One hundred years since the BBC first broadcast choral evensong, MP and former chorister Jonathan Davies hymns a beautiful and empowering collective experience that we should praise – and protect

Some sounds seem to belong to Britain. The peal of church bells. The brass band on a village green. The roar of a football crowd. And, heard from a cathedral at the end of the day, the extraordinary sound of a choir singing evensong.

This year marks the centenary of choral evensong on BBC radio. On 7 October 1926, when the BBC was in its infancy, listeners heard a live service broadcast from Westminster Abbey. A century later, evensong can still be heard on Radio 3 every week from cathedrals, churches, chapels and abbeys across the country. It is the BBC’s longest running outside broadcast and reaches hundreds of thousands of people every week.

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© Photograph: Dan Kitwood/Getty Images

© Photograph: Dan Kitwood/Getty Images

© Photograph: Dan Kitwood/Getty Images

This week, from Reich to Kendall and Celibidache, three musicians who prove there is no such thing as “pure music”, whether we’re talking about a technique, a mode of musical expression or a musician’s legacy.

Steve Reich turned 90 on Saturday, and I’ve been thinking about his early tape pieces from the mid-1960s, It’s Gonna Rain and Come Out. They’re such vital works not only because they opened his imagination to what could happen if you made a micro-canon – playing the same material slightly faster or slower – which is what happened when one of his tape machines slipped out of sync with the other: it’s that these are human voices that Reich is setting. It’s Gonna Rain is made from the voice of Brother Walter, a Pentecostal street preacher in San Francisco, whose warning of apocalypse in 1965 Reich recorded and looped against itself, over and over, so that Brother Walter’s voice becomes a wall and wail of sound, a sonic realisation of the sublime inundation he’s announcing. Come Out was made in 1966 with the voice of Daniel Hamm, one of the Harlem Six, six black men wrongly convicted of first-degree murder in New York. Reich’s piece was commissioned for a benefit event for their legal costs as “background music for passing the hat”.

These pieces don’t just set words, Reich says they “set human beings”, using the vocal recordings not only as musical material but political inspiration and emotional expression. Techniques that are seemingly all about narrowly musical processes – looping, canon-ing, fugue-ing – are embedded in the facts of where they were made and how, and whose voices are being represented by whom.

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© Photograph: Siân O’Connor

© Photograph: Siân O’Connor

© Photograph: Siân O’Connor

‘This is Courtney doing her makeup on the ’95 Lollapalooza tour. I was documenting my generation being hijacked by corporate greed – and destroyed following the sacrificial death of Kurt Cobain’

When I was going through the archives for my rock photo book, I came across my first ever self-portrait, at Père Lachaise Cemetery in Paris, in front of Jim Morrison’s grave. I am a 13-year-old on an awkward trip with my cool father. He had no respect or interest in Jim Morrison, and that photo is like every photo I’ve taken from that moment on – I’m trying to take agency over what is happening. Photography was the absolute first thing that gave me a feeling of having my own say. It became a way of creating my own universe, one that I could trust. It was absolutely my first love.

I was sidetracked into music in a beautiful way by these radical women and a countercultural movement, so the subject of my photographs just changed. It was me within this environment, on stage with Hole, backstage with these luminary, wild people, travelling across the world. My photography followed and morphed with me, and my camera documented my generation being hijacked by corporate greed and destroyed in the wake of the sacrificial death of Kurt Cobain. It was a generational call to document the Lollapalooza ’95 tour, where this photo was taken, for us to understand later. It was also when the wild alternative freaks crossed into the mainstream.

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© Photograph: Melissa Auf der Maur, courtesy DelMonico Books/AGO Toronto

© Photograph: Melissa Auf der Maur, courtesy DelMonico Books/AGO Toronto

© Photograph: Melissa Auf der Maur, courtesy DelMonico Books/AGO Toronto

Born and raised in Valparaíso, JM is seen as one of the last of a golden generation after a late foray

At a concert hall in the Chilean capital, Santiago, an 80-year-old man edges unsteadily down a steep staircase. With one hand he grips the metal bannister, in the other he carries a mug of hot water with a slice of lemon, as if heading to bed.

But when the red stage curtain is pulled aside for him, Luis Gómez, or JM as he is universally known, transforms in an instant. He skips on to the stage to a roar from the crowd and launches into a bolero, punctuated by hip thrusts and shuffling two-steps.

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© Photograph: Tamara Merino/The Guardian

© Photograph: Tamara Merino/The Guardian

© Photograph: Tamara Merino/The Guardian

Celebrated for his earnest, dextrous voice, Jackson crossed into the pop charts with the hits Rock Me Tonight (For Old Times Sake) and You Are My Lady

Freddie Jackson, the US singer whose smooth and romantic take on R&B found a huge audience in the 1980s, has died aged 70.

A statement from his family on social media reads: “Freddie was more than a legendary voice. He was a kind, generous soul who loved his fans, his family, his friends and his music with everything he had. For decades he gave us the songs that became the soundtrack to our love stories, our celebrations and our most treasured memories. That gift will live on for ever.” No cause of death was given.

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© Photograph: Evan Agostini/AP

© Photograph: Evan Agostini/AP

© Photograph: Evan Agostini/AP

After representing society’s dispossessed, Ponder started a music career in her 40s – then faced miscarriage, anxiety and more. She explains her survival instinct

“You can get everything you dreamed of career-wise, and your life can still crumble, and that is what happened to me,” says US singer-songwriter Danielle Ponder.

Five years ago, and five days before her 40th birthday, Ponder left her job as a public defender – a lawyer for those without the means to pay for one – to pursue music full-time. Ponder’s rich, church-reared voice and resonant music quickly lent themselves to cinematic moments: she wrote and performed the theme song for Apple TV+’s Manhunt and her trip-hop-infused track Roll the Credits has been used by adverts, TV shows and video games. Several comments on the YouTube video come from viewers who searched for it thinking she was Nina Simone. Her debut album, Some of Us Are Brave, came out in 2022 and was warmly received by critics, and she appeared on Seth Meyers’ talkshow. Her gamble had paid off. “But personally,” she says, “it felt like everything around me was falling apart”.

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© Photograph: Faith Joyvon

© Photograph: Faith Joyvon

© Photograph: Faith Joyvon

The Post Brothers, Savage Henry, Lord Cthulhu, and all Carolines jam one last time. Matt Howarth, creator of so many comics and book illustrations, passed at 72.

Official site. The Bugtown Mall.

Rereleased for its 24th anniversary, Michael Winterbottom’s freewheeling film about a journalist who championed post-punk bands couldn’t have starred anyone but Steve Coogan

Michael Winterbottom’s intriguing, daring, freewheeling movie is being rereleased for its 24th anniversary. It is about Manchester legend, Factory Records impresario, club owner and Granada TV journalist Tony Wilson, played by Steve Coogan, who was a driving entrepreneurial force behind the city’s music scene and guide to bands such as Joy Division, New Order and Happy Mondays.

Looking back to my original review I see that I was in some ways unconvinced, perhaps by the almost flippant, throwaway tone that is somehow evenly established from first to last, with Coogan’s Partridgean lead performance – very good though it undoubtedly is – delivering all the lines as if doing a wry piece to camera. He was arguably the only possible casting for a minor TV personality who was also a major player in the real world beyond the camera, a postmodern combination that Wilson, a sophisticated and intelligent man, himself surely savoured. Winterbottom’s A Cock and Bull Story, adapted from Laurence Sterne, is sometimes described as his postmodern work, although this film, with its fourth-wall breaking, real-world cameos and docu-realist sense of itself, is probably even more metatextual.

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© Photograph: Channel 4/Kobal/Shutterstock

© Photograph: Channel 4/Kobal/Shutterstock

© Photograph: Channel 4/Kobal/Shutterstock

Drugs, drink and dancing made Bez famous. Thirty-five years on, has he really swapped it all for filtered water, intermittent fasting and walks with the dogs?

Bez has both shoelaces undone and it’s making me nervous. Out walking his dogs, we’re up and over barbed wire, across streams and over gates. We bash through brambles and skid down slopes. I’m becoming fixated on the perilously trailing laces of his trainers and why he hasn’t tripped over them. Can he be such a thrill-seeker that a dog walk can be turned into an hour of jeopardy?

Of course he can. This is Bez, anarchic maraca-shaker, party person, the man Shaun Ryder, his Happy Mondays bandmate and partner in crime, says is a bad influence. Bez, whose real name is Mark Berry, has been in more scrapes than seems possible for one person. A small sample: knocking his teeth out in a motorbike crash at the age of 16, threatened with a gun when he and Ryder were trying to buy crack in New York, kidnapped and held hostage during another drug deal, smashing his body up in another motorbike crash in 1999 and then getting MRSA in hospital and ending up in a coma for a month.

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© Photograph: Francesca Jones/The Guardian

© Photograph: Francesca Jones/The Guardian

© Photograph: Francesca Jones/The Guardian

Court filing alleges Bryan Seaver, star’s ex-security head, had also posted no trespassing signs to thwart serving of lawsuit

Dolly Parton’s estate has alleged that her nephew and former security head used barbed wire and a no trespassing sign to avoid being served in a lawsuit, according to a court filing confirmed by the Guardian.

The country star’s company has filed suit against her nephew, Bryan Seaver, claiming that he menaced and attempted to strong-arm Parton’s estate after she died on 25 August. Seaver announced Parton’s death in a video and previously said this was “something Dolly asked of me years ago”.

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© Photograph: Andrés Kudacki/AP

© Photograph: Andrés Kudacki/AP

© Photograph: Andrés Kudacki/AP