

10. Donna Summer
Love to Love You Baby (1975)

Moroder, Bellotte and Summers first co-written disco hit, featuring 22 simulated orgasms. In a 2009 interview, Moroder said they got the green light when record executive Neil Bogart wanted a longer version to soundtrack his orgies. Stretched to 16 minutes to fill a whole side of an album, its effects still call for an open window.

9. Berlin
Take My Breath Away (1986)

Moroder has said several times that the epic ballad from Top Gun is his favourite composition. Its power steams up from the synth-bass, heavy with chorus and reverb. Moroder wrote the songs music first, before Tom Whitlock added his fittingly feverish lyrics. The combination was so potent that the films director Tony Scott filmed extra love scenes.

8. Barbra Streisand & Donna Summer
No More Tears (Enough Is Enough) (1979)

The attitude shift in this song, one minute and 45 seconds in, is pops greatest ever plot twist, and Moroders sounds match. We move from misty dreaming about a man who lets a woman down, to feminist self-empowerment in a flash, with disco as the ultimate enabler. On the dancefloor, as with Streisand and Summer, the women come together.

7. Irene Cara
Flashdance (What A Feeling) (1983)

Co-composed and produced by Moroder, this song defined the 80s movie power-ballad template and nailed the lived experience of teenage emotion, as well as the effects of music on the soul. Notice the synthesisers bubbling anxiously behind the lyrics about fear and sadness at the beginning, before we hear the music and feel the rhythm. Then everything transforms.

6. Giorgio
Utopia Me Giorgio (1977)

Moroders solo work is at its best when its not dive-bombing into excess, as on his overblown Metropolis soundtrack, but using just enough sparkle to give his ideas heavenly ballast. This appropriately named track nails it, with massed voices meeting propulsive rhythms, together approaching perfection.

Blondie. Photograph: Maureen Donaldson/Getty Images

5. Blondie
Call Me (1980)

American Gigolos theme song could have been a collaboration with Stevie Nicks if she hadnt turned Moroder down. Debbie Harry took the commission instead, writing the lyrics and music about Richard Geres murder-suspect male escort in a few hours. Moroder produces brilliantly, lifting Harrys vocals up and creating one of the greatest electronic middle eights ever.

4. Sparks
The Number One Song in Heaven (1979)

Moroders flighty madness becomes majestic when hes in the company of eccentrics. He worked well with Nina Hagen and Sigue Sigue Sputnik too, but genius explodes in these seven minutes with Sparks. The tempo slows and the skies open three minutes in, and you whirl down a rabbit hole only two minutes later, the synthesisers carrying you in. Glorious.

3. Giorgio Moroder
Chase (1978)

Some may remember the slightly syrupy Loves Theme from Midnight Express best, but this is the track from the Alan Parker drama that has truly endured. A minimal, machine-made minor-key masterpiece, it slowly phases and builds; electro and techno five years ahead of its time.

2. Philip Oakey & Giorgio Moroder
Together in Electric Dreams (1984)

The pinnacle of Moroders achievements in heart-expanding, epic pop melancholy. Its best moments are the falling melody at its start, like glistening rain on a window pane, and one of pops greatest choruses of all time, soaring high before quietly, sadly subsiding, then trying with all its might to soar again.

1. Donna Summer
I Feel Love (1977)

Pops paradigm shifts often happen peculiarly. Summer was making a historical pop concept album with Moroder and Bellotte, 1977s I Remember Yesterday, transporting listeners from 1940s jazz through 60s girl groups and 70s funk to an imagined future. Then the song representing the future became the future. I Feel Love still stuns. There is unrelenting power in those pulsing, relentless synthesiser arpeggios. Those washes of Moog are like the Doppler effect from a passing supersonic train. The double stabs at the beginnings of bars also anchor us back to the dancefloor, and the possibility of what our new present could be both now, and for ever.

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The Oscar-winning actor will marry TV producer Brad Falchuk four years after her conscious uncoupling from Chris Martin

Most people call it marriage. But Gwyneth Paltrow has decided to give the soul-stretching, pattern-breaking opportunities of intimacy a second chance after announcing her engagement to television producer Brad Falchuk.

The 45-year-old actor, who famously described her 2014 separation from her first husband Chris Martin as a conscious uncoupling, confirmed the engagement in an interview for the latest edition of her lifestyle magazine Goop.

I have tried to accept how complex romantic love can be. I have decided to give it [marriage] a go again, not only because I believe I have found the man I was meant to be with, but because I have accepted the soul-stretching, pattern-breaking opportunities that [terrifyingly] are made possible by intimacy, she said.

Paltrow and Falchuk, 46, have been dating for about two years. Falchuk was the co-creator with Ryan Murphy in 2009 of the popular TV series Glee. The pair also worked together on the TV series American Horror Story and Scream Queens.

Paltrow won a best actress Oscar in 1999 for Shakespeare in Love, but is now better known as the creator of Goop, a lifestyle website and product store that promotes healthy eating and stress-free living.

She and Martin, the Coldplay frontman, finalised their divorce in 2016 after 13 years of marriage. They have two children.

Paltrow and Falchuk posed for the cover of the magazine with his arms wrapped around her. Falchuk also answered the popular How goopy are you? quiz in a video on The interview appears in the issue of Goop that hits newsstands on Tuesday.

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Craig David, Michael Kiwanuka and Skepta are also in the running for the best British male solo artist award

David Bowie could win a posthumous Brit Award as best British male solo artist after being shortlisted for next months ceremony. The star who died in January 2016 will go up against Craig David, Michael Kiwanuka and Mercury prize-winner Skepta for the title on 22 February.

Meanwhile, the battle for best British female solo artist is between Anonhni, Ellie Goulding, Emeli Sand, Lianne La Havas and Nao.

The move of former One Direction member, Zayn Malik, into a solo career appears to be paying off, as he has been nominated for best British single with his track Pillowtalk. He goes up against Perrie Edwards group Little Mix, with Shout Out to My Ex, as well as another X Factor alumnus, James Arthur, with Say You Wont Let Go.

Also in the category are Alan Walkers Faded Calum Scott track, Dancing On My Own, Calvin Harris featuring Rihanna on This Is What You Came For, Clean Bandit for Rockabye, Coldplay with Hymn for the Weekend, Jonas Blue for Fast Car and Tinie Tempah with Girls Like.

The nominations for the ceremony were announced live on The Brits Are Coming on ITV on Saturday night. Craig David, Christine and The Queens and Calum Scott, as well as Brits Critics Choice winner RagnBone Man, all performed during the event, as the contenders for categories including best British single, best British group and Mastercard British album of the year were revealed.

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From the loss of friends and family to the celebration of marriage and parenthood, our writers recall the times when music hit home this year

I felt really happy to be carried along by a song I dont even like

Fix You by Coldplay
Alexis Petridis
I couldnt be more surprised to find myself writing about Coldplay playing Fix You at Glastonbury as my musical moment the year. Im not one of those people who thinks Coldplay are the living embodiment of all thats wrong about latterday rock music, but nor am I, by any stretch of the imagination, a big fan. Fix You is pretty much the apotheosis of what I dont like about Coldplay: the vague, woolly sentiments, the feeling that it was written with the intention of getting vast crowds of people to pull out their lighters, a calculated exercise in button-pushing manipulation, rather than a genuine expression of emotion.

Furthermore, Glastonbury had a weird atmosphere this year. You couldnt get away from current events that suggested the world was coming unglued: there was a lot of talk about Brexit and tributes to the victims of the Orlando massacre and Jo Cox, the MP who was murdered in June.

Coldplay on stage at Glastonbury 2016. Photograph: Rex/Shutterstock

I used to know Jo. I hadnt seen her in years, but it was still deeply unsettling trying to square the girl I had once known with the woman whose image people were carrying around the festival like a religious icon, in whose honour Portishead had made a video. It kept jolting me, as it had when I had seen her face staring out of the front pages or read accounts of her murder: fucking hell, thats Jo. I could remember dancing with her on Millennium Eve. I could remember us gabbing excitedly as we drove from JFK airport to Long Island at the start of a holiday. It didnt seem plausible that she was the same person.

By Sunday evening, I had had enough. The weather made it feel more like November than June. My friends had all gone home, so I watched Coldplay on my own. I expected them to be objectively good, but not really for me: they had headlined Glastonbury three times before; they clearly know how to work a huge crowd. And then they played Fix You. The crowd started singing along softly and I didnt feel cynical or objective at all. The words those trite lyrics, with whatever vague meaning they might have had in the first place worn away by umpteen appearances on TV show soundtracks seemed incredibly soothing. For a moment, I stopped feeling weird, gloomy and uneasy and felt calm. More than that, I felt really happy to be carried along by a song I dont even like, really happy to be part of that communal experience, really happy to be where I was at that exact moment.

I cant really explain it. The closest Ive got is thinking: well, maybe I just needed something familiar, the way you sometimes go to an upscale restaurant, look at the menu and think: God, I could murder some cheese on toast. Maybe its a better song than I thought, although Ive not been gripped by the urge to reassess it: in fact, Ive not listened to Fix You since. Perhaps it was just a moment when circumstance made the wrong song seem like the right song, proof that live music can work its magic in inexplicable ways.

Adulthood had not only arrived, but was about to get seriously real

Teenage Spaceship by Smog
Tim Jonze
Inevitably, my musical moment of 2016 revolves around becoming a father. You only need to read this list, or any of the previous years lists, to see that the moments we cherish most are not simply about great tunes, but rather the way in which music weaves itself into our lives in order to magnify our emotions and offer us greater insight into them. I could list hundreds of ways music did that as my wife and I came to terms with having a new lady in the house, from the way it triggered unexpected tears in us (was that really me sobbing when Macklemores Same Love came on the radio?) to the way it sparked unexpected smiles in her whenever I played the piano (general public, do not fear: I am fully aware that the only way to grow the rapt audience Ive built for self-penned hits such as Wise Old Snufflepig and Big Girl Now is through further procreation).

A couple of weeks before Romy was born, I took a long walk around Hackney and decided, for some reason, to listen to Smogs 1999 album Knock Knock. The song Teenage Spaceship spoke to me deeply back then a lonely, misunderstood wanderer of a small town dreaming of ways to light up the sky, determined not to get swept up in conformity when adulthood arrived. It felt funny hearing it again at a time when adulthood had not only arrived, but was about to get seriously real. It was extremely moving, in a way I couldnt quite articulate.

Listen to Teenage Spaceship by Smog

I didnt join the dots until the day of Romys birth, when I sat cradling her in the maternity ward. I looked down and was struck by the realisation that she, too, was about to go through so many of those challenging moments of self-discovery on her journey towards adulthood. I knew I would have minimal control over the good times and the bad as Joni Mitchell once accepted: Therell be icicles and birthday clothes and sometimes therell be sorrow but I also knew Romy was blessed to have had this chance to experience life in all its tumultuous, see-sawing glory.

Music is unpredictable like this. It wasnt a record about birth or even new beginnings that really hit home the enormity of what my little girl was about to go through, but one about being an oversensitive teenager. I played it again, cried uncontrollably and realised that I probably still was one.

In three and a half minutes, it articulated what I had spent 18 months trying to say

Its about the quiet pleasure of returning phone calls, holding friendships, going dancing at the local bar … Courtney Marie Andrews.

Put the Fire Out by Courtney Marie Andrews
Laura Barton
I ducked out of London on a midweek morning two summers ago, packed up my belongings and quietly left the city that had been my home for 15 years. I still remember how exhilarated I felt as I glimpsed my new town and the sea beyond, as if I had pulled off the most spectacular feat of escapology. But running away has long been my speciality I like to feel weightless, anonymous, moving through land. The hardest thing for me has always been staying in one place and not thinking of another. Moving to a small town, then, felt like a challenge to my restlessness. The past year and a half has been an experiment in staying put.

It has been hard to explain. Friends and acquaintances have reacted with bafflement to the fact I have left the city, that I am not in London or Los Angeles or Louisiana or any of the places anyone might expect to find me. How to describe the need sometimes to belong, the wish for a counterweight to life in limbo?

Listen to Put the Fire Out by Courtney Marie Andrews

Then, this autumn, I heard Courtney Marie Andrewss song Put the Fire Out. In its three and a half minutes, she seemed to articulate what I had spent 18 months trying to say. Its a road-worn country song about finally heading home, about wanting certainty, a life lived in the present and tackled with both feet. Its about the quiet pleasure of returning phone calls, holding friendships, relationships, going dancing at the local bar. Ive been lost, she sings, and Im ready to be found.

Putting out a fire sounds like admitted defeat, but for me it has been about doing something braver. My move was not an extinguishing of desire, but the recognition that, just as its necessary to have somewhere from which to run, its important to have a place to where you want to return. Theres a place for everything, as Andrews puts it, and I think I know mine now.

Feeling so vulnerable heightened my responses to otherwise unremarkable things

Squeeze on stage at Glastonbury 2016. Photograph: Smiejkowska/Rex/Shutterstock

Labelled With Love by Squeeze
Michael Hann
This was my first Glastonbury. Every year since my early 20s, as scores of my friends and then colleagues traipsed down to Somerset, I spurned it. Not out of contempt for the festival, but because
as I wrote earlier this year the prospect of an event so big, so overwhelming, so far from home terrified me. I feared it would set me off on a spiral of anxiety, something I find very hard to escape from once I have entered it. This year, though, I had no choice. I had to go, with dread in my heart and that sensation in my stomach that you get when youre terrified or very hungry.

As you will have guessed, I got from one end to the other from Tuesday afternoon until Sunday at which point I fled Somerset. I wouldnt say I enjoyed it; I managed it. I hated the mud; I hated the crowds; I hated the scale of the site; I hated that the mud and the crowds and the scale combined meant it took an eternity to get anywhere. I was working most of each day, so I didnt see much music, nor did I explore the dance areas, the healing fields any of the other stuff for which Glastonbury is famous.

But I think that feeling so vulnerable I realise this makes me sound pathetic, but thats how it was heightened my responses to otherwise unremarkable things. A friend later told me he had never been greeted so effusively as when I encountered him having a quiet pint on the Thursday afternoon, so pleased was I have to have bumped into him by chance.

The combination of tiredness and fear, when it combined with my letting down my guard, produced at least one moment that startled and haunted me. On the Saturday lunchtime, Alexis Petridis and I took a short walk to the Pyramid stage to see Squeeze. It wasnt that I was desperate to see Squeeze theyre on the long list of bands I like when I hear them, but dont think about in between more that it was close, Alexis was going and it was something to do.

As with most bands with back catalogues filled with songs that have been part of the cultural atmosphere for decades, Squeeze pretty much guarantee a decent time. I was enjoying the set; Alexis was enjoying it even more (I had never seen him sing along to anything until they played Goodbye Girl). And then they played Labelled With Love.

Labelled With Love is my favourite Squeeze song: I adore the simple circularity of its melody, the perfection of the metaphor that gives it its title. But its a song about the sadness of a life derailed and about alcohol its not one that really touches my life (and, in any case, it is generally melody, rather than lyrics, that I love in pop music). Nevertheless, in a rare moment of sunshine, with my friend beside me and already feeling exhausted after four days on site, the lyrics of Labelled With Love hit me with bludgeoning effect. Home is a love that I miss very much, Glenn Tilbrook sang, and my defences crumbled. Suddenly, I was wishing that I was anywhere else but a field in Somerset and acutely aware that this music would not be having such a profound effect were I anywhere else. You would think I had been away for four months, not four days.

If theres one time you can feel comfortable clearing a dancefloor for a good cry with your best friend, its your wedding

Yellow was an important song during my coming-of-age era, when I wore a lot of corduroy … Coldplays Chris Martin. Photograph: Stoyan Nenov/Reuters

Yellow by Coldplay
Harriet Gibsone
I got married in August. Our first dance was Tender by Blur, but, with all due respect to my legally bound life partner and to Damon Albarn, I remember nothing about it. My brain had shut down because walking on to the dancefloor had signified the end of my bridal duties for the day. All that was left to do was dance, minesweep my relatives and avoid setting my dress on fire. A few hours later, I had relaxed. I had requested that the DJ play Coldplays Yellow, because it was an important song during my coming-of-age era (in other words, the years in which I experimented with fringes and wore a lot of corduroy). While its not exactly a climactic end-of-wedding banger Lord knows, the people wanted Oops Upside Your Head for me and a handful of school friends it was a glorious moment when the days before I could even comprehend having the capabilities to hire portable loos came flooding into a field in Essex. And, if theres one time in your life when you can feel comfortable clearing a dancefloor for the sake of a cuddle with your best friend and a good cry, its your wedding.

That beautiful song of devotion made me think about Barbaras decades of marriage

Nat King Cole performs When I Fall in Love

When I Fall in Love by Nat King Cole
Dave Simpson
We buried my Auntie Barbara last month. She wasnt my real aunt she was Mrs Lister, who lived next door when I was a child but after my father died when I was six and my mother became ill, Auntie Barbara took me in. Never mind that she already had a husband and four boys inside a modest semi. She gave me a home when it was needed, and hers became a second family.

Her second-eldest, Stephen, turned me on to Motown when I watched him doing northern soul glides in the living room to a Supremes soundtrack. Barbaras husband, Harry, and their second-youngest, Kevin, took me to my first Leeds United matches; when I wrote about the league-winning 1991-92 team in my book The Last Champions, I dedicated it to the Listers. Over the years, as we all moved around, contact had reduced to greetings cards, but recently I had begun visiting Barbara and Kevin again.

Things came out at the funeral that I never knew: Barbara herself had been taken in by another family as a child during the war and had lost her first born in tragic circumstances, events that defined her life. It turned out that she had taken in several other children, too, and that she was still providing some with sanctuary even when they had become adults right up until her death at the age of 87.

Nat King Coles When I Fall in Love was among the music played at Barbaras funeral; it was also a favourite of my mums. That beautiful song of eternal devotion made me think about Barbaras decades of marriage to Harry, and the unconditional love she had for so many children, and how we all owe it to her to make sure some of that survives.

Under the influence of Howard Donalds appalling singing, I began to feel part of a community

Take That perform Never Forget

Never Forget by Take That
Rachel Aroesti
In May, I was walking through a field in Lincolnshire when I got a call from one of my university housemates. He told me that another friend we had lived with, Aj, had died. Aj was training to be an RAF pilot and was on a routine practice flight when his plane crashed. He was 25.

After a summer spent letting this absurd, rattling loss sink in, I found myself back in my university halls. I deliberately hadnt been back to Durham since I had graduated, sealing it off in my memory as dull and horribly claustrophobic, somewhere I had never really felt at home. But a small contingent had decided to return to our college for a ball. Originally, I had been unenthusiastic, but my attitude towards university nostalgia was changing those memories I thought I could breezily discard were now the only connection I had to my friend.

Some colleges in Durham occupy 11th-century castles; others (such as mine) are 1960s eyesores that force their students to sleep in outbuildings directly above basketball courts. Here are a couple of the things I never got on board with while there: college spirit, the coddled routine of college life; and Durhams ironic pride in its crap nightlife (it is home to a club called Klute, once voted the worst in Europe, to everyones constant amusement; the idea of submitting yourself to terrible music and equally terrible ambience was a hallmark of university life that bled into most occasions).

College balls could be added to that list, and this post-grad version ended as they all did, with everyone doing the same school-disco-style dance routine to Take Thats Never Forget, during which about 80 people run into the centre of a big circle. In the misanthropy of my actual student days, I had never been interested enough to find out who the song was by, let alone paid attention to what would have been, under normal circumstances, risibly cliched lyrics. Now, Were still so young and we hope for more / But remember this / Were not invincible, was oddly, horribly apt.

Yet the experience of being there was far from horrible. Suddenly, under the influence of Howard Donalds objectively appalling singing, I began to feel part of a community I had not when I really did belong to it. In the thick of this collective euphoria, tinged for some of us with a gnawing grief, I made a vow: from now on I would treasure my university memories or, as Barlow and co would have put it, never forget.

I danced until my limbs felt light again

I love hip-hop, but Ive never been so deeply moved by it … A Tribe Called Quest. Photograph: NBC/Getty Images

Savages and A Tribe Called Quest
Dorian Lynskey
I have problems choosing music to help me when Im feeling low. Something uplifting often feels false, while a sad song can make me feel like Im performing sadness. It only works if I let fate press the shuffle button and find the soundtrack I need. This happened twice this year, when I most needed to be lifted out of myself, and left me dizzy with gratitude.

Friday 24 June was the bleakest Glastonbury day Ive ever experienced. The festival woke up to mud and Brexit and you couldnt avoid either. For most of the day, I trudged from act to act without being able to get politics out of my head, partly because it came hard on the heels of Jo Coxs murder. As night fell, I went to the Park stage to see Savages, who have always gripped me, but never like this. They hit me like ice-water from a firehose. They were so fierce, strong and life-affirming that I could think of nothing beyond Jehnny Beths shamanic moves or the shrapnel clang of Ayse Hassans bass. I came away feeling like something poisonous inside me had been purged.

On 9 November, the day after the US election, I was in New York interviewing A Tribe Called Quest. I woke in the middle of the night after three hours sleep, my brain whirring nauseatingly with jetlag, shock and everything I had drunk to mute the shock. After the interview, there was an album launch party in Queens. This was a New York hip-hop crowd definitely not Trump people so they had every reason to be gloomy, but they didnt let the election infect the celebrations. After a Q&A, Prince Paul and Questlove DJed 90s hip-hop classics and I danced until my limbs felt light again. I love hip-hop, but Ive never been so deeply moved by it. It felt defiant, resilient, transcendent.

Like the Savages show, the party reminded me what music can do that nothing else, certainly not tormenting yourself on the internet, can. It can say: Listen, no matter how bad you feel, there is still joy to be had and people to share it with. Life goes on. Try dancing.

Prince belonged to everybody, but it felt like he spoke just to me

Goodbye Prince. Photograph: Chris O’Meara/AP

Sometimes It Snows in April by Prince
Priya Elan
A few days after
Prince died, in April, the weather turned bitterly cold and slate grey. I was in the office staring out of the 10ft-high windows that overlook Kings Cross station when it happened. Look, its snowing! said my deskmate and fellow Paisley Park devotee, pointing at the sky. We stood in awe and wonderment, looking at the crouton-shaped flakes as they fell from the sky in disordered waves.

I cant remember if there were tears in our eyes, but it felt eerie and momentous: in accordance with the closing song on 1986s Parade, it was snowing in April. The track, with its allusions to life, death and the afterlife (All good things, they say, never last) was almost impossible to listen to after he passed away. Even DAngelo got so choked up when he performed the song on The Tonight Show with Jimmy Fallon that he stumbled through one of the lines. At the time of its release, the track, with its elemental feel and Joni Mitchell-esque delicacy (courtesy of Lisa Colemans piano and Wendy Melvoins acoustic guitar), served as a bittersweet end note to Princes collaboration with his band the Revolution. By April 2016, the song had become a devastatingly sad goodbye from a man whose superstar status meant he belonged to everybody, but it still felt like he spoke just to me.

As we stood there looking at the snow out of the window, we felt, in our secondhand celebrity grief, like this was Princes goodbye message to us.

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Both are to make their first appearances in India at the Global Citizen festival this month, alongside local heroes Tendulkar and Amitabh Bachchan

Jay Z and Coldplay are to share the bill when both play their first ever show in India. The two acts are to appear in Mumbai on 19 November, and the inaugural Indian leg of the Global Citizen festival.

Global Citizen, which is intended to encourage social awareness and activism, has taken place in New York annually since 2012, with Chris Martin as creative director. Both acts have previously played the New York event Jay Z in 2014 and Coldplay in 2015. The festival is free for people who perform various charitable acts.

The Mumbai event hopes to raise money for orphaned children and provide funding for 25 childrens homes in India, via the crowdfunding site Ketto, as well as help fund education programmes in association with the non-profit organisation Miracle Foundation.

Our festival combines music with social causes that have an impact and Miracle Foundation has had a huge impact on vulnerable children, said Global Citizen Indias spokesperson Arnav Sahni. Fuelled by Kettos remarkable crowdfunding platform, we hope to raise money and awareness so the Miracle Foundation can continue to do their inspirational work.

To earn the 30 points necessary to qualify for the draw to win two free tickets, fans have to undertake a variety of mainly online tasks they can reach the target by tweeting their support for a variety of causes.

As well as Coldplay and Jay Z, Demi Lovato will be appearing at the Mumbai festival, along with a score of leading Indian artists and celebrities, including composer AR Rahman, film star Amitabh Bachchan and cricket legend Sachin Tendulkar.

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The global superstar might be playing Glastonbury this year but his penchant for making comedic cameos of varying success has been overlooked until now

Coldplays Chris Martin has been called many things throughout his career: a bedwetter, a geography teacher, a woeful fucking waste of a snails time … but a comedic maverick? Never. Until now, that is.

The Devonshire frontman has long been a supporter of comedy. A close friend of Simon Pegg and Ricky Gervais, he is a musician who understands that, when it comes to mocking the famous for their ludicrous lifestyle, if you cant beat them, join them. Most recently, Martin provided a skit for The Late Show with Stephen Colbert, in which he offers to create lyrics for the US talkshows theme tune.

The skit follows a similar theme to most of Martins comedy appearances parodies in which his perceived seriousness is the butt of the joke, sometimes to brilliant effect. In some cases the very earnest act of impregnating Gwyneth Paltrow with a baby named Apple is even up for roasting.

So heres a brief chronology of Chris Martins comedy career.

Shaun of the Dead 2004

As with Bob Geldof and Bono, the British find nothing funnier than an artists earnest philanthropic pursuits. The earliest example of Martin parodying his charitable nature and perhaps the moment in which his dalliance with comedy began came alongside Simon Pegg and Nick Frost during one of zombie comedy Shaun of the Deads more meta moments. Representing the charity Zombaid, Chris Martin who also appeared as a zombie in the film and Johnny Buckland sit beside Vernon Kay on the T4 sofa to preach about their new charity venture set up following the zombie possession of their drummer and bassist. A beautifully understated performance from the heir to Steve Martins comedic throne.

Score: 5/10

Extras 2006

As previously mentioned, Chris Martins comedy cameos often involve the merciless ribbing of his many charity-based endeavours. In Extras, Ricky Gervaiss character Andy makes a charity promo video while scrabbling for credibility and industry praise. Martin appears as a ruthless self-promoter, his sole intention to advertise the bands Greatest Hits album. Can we get on with this? he says ahead of the videos first take. Ive got to do Aids and Alzheimers and landmines this afternoon and I wanna get back for Deal Or No Deal. Plus Gwyneths making drumsticks. Its funny, but a lingering sense of smugness resides.

Score: 6/10

Brno 2009

Enlisting music industry heavyweights to promote his 2009 film, Brno, Sacha Baron Cohen created a spoof charity single entitled Dove of Peace, with the Coldplay singer appearing alongside Sting, Bono, Slash and Snoop Dogg. A source told the Mirror newspaper at the time: Chris Martin was in stitches throughout the recording and only just managed to get his lines out. Maybe you had to be there.

Score: 4/10

The Simpsons 2010

During episode Million Dollar Maybe, Homer wins $1m in the lottery. Having missed a wedding reception in order to buy the winning ticket, Homer uses his prize money to buy back the love of his nearest and dearest with anonymous gifts; hiring the band to play a concert for Bart, who lives out every music fans fantasy and pauses the show to nip to the bogs. While a Simpsons cameo is the cornerstone of an artists fame, an animated Martin loses some of his puppyish appeal. If youre still in any doubt of Martins innate humour, watch the video below, as he manages to make the whole Simpsons writing room laugh.

Score: 5/10

Saturday Night Live 2013

Often a musicians part on a SNL skit can seem a little PR-motivated; an attempt to soften the sometimes inaccessible and earnest stars of the celebrity world. Martin appears as Jan Pockabook, alongside Fred Armisen and Kirstin Wiig (in character as Garth and Kat), who share some of their new festive Thanksgiving music. Martin might have been upstaged by the two comics performances, but it was an admirable step away from his sincere, charity-pushing repertoire.

Score: 8/10

Comic Reliefs Game of Thrones Opera 2015

Arriving at a point in which Chris Martins lovelife was the subject of much media attention – his divorce, an album full of songs about the divorce, the subsequent paparazzi shots of Martin and a string of young Hollywood A-listers his Red Nose Day video managed to momentarily extinguish some of the heat surrounding his private life. Entitled Game of Thrones: The Musical, its the greatest rock opera of all time (at least in the eyes of its creator), featuring Coldplays first romantic song about incest and a reggae track entitled Rastafarian Targaryen.

Score: 10/10

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