For Black History Month, figures from the arts, culture and sport reveal the people and ideas that made them who they are today

• When you’re traduced, abused and gaslighted – believe me, Black History Month matters | Hugh Muir

You might think ponds are complicated things with liners, but you can make one from a washing-up bowl

Do you remember the 90s, when everyone was obsessed with “water features”, mostly thanks to Charlie Dimmock? A simpler time. Perhaps I’m hanging out with the wrong garden designers, but I rarely hear much talk of water features now. For years, Chelsea flower show gardens have featured subtle Cor-Ten steel-clad trickles or elegant mirrored ponds. There have been a fair few naturalistic streams (such as A Rewilding Britain Landscape by Lulu Urquhart and Adam Hunt, with beaver-gnawed twigs, which controversially won best in show in 2022), but scant fountains or burbling rocks. Water features are out, I guess. Ponds are in.

My mum built one the other day. Hers is smaller than a piece of A3, lined with rocks and terracotta seedling pots, with two metal ducks stuck around the edge in a boggy bit of her compact urban garden. You might hear “pond” and think complicated things involving liner and algae, but you could make one from a washing-up bowl – and there are plenty of benefits to doing so.

Patterson watched on, clad in prison-issued blue, as Victoria’s highest court rejected her appeal against her murder convictions

• Erin Patterson to die in prison after losing bid to overturn mushroom murder convictions

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Erin Patterson raised her chin and stared out on the brilliant blue promise of a mid-spring morning.

To the east, Victoria’s grandest court room was filled with people she had brought together, yet she was there only on a screen.

Move comes as Philippines police investigate alleged child sexual abuse images reportedly found at Thomas Markle Sr’s former home

The Metropolitan police has referred itself to the police watchdog over potential errors in its handling of a 2019 letter warning of dangers to the security of the Duchess of Sussex posed by her father.

The letter made allegations about Thomas Markle, the father of Meghan, who is facing claims of child sexual abuse images offending linked to the Philippines, which he denies.

Victorian court of appeal rules Patterson should be jailed for life with no parole over deadly beef wellington lunch that killed three people

• Erin Patterson mushroom murders appeal – live updates

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Erin Patterson has lost her bid to overturn her convictions and been resentenced to life behind bars with no chance of release, as Victoria’s highest court handed down its decision on two appeals regarding her triple murder case.

The court of appeal ruled on the two appeals on Friday, after justices Lesley Taylor, Stephen McLeish and Peter Kidd heard arguments from her legal team and prosecutors in August.

L’Orchestre du Nouveau Monde’s young musicians went viral for their defiant performances during the last week’s protests in France. They belong to a fine tradition of radical orchestras. Also, today, what music should soundtrack the Traitors?

They were the last people standing – or rather playing – during last week’s student protests in France, as gas canisters landed in double-bass cases. L’Orchestre du Nouveau Monde, co-founded by young conductor Étienne Jarrier and his friends when they were still teenagers, aren’t a typical orchestra. With their manifesto of activism and social justice, the orchestra is not “a sacred object of beauty, but a tool for struggle”, through civil disobedience, outreach in schools, demonstrations and concerts, all to “present a different kind of classical music – one reconnected to reality”.

The new world Jarrier and his group dream of is “anti-racist, anti-capitalist, feminist, environmentalist and committed to de-growth”, and their way of working is deliberately provocative, not only to so many of the dominant directions of travel in the political world, but also to the institutions of classical music. They play scrappily passionate performances of La Marseillaise, of music from The Avengers, of Dvořák’s New World Symphony and protest songs but the ONM judge the quality of their performances not by playing the right notes in the right order, but by their consciousness-raising impact, whether they’re staging performances at Place de la République in Paris or at the foot of a glacier.

The death of Stephen Kovacevich, aged 86, was announced yesterday. Tom Service pays tribute to a pianist whose performances were full of beauty, clarity – and danger

And, here, in a piece published on Kovacevich’s 75th birthday, Andrew Clements picks his favourite recordings.

It was just a couple of weeks ago that Stephen Kovacevich and I were last in contact. He was in hospital, recovering from a hip operation, and we were talking about Hiromi, and where the latest generation of pianists were coming from. The players who had the brilliance, fire and commitment to the moment that his favourite players had: Vladimir Horowitz, Sergei Rachmaninov – his greatest of the greats – and his friend and occasional mentee, Yuja Wang.

Among other things, he told me about a Charles Munch performance of Berlioz’s Symphonie Fantastique he had discovered on YouTube that made him exclaim: “How the hell did he get an orchestra to play like that?” Conversation with Stephen was always like that: utterly intense, totally opinionated, with the feeling that the spirits he was talking about, whether performers or composers from Chopin to Beethoven to Brahms to Mozart to Bach, were in the room with you, conjured into being as real, passionate people and presences.

Carnegie Hall, New York
After winning over gen Z, the cult indie rocker makes the historic venue swoon with introspective anthems and a Michael Jackson cover

More than 68 years after Leonard Bernstein’s first-ever Young People’s Concert, Carnegie Hall was yet again overrun with youthful energy on Sunday night. The occasion was the first of two sold-out performances from gap-toothed indie-pop scion Mac DeMarco, whose adoringly parasocial cross-genre fanbase has been one of the few in 2010s indie to continue an increasingly aged-down trajectory. There was many a parental chaperone next to their beaming teens, while a group of bright-eyed and bushy-tailed post-adolescents sitting behind me – having travelled all the way from Wisconsin for the occasion – audibly Googled: “Where to find Mac DeMarco after the concert” and quizzed each other on whether they’d lay a smooch on The 1975’s devilish frontman Matty Healy if given a chance.

“I can’t believe how fancy this place is for Mac,” one of them marveled – and it has indeed been a strange trajectory for DeMarco, who emerged from the shores of Vancouver in the early 2010s resembling a party-hardy modern-day Pigpen and with an aural suitcase stuffed with lovely guitar-warbles, stained with nicotine and carrying the faint stink of cheap brew. His early live sets were equally prone to Limp Bizkit covers and spontaneous audience makeout sessions; the 2014 docu-short Pepperoni Playboy was replete with scenes of new-indie-money dirtbag opulence, as DeMarco and his ragtag group drank champagne out of lobster shells and went cliff-diving amid a nonstop tour schedule.