Music

The year 1965 was a tumultuous one for the civil rights movement. In Selma, Alabama, marchers were brutally attacked by police with clubs, whips and tear gas on a day that was dubbed "Bloody Sunday". In Watts - the overwhelmingly black suburb of Los Angeles - anger at racism, poverty and police harassment exploded into one of the biggest riots the US had ever seen. The movement also lost one of its most radical leaders when Malcolm X was assassinated as he addressed a public meeting.

The failure of the Russian Revolution of 1917 to live up to the hope it promised was the greatest tragedy of the last century. Its effects were felt not just in the politics and subsequent history of the 20th century but also in the art and culture that surrounded it. Dimitri Shostakovich occupied a central position in these events, and more than any other composer his music explores the hopes and tragedy of this period of history.

A few years ago I compiled a record called England's Dreaming to accompany a book I had written about punk. I enjoyed doing that so much that I approached the record company with an idea of releasing a compilation of weird old gay records.

Musical mythology has it that there has been no conscious Jamaican reggae since the early 1980s. Radical prime minister Norman Manley's economic reform programme had been brought to a halt by the International Monetary Fund and the CIA. Bob Marley intervened in the 1980 election to quell the violent gang rivalries of Manley and his opposition challenger Edward Seaga, and for a moment it seemed that reggae could succeed where politicians failed.

A whole generation of young people from a part of society normally invisible to the mainstream, unless labelled as "hoodies" or "gangs", have aspirations to be MCs, producers and DJs.

Tenor saxophonist Sonny Rollins released a series of outstanding LPs in the 1950s and 1960s that established him as one of the outstanding jazz musicians of the period. Born in Harlem in 1930, Rollins overcame drug problems and Imprisonment to develop one of the most distinctive saxophone sounds in jazz. While not generally perceived as radical (he rarely gets mentioned in the same bracket as John Coltrane, Archie Shepp, Miles Davis, etc), he released The Freedom Suite in the 1950s, which was a landmark political statement by a jazz artist demanding black emancipation.

It used to be quite fashionable for bands to take an 'eclectic' approach to music - here's our punk song, this is an acoustic number, we wrote this one listening to Pink Floyd, etc. It was part of the post-grunge/post-Britpop slump. Albums were more about artists' record collections than the artists themselves.

The current crop of bands seem to have a much healthier attitude, being outward looking and musically passionate. Franz Ferdinand are one of the most successful of the new crop.

'This was the missing link between playing totally free, without any givens, and playing bebop, with steady changes and steady times. Ornette struck fear into the heart of the average world-famous jazzman, because nothing would be the same again' - Paul Bley, jazz pianist.

Music has always given a voice to the people. It has also been abused as a tool for power, money and fame. In east London music is a means to both ends. It has been used to spread political messages and has also been a gateway out of the run down streets of London's East End.

When Nitin Sawhney released his debut album Spirit Dance in 1993 'Asian underground' was, well, underground. Much of Britain's music press was about to be overrun with a bout of 'retro-obsession'. 'Indie-pop' and 'cool Britannia' were dawning and Sawhney's boundary-defying tunes didn't really fit the NME's remit. Asian and 'cool' didn't really go together back then.