“This is the first time we are seeing… a conversation about defunding, and some people having a conversation about abolishing the police and prison state. This must be what it felt like when people were talking about abolishing slavery.” – Patrisse Cullors, Black Lives Matter.
Abolishing the Police (An Illustrated Introduction) is both a contribution to this conversation and an invitation to join it. It provides rigorous and accessible analyses of why we might want to abolish the police, what abolishing them would involve, and how it might be achieved, introducing readers to the rich existing traditions of anti-police theory and practice.
Its authors draw on their diverse on-the-ground experiences of political organising, protest, and resistance to policing in the UK, France, Germany, and the United States, as well as their original research in academic fields ranging from law to security studies, political theory to sociology to public health.
Without assuming any prior specialist knowledge, they present the critical tools and insights these disciplines have to offer to ongoing struggles against the injustices of policing (and consider, in turn, what these disciplines must learn from these struggles.)
The first ever book about Cuban record sleeve design, compiled by Gilles Peterson and Stuart Baker, Cuba: Music and Revolution , when Cuba’s Special Period, brought about by the dissolution of the Soviet Union and the withdrawal of Russia’s financial support for the Cuban government, led to the demise of vinyl-record manufacturing in Cuba. The artwork here reflects both the cultural and musical depth of Cuba as well as the political influence of revolutionary communism.
Over the past century, Cuban music has produced a seemingly endless variety of styles―rumba, mambo, son, salsa―at a dizzyingly fast rate. Since the 1940s a steady stream of Cuban musicians has also made the migration to the US, sparking changes in North American musical forms: bandleader Machito set New York’s jazz and Latin scene on fire, and master drummer Chano Pozo’s entry into Dizzy Gillespie’s group led to the birth of Latin jazz, to name just two.
After the Cuban Revolution in 1959, the new government closed American-owned nightclubs and consolidated the island’s recording industry under a state-run monopoly. Out of this new socialist agenda came new musical styles, including the Nueva Trova movement of left-wing songwriters. The 1980s saw more experimentation in modernist jazz, salsa and Afro-Cuban folkloric music.
Generously illustrated with hundreds of colour images, Cuba: Music and Revolution presents the history of Cuban record cover art, including many examples previously unseen outside the island itself.
DOPE 14 features: Cat Sims, Double Why, Fran Scaife (IWGB), Frank Riot, Jason Williamson (Sleaford Mods), Leah Cowan, Lee Shevek, Lisa Selby & Elliot Murwaski (Blue Bag Life), Jess Turtle (Museum of Homelessness), One Slut Riot, Protest Stencil, Rebecca Hendin, Special Patrol Group & Tabitha Bast.
Great Anarchists by Ruth Kinna and Clifford Harper started life as a pamphlet series. We’ve collected all ten essays and illustrations together to make this beautiful book.
“These short introductions delve into the anarchist canon to recover some of the distinctive ideas that historical anarchists advanced to address problems relevant to their circumstances. Although these contexts were special, many of the issues the anarchists wrestled with still plague our lives. Anarchists developed a body of writing about power, domination, injustice and exploitation, education, prisons and a lot more besides. Honing in on different facets of the anarchist canon is not just an interesting archaeological exercise. The persistence, development and adaptation of anarchist traditions depends on our surveying the historical landscape of ideas and drawing on the resources it contains. The theoretical toolbox that this small assortment of anarchists helped to construct is there to use, amend and adapt.”
Could Buster Keaton have starred in Battleship Potemkin?
Did Trotsky plan to write the great Soviet comedy?
And why did Lenin love circus clowns?
The Chaplin Machine reveals the lighter side of the Communist avant-garde and, in particular, its unlikely passion for American slapstick.
Set against the backdrop of the great Russian revolutionary experiment, Owen Hatherley tells the tragic-comedic story of the cinema, art and architecture of the early 20th Century and spotlights the unlikely intersections of East and West
At the age if twenty-two, William Morris (1834-96) wrote prophetically: “My work is the embodiment of dreams in one form or another.”He and his associates in the artistic fellowship they called “the Brotherhood” passionately espoused the principles of medieval art and craftmanship, decrying the soullessness of the Industrial Revolution. Morris believed that art could not be divorced from the craftman’s living conditions and communal support for the aesthetic. His vision, creativity, humanity and commitment to Socialism are as relevant today as a century ago.