Bøger udgivet af Repeater

Railway engineer and transport policy specialist Gareth Dennis shows why the railways are key to the fight for a better world for us all. The world's railways were almost entirely created by capital and empire for extraction and exploitation, so what right do they have to exist and how can they be harnessed for good? Railway engineer and writer Gareth Dennis builds a case not simply for railways as a common good, but argues that railways are a critical tool for humanity to survive and thrive. Whether it's the power of organised labour, the threats and opportunities of new technology, the distribution of democratic power or the calamitous impacts of climate change, railways can act as a lens through which to understand the future and the part they can play in it. Dennis takes us across the globe, from Virgin Hyperloop's abandoned test track in the Nevada desert to the overcrowded stations of the North of England, exploring how railways can shape and inform choices about our future, and in turn detailing how taking a long-term view can help shape transport for the better. With his deep knowledge of railways and his unique view of history and politics, he equips us with the tools to answer those imperative questions: what and who should our railways be for?

Asks what has happened to English football and how we can launch a revolution amongst English fandom in order not just to take back control of the game, but invent new ways our society and economy can work in the interest of the people again. Despite thirty plus years of rampant commercialization and marketization, football and football clubs remain central to many communities: sources of solidarity, civic engagement and national and international pride. This book explores the history of the people's game, looks at how it has become less and less the province of the people and more and more the plaything of oligarchs, billionaires and commercial interests, and explains why and how we need to take it back. Football's importance not just to local communities but to local and national economies is used as the jumping-off point to argue for a new economic model for the sport, one based on the idea of the public-commons partnership. These partnerships and the reorganising of production around them offer a theoretically grounded and fully worked through alternative to current models and propose an entirely different set of relationships between citizens, the state and each other, one more in keeping with the principles that underly the traditions from which football and its deeply felt and lived allegiances belong. As neoliberalism continues to exploit English fandom's love for the game, loading up clubs with debt, hiking ticket and shirt prices, blasting them with adverts and exposing them to unscrupulous gambling companies, Football, the People's Shame seeks to be a clarion call to the fans to break out of their passivity and fatalism and begin to demand something new, offering a workable set of progressive alternatives while also daring to dream big about a complete transformation of the current depressing reality. Football is more than just a sport. It's a way of life, a vital social, political and economic dynamo and fan's deep and abiding passion for the game can and should become the engine through which society is reorganised.

Explores the heroic life and revolutionary music of the pioneering German saxophonist, and the radical social and political convictions that informed them. Peter Brötzmann is the first ever, full-length, English-language biography of one of the most fascinating and inspiring personalities in the history of Western improvised music - and one of the key artistic figures to emerge from the socio-cultural tumult of the 1960s. Drawing on extensive interviews with Brötzmann and key associates, it traces the German saxophonist's crucial role as a pioneer of European free jazz, his restless travels and collaborations and his eventual superstardom, examining the life and work of a fiercely uncompromising artist with a reputation for gruff intensity and total commitment. Digging deep into the history and aesthetics of free jazz in Europe and beyond, it provides detailed analysis of music by Brötzmann and other major figures, while positioning Brötzmann's work - and the wider free jazz milieu - in the context of the revolutionary left-wing, humanist and utopian ideals that inspired and underpinned it. Both intimate and wide-ranging, it tells the story of a man and a music that changed the world.

An alternative occult and esoteric history of England told through one of its most popular cultural forms: the comedy sitcom. Code: Damp is a sometimes-comedic field report that charts an esoteric code hidden within the twin poles of 1970s sitcoms Rising Damp and The Fall and Rise of Reginald Perrin. Outlining how past cultural patterns condensate and repeat through technology, time is shown to be a damp condensation seeping through the centuries, and out onto the telly. Interspersed with the author's own photographs, prints, Holsten Pils cans, local newspaper entries and carrier bags, as well as a whole host of other characters, the work seems an antiquarian's conceit that takes time travel as a metaphoric methodology. This is not media studies; more an allegory of all reality as (tele)visual recorded history, excavating the strata of haunted technology from which the fragile band of code comprising our sense of time is briefly emitted. Drawing connections between incidents of ancient and popular culture, from Mark E. Smith's lyric-- "they say damp records the past"--to Rising Damp's (meta)physical structure of decay, the book finds damp's temporal power manifest in everything from alchemy, mysticism, and parish folklore to pulp, Time Team, darts, the local newspaper and, of course, the sitcom. Merging the vast with the parochial, the occult with the comedic, Code: Damp tunes into the weird demands of damp as a time-traveling material at the intersections of comedy, myth and technology, taking all three as serious resources to better (dis)orient the ground we stand on.

A walk through the remnants of a social democratic America, and an argument about its future.In the 1960s, a novel ideology about cities, and what was best for them, emerged in New York. Pushing against the state planning of the time, it held that cities were at their best when they were driven from the bottom-up and when organic, unplanned processes were allowed to run their course, in a spontaneous "ballet of the street". Cities were at their worst, however, when the state stepped in, demolishing lively old neighbourhoods and erecting giant, sterile, empty "projects". This book uses the method of this ideology — walking — to test how true it actually is about the "capital of the twentieth century", New York City, with a brief interlude in the capital, Washington DC.The "projects" that are walked in this book range from cultural complexes in Manhattan to New Deal-era public housing developments in Brooklyn, Harlem and Queens, from the social experiment of Roosevelt Island to Communist housing co-operatives in the Bronx, from the union-driven rebuilding of the Lower East Side to DC's magnificent Metro. For all their many flaws, they prove that Americans could, in fact, plan and build fragments of a better society, which survive and sometimes thrive today in one of the unequal places on earth. Walking the Streets/Walking the Projects takes a hard look at these enclaves, and asks what a new generation of American socialists might be able to learn from them.

Analyses the current wave of depression, or "desertion", that is causing more and more people to abandon hope and desire in a world where social, political and environment collapse seems inevitable.Depression is rife amongst young people the world over. But what if this isn’t depression as we know it, but instead a reaction to the chaos and collapse of a seemingly unchangeable and unliveable future?In Quit Everything, Franco Berardi argues that this “depression” is actually conscious or unconscious withdrawal of psychological energy and a dis-investment of desire that he defines instead as “desertion”. A desertion from political participation, from the daily grind of capitalism, from the brutal reality of climate collapse, and from a society which offers nothing but chaos and pain.Berardi analyses why this desertion is on the rise and why more people are quitting everything in our age of political impotence and the rise of the far-right, asking if we can find some political hope in desertion amongst the ruins of a world on the brink of collapse.