"Welcome to the afterli-i-ife" is trilled like a creepy lullaby at the beginning of CocoRosie's fifth album.

London’s East End makes a fitting location for a duo obsessed with 1940s heroics, as on their War Room EP, much of which they play tonight.

Some stars become famous far beyond their own fields. You don't need to be interested in running to know about Usain Bolt; you don’t need to be interested in dance to have heard of French ballerina Sylvie Guillem. In both cases, the fame comes from something beyond their undoubted skill. It’s about charisma, the personality that shines through the technique.

Jessie J had some harsh words for fellow coaches and contestants alike in The Voice as she blasted one of Will.i.am's song choices as "horrific".

And the voice which, if you're of a certain vintage, was pop returns.

“Where’s the stools?” A fair question for a 66-year-old singer to ask after playing for an hour, though Emmylou Harris has confused her dates. Tonight, we are being treated to an epic performance that has yet to reach its half-way point. Instead, she and long-term collaborator Rodney Crowell leave for a hard-earned interval.

More sales woe sent supermarkets chain Morrisons’ shares crashing today as the UK’s fourth-biggest grocer continues to lag behind its big rivals.

The reason for the buzz surrounding this revival became clear as Jonas Kaufmann launched into his rapturous opening aria. His phrasing was exquisite, and his projection - underscored by distant horn-calls - was perfect, with its gentle falls into half-voice; his whole being radiated ardent nobility.

Produced again by Joe Henry, the follow-up to Let Them Talk follows a similar format of easy-rolling jazz arrangements and simpatico guest spots supporting Hugh Laurie's blues piano.

Chris Kelly was one half of Kris Kross, the kid duo who helped put Atlanta on the hip-hop map with their 1992 worldwide novelty hit "Jump". Known as "Mac Daddy", Kelly and his friend Chris "Daddy Mac" Smith were barely in their teens when the rapper and budding entrepreneur Jermaine Dupri, himself only 18, discovered them in a shopping mall in 1990.

This could cause a rumble between two of TV's best friends - a survey has revealed women would rather bed Dec than Ant.

The Russian composer Victor Kissine's work has been accurately described as possessing a “reticent musical language”, a characteristic skilfully demonstrated by Gidon Kremer's Kremerata Baltica on this album of three chamber-music premieres.

There should be no need for a company called Ballet Black, just as there should be no need for all-female political party shortlists. But there is, and for two reasons: to offer a platform for classically trained dancers of colour, particularly women, conspicuously absent from Britain's big ballet companies; and to provide role models for a rising generation of talented kids. But in the 12 years of Ballet Black's existence, it has found itself a third raison d'être. It's hard to think of another small company that even comes close to its turnover of new work.

Little by little Maxim Vengerov is easing himself back into the mainstream, after injury and burn-out. His last Barbican foray - with a concerto - was marred by a loss of nerve at critical moments: this time he was going for broke with a chamber recital where, if anything went wrong, he would have nowhere to hide.