The Swedish star says ‘Sexistential’ is ‘like a spaceship coming through the atmosphere at a really high speed and crash landing’
© Getty
The rapper’s recent cosying up to the Trump administration has upset a lot of her fans, but is she playing the long game?
Starships are meant to fly, but Nicki Minaj’s musical career is now doing a Maga-propelled nosedive. For the past few months, the rapper and former gay icon has been horrifying many of her fans by cosying up to the Trump administration.
In November, for example, Minaj shared a post by Donald Trump about the treatment of Christians in Nigeria and agreed to collaborate with the administration on awareness around the issue. Then, in December, the rapper made a surprise appearance at Turning Point USA’s AmericaFest convention, where she heaped praise on the late Charlie Kirk (who once said Minaj was not a good role model for “18-year-old Black girls”) and the vice-president, JD Vance. She also accidentally called Vance an “assassin” while talking to Erika Kirk, Charlie’s widow, but was quickly forgiven for her word choice. “I love this woman,” Erika Kirk proclaimed after the weird gaffe.
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© Photograph: Caylo Seals/Getty Images
© Photograph: Caylo Seals/Getty Images
© Photograph: Caylo Seals/Getty Images
Engaging in creativity can reduce depression, improve immunity and delay ageing – all while you’re having fun
For some reason, we have collectively agreed that new year is the time to reinvent ourselves. The problem, for many people, is that we’ve tried all the usual health kicks – running, yoga, meditation, the latest diets – even if we haven’t really enjoyed them, in a bid to improve our minds and bodies. But have any of us given as much thought to creativity? Allow me to suggest that this year be a time to embrace the arts.
Ever since our Paleolithic ancestors began painting caves, carving figurines, dancing and singing, engaging in the arts has been interwoven with health and healing. Look through the early writings of every major medical tradition around the world and you find the arts. What is much newer – and rapidly accelerating over the past two decades – is a blossoming scientific evidence-base identifying and quantifying exactly what the health benefits of the arts are.
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© Composite: Guardian Design; Boonchai Wedmakawand;aerogondo;gojak;Catherine MacBride;Westend61/Getty Images
© Composite: Guardian Design; Boonchai Wedmakawand;aerogondo;gojak;Catherine MacBride;Westend61/Getty Images
© Composite: Guardian Design; Boonchai Wedmakawand;aerogondo;gojak;Catherine MacBride;Westend61/Getty Images
Behind its lavish ‘nun-core’ aesthetic, the Spanish star’s hit album pushes us to think beyond good and evil – to see that we contain multitudes
I went into Lux primed not to like it. Not because I doubt Rosalía’s virtuosic talents or her intense intellectual curiosity, but because the album’s promotional campaign had already done too much work on my nerves. The rollout was relentless: thirsty reels teasing the album on social media, fashion-forward mysticism, even bringing Madrid’s city centre to a halt – everything about it felt designed to send the message that this is less a set of songs than a global event demanding reverence.
Over the past decade, Rosalía has become Spain’s biggest pop export, and Lux appears to inaugurate her imperial phase. The album debuted at No 1 in five countries, was voted the Guardian’s album of the year, broke streaming records on Spotify, and reached No 4 in the US and UK charts, where non-anglophone pop rarely thrives. Multilingual and stylistically expansive, Lux is saturated with Catholic iconography, with lyrics in no fewer than 13 languages, and circling themes of transcendence, suffering and grace.
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© Photograph: -
© Photograph: -
© Amy Sussman/Getty Images
When the Afrobeat sensation first saw Lemi Ghariokwu’s work, he said, ‘Wow!’ Then he plied him with marijuana and asked him to design his album sleeves. The artist recalls their extraordinary partnership – and the day Kuti’s Lagos HQ burned
‘There were flames everywhere. Soldiers with bayoneted rifles were dragging people out into the streets, staggering, naked and bleeding. Nobody knew if Fela was still inside the burning building.”
Lemi Ghariokwu pauses. For much of our video-call, the 70-year-old artist has joyfully revisited his years as friend and confidant of Fela Aníkúlápó Kuti, the Nigerian Afrobeat pioneer whose legacy has been celebrated recently by both a high-profile podcast produced by the Obamas and a career-spanning box-set, The Best of the Black President, designed by Ghariokwu.
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© Photograph: ITV/REX/Shutterstock
© Photograph: ITV/REX/Shutterstock
© Photograph: ITV/REX/Shutterstock
Songsmith’s comments come after his brother Liam stoked rumours Oasis had been courted for the role
Noel Gallagher has said that he would “absolutely” write the theme song for the next James Bond film if asked, saying that doing so would be an honour.
Speaking to TalkSport, the Oasis songwriter revealed that while there had not been any contact between himself and the producers of the franchise, he would leap at the opportunity to contribute music for the film, adding that he thought the theme songs the series was known for should be made by British artists.
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© Photograph: Samir Hussein/WireImage
© Photograph: Samir Hussein/WireImage
© Photograph: Samir Hussein/WireImage
Apple Music s’améliore en proposant dès maintenant la traduction de paroles en français pour les chansons. Il est bon de noter que c’est en cours de déploiement et que cela concerne seulement quelques titres dans l’immédiat. Image iGeneration La traduction française des paroles sur Apple Music est là Dans l’image ci-dessus, on peut voir qu’Apple […]
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The actor first realised what music was when he heard Yellow Submarine and knows a lot of Paul Simon lyrics, but what would he put on at a party?
The first song I fell in love with
My earliest memory is walking into a room at nursery school where they were playing Yellow Submarine by the Beatles. I was captivated by the sound effects, and Lennon shouting: “Full speed ahead!” When it got to the chorus, I remember thinking: “This must be music!”
The first single I bought
When I was eight, I won a competition at school to pick a new record to play at the mini disco we had on Fridays. My teacher took me to Woolworths, and I chose Come Back My Love by [50s revivalists] Darts. The first single I bought with my own pocket money was Mull of Kintyre by Wings from a record shop in Colne in Lancashire. It was No 1 at the time, and I chose it when my dad pointed out that it was by one of the Beatles.
© Photograph: -
© Photograph: -
© Photograph: -
Streaming’s algorithms make it easy to avoid whole discographies – so in the interest of deeper listening, our writers dedicate time to the ones who might have got away
The first time I heard Joni Mitchell, in 1997, she was looped across the chorus of Janet Jackson’s single Got ’Til It’s Gone. The song’s credits would educate me on the sample’s origins; I had previously assumed Big Yellow Taxi was an Amy Grant original. The second time I heard a Mitchell song was when Travis covered the beautiful River as a B-side.
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© Composite: Guardian Design; Michael Putland;Paul Harris; Aaron Rapoport;Christopher Polk/Getty Images
© Composite: Guardian Design; Michael Putland;Paul Harris; Aaron Rapoport;Christopher Polk/Getty Images
© Composite: Guardian Design; Michael Putland;Paul Harris; Aaron Rapoport;Christopher Polk/Getty Images
Dave Brubeck called her a great and Mary Lou Williams gave her advice. But the prodigy grew frustrated with jazz, quit and started dismantling her instrument. A superb new reissue showcases her findings
Flipping through the jazz section on a visit to his local record store a few years ago, artist Kye Potter found a battered tape by American pianist and composer Jessica Williams. It looked every bit the quintessential DIY release. “The labels had come off the tape,” he says. “It was home-dubbed, with photocopied notes, a little bit of highlighter to accentuate the artwork, and released on her own label, Ear Art.”
As a collector and occasional producer particularly interested in the American musical avant garde after John Cage, Potter was intrigued by a tape called Prepared Piano. Yet it seemed unusual from Williams, who was best known for making sparkling jazz in the straight-ahead tradition of Thelonious Monk and Errol Garner. If the west coast jazz circuit knew her as a musical experimenter – for her concerts, she requested pianos without the cover to make it easier to reach inside and strum the strings – it was a facet that rarely made it to her records.
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© Photograph: Peter Symes/Redferns
© Photograph: Peter Symes/Redferns
© Photograph: Peter Symes/Redferns
In 2025 the Doncaster-born singer-songwriter has earned two UK No 1s, three Grammy nominations and the respect of rock’s greats – and he says it’s all down to putting fans first
In November, Dominic Harrison, better known as Yungblud, received three Grammy nominations. The news that he had become the first British artist in history to be nominated that many times in the awards’ rock categories came as a suitably striking finale to what, by any metric, was an extraordinary year for the 28-year-old singer-songwriter.
In June, his fourth studio album, Idols, entered the UK charts at No 1, outselling its nearest competitor by 50%. The same month, the annual festival he curates and headlines, Bludfest, drew an audience of 30,000 to The National Bowl in Milton Keynes. In July, he played at Back to the Beginning, the farewell performance by Black Sabbath, whose frontman Ozzy Osbourne died 17 days after the gig. On a bill almost comically overstuffed with heavy metal superstars paying tribute – Metallica, Guns N’ Roses, Anthrax, Slayer – his rendition of Black Sabbath’s 1972 ballad Changes unexpectedly stole the show, appearing to win him an entirely new audience in the process: the crowd at the gig skewed considerably older than the gen Z fans Harrison traditionally attracts.
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© Photograph: PR
© Photograph: PR
© Photograph: PR
North Carolina home preserved to commemorate legendary musician and civil rights activist, and to serve as arts hub
It was a surreal experience for Dr Samuel Waymon, Nina Simone’s youngest sibling, to walk back into the renovated childhood home that he once shared with the singer and civil rights activist. On that day in the fall of 2025, Waymon, an 81-year-old award-winning composer, said that memories flooded back of him playing organ in the house and cooking on the potbelly stove with his mother as a child in Tryon, North Carolina. He was overjoyed to see the large tree from his youth still standing in the yard. Simone, born Eunice Waymon, lived in the 650 sq ft, three-room home with her family from 1933 to 1937.
After sitting vacant and severely decayed for more than two decades, the recently restored home is now painted white, with elements of its former self sprinkled throughout the interior. On the freshly painted mint-blue wall hangs a shadow box that encases the rust brown varnish of the original home. A small piece of the Great Depression-era linoleum sits on the restored wooden floor like an island of the past in a sea of the present.
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© Photograph: Herb Snitzer/Getty Images
© Photograph: Herb Snitzer/Getty Images
© Photograph: Herb Snitzer/Getty Images
With 2025 but a distant memory, it’s time to get stuck into a huge year of entertainment. To help with this daunting task, we’ve provided a handy, alphabetised guide to the big releases and trends coming in the next 12 months, from AI’s continued rise to a whole lot of Zendaya
Bad news: the intellectual property equivalent of The Terminator is here to obliterate the concept that the mug who actually wrote something matters somewhat. Better news: cinemas are fighting back against AI with films anxious about the new tech, including Gore Verbinski’s Good Luck, Have Fun, Don’t Die (13 February), in which a man apparently from the future (Sam Rockwell) wants to warn people about an incoming AI hellscape, followed by The AI Doc: Or How I Became an Apocaloptimist (title says it all really), from the film-makers behind Everything Everywhere All at Once, in March. Then, later in the year, Luca Guadagnino unveils Artificial, his biopic of Sam Altman, the CEO of OpenAI. Catherine Bray
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© Composite: Alamy; Holly Revell; YG Entertainment; etty; BBC/Eleven/J Redza; Robert Vigalsky/Netflix; Warner Bros Pictures
© Composite: Alamy; Holly Revell; YG Entertainment; etty; BBC/Eleven/J Redza; Robert Vigalsky/Netflix; Warner Bros Pictures
© Composite: Alamy; Holly Revell; YG Entertainment; etty; BBC/Eleven/J Redza; Robert Vigalsky/Netflix; Warner Bros Pictures
This first newsletter of the new year looks at some of the big questions we hope will be answered in the next 12 months, across film, TV, music and games
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Welcome to 2026! I hope you are enjoying the final dribblings of the festive break, before reality bites on Monday. As is now tradition (well, we did it once before), this first newsletter of the new year looks at some of the big questions we hope will be answered in the next 12 months, across film, TV, music and games. Hopefully it will double up as a decent primer for the year ahead too, though for a more exhaustive rundown check the Guardian’s 2026 previews for film, music, TV, gaming, stage and art. Right, let’s get on with it:
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© Composite: BBC, HBO., Alamy and Getty
© Composite: BBC, HBO., Alamy and Getty
© Composite: BBC, HBO., Alamy and Getty
Packed with incredible scenes, this heartbreaking anniversary documentary can’t help but offer up a huge serving of nostalgic bliss
There’s a theory that the world spun off its axis with the passing of David Bowie, 10 days into January 2016. It was also two days after his final, death-infused album Blackstar appeared from nowhere. As an artistic statement it was prophetic and impeccably theatrical. A feature-length documentary now shines a black light on that album’s recording, which some call Bowie’s creative resurrection. What does it reveal? And do we want to revisit that place, emotionally?
Thankfully, Bowie: The Final Act (Saturday 3 January, 10pm, Channel 4) does not live solely in the catacombs. It begins at the zenith of Bowie’s pop fame: the 1983 Serious Moonlight tour, where the Thin White Duke turned American soul hero. This MTV-approved, Pepsi advert-inducing stardom was the onset of a career-stalling ennui, Bowie’s artistic voice drying out under the bright lights he sought. It then ricochets back to the start of his musical journey, pinballing us through its highlights. With a mythology this seismic it would be a crime not to. David Bowie invented serving looks, you know. They just happened to come from another planet.
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© Photograph: Pictorial Press Ltd/Alamy
© Photograph: Pictorial Press Ltd/Alamy
© Photograph: Pictorial Press Ltd/Alamy
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