A review of Nancy Holmstrom’s “From a Marxist-Feminist Point of View”
Courtesy of Haymarket Books [https://mronline.org/wp-content/uploads/2026/04/HolmstromLarge-1-e1774897119540-rla77s2aerk51yaw2kqppr284o6b5hmralao45g09k.jpg] ESSAYS ON FREEDOM, RATIONALITY AND HUMAN NATURE — From MR Online [https://mronline.org/feed/] via This RSS Feed [https://mronline.org/feed/].
Venezuelan Women and the Living Tradition of Joropo
The “Cultural Re-existence” column will provide insights into how our ancestral practices, habits, customs, and traditions remain alive today because Venezuelans preserve them through the human spirit they embody and amplify. These are expressions of women and men grounded in reality, history, and a consciousness of their subjective revolutionary role, as well as their responsibility and commitment to defending life. “La muerte del poeta,” a joropo oriental by Luisana Pérez. March, in addition to being the month honoring women, is a month of celebration centered on Venezuela’s most widespread traditional rhythm: joropo [https://albaciudad.org/2014/08/los-origenes-del-joropo-relatados-por-el-investigador-rafael-salazar-desde-bagdad-africa-y-espana-hasta-venezuela/]. (1) And although this is a community tradition with unique variations throughout Venezuela, on March 19 the town of Elorza in Apure state hosts a ten-day festival that draws thousands of people from all over Venezuela and other countries, to participate and enjoy concerts until dawn, joropo llanero singing and dancing contests, sports and recreational activities linked to the Llano culture, as well as culinary and artisan fairs. Another iconic date this month is March 15, since in 2014 the Bolivarian government declared [https://www.mincultura.gob.ve/noticias/15-de-marzo-el-joropo-venezolano-es-declarado-patrimonio-cultural-de-la-nacion/#%3A%7E%3Atext=15+de+marzo+%3A+El+Joropo+venezolano%2CMinisterio+del+Poder+Popular+para+la+Cultura.] “Traditional Venezuelan Joropo in All its Diversity” to be part of the nation’s cultural heritage. From that moment, this date has been commemorated as National Joropo Day. As a community-based festival, the Venezuelan joropo in its various forms—in the eastern, north-central coastal, llanos, western, and Andean regions—has seen Venezuelan women become committed cultural creators who are conscious of their community’s identity, the very identity that has allowed them to endure since colonial times, keeping alive the feelings, thoughts, and actions that extend beyond their own lives, into the lives of their children and grandchildren. Venezuelan women, as practitioners of the various joropos, have had to fight—as women and as joropo creators—against the Inquisition, the nation-state, and the cultural industry for their right to exist. It is well known that these institutions demonized them for “disturbing devotion,” and even today they compel them to adopt a masculinized representation of their own identity or impose the sexualization of their aesthetic expression. There is a historical debt to acknowledge the heroic insurgency that the practice, creation, and celebration of the various Venezuelan joropos have meant for the Venezuelan people, and this debt is owed primarily to the joroperas [female joropo practitioners] for their unrelenting commitment to our identities, even during the most complex moments of our history as an insurgent people. For these reasons, we wanted to inaugurate our column with the perspective that Venezuelan women have on this popular community festival. Through Fabiola José, we were invited to the 3rd “Mujer Joropo [https://www.instagram.com/reel/DWASUf3DZnf/]” (Joropo Women) Gathering, held in honor of singer Cecilia Todd and dancer María Ruíz. This was our cue to attend the “Joropazo” organized at the San Carlos Barracks in Caracas on March 15, and to participate as singers and spectators in this gathering of women, an artistic-cultural initiative that brought together singers, dancers, and musicians of all ages, with repertoires integrating both the traditional music [https://venezuelanalysis.com/video/a-nation-of-rhythms-venezuelas-traditional-music-genres/] and dances of our communities and more contemporary musical and choreographic expressions that speak to multigenerational dialogue and the enduring relevance of this popular art form. “Semillas de Amor,” a joropo central by Amaranta Pérez feat. Arturo García. Honoring women’s role in joropo --------------------------------- Carolina Veracierta is the organizer of Mujer Joropo. A dancer, writer, designer, and singer, she explained to us that the project “focuses on women not just in a supporting role but as a protagonist, a creator, and carrier of ancestral knowledge.” “For me, the joropo isn’t just a musical genre [https://venezuelanalysis.com/infographics/15613/?swcfpc=1] or a dance; it’s the language through which my body and my voice express my very essence. It’s the echo of my childhood in Monagas state and the strength that has sustained me on stages far away,” she explained. “When I dance the joropo, I don’t just move my feet; I shake off my sorrows, celebrate my victories, and honor the women who, before me, kept the rhythm in their skirts and in their songs to accompany the milking of cows.” Asked about the importance of an event featuring women exclusively, Veracierta argued that joropo has historically had “a very masculine narrative” but that women have always been present, “sustaining the rhythm and in tandem with the man’s foot-stomping.” “Celebrating it among women is an act of sorority and empowerment,” she concluded. “Joropo has the soul of a woman.” Amaranta Pérez [https://venezuelanalysis.com/interviews/15222/?swcfpc=1], another artist featured in the event, told us that joropo brings her an immediate jolt of happiness. “It takes me back to my family’s roots between Parmana and Valle de la Pascua [Guárico state], it is a sort of therapy,” she said. “I especially cherish the lyrics that express the love for our people, landscapes, history, and the folk tales from our wonderful authors that are turned into songs.” Amaranta defended the importance of events like Mujer Joropo to help correct women’s “unequal” participation in the artistic sphere. For her part, singer, professor, and bassoonist Luisana Pérez affirmed that “joropo for me is synonymous with Venezuela, from its history to the yellow, blue, red and eight stars that make up the national flag.” Concerning Mujer Joropo, Luisana explained that “it was unusual to see women playing the mandolin, the harp, or the cuatro” and that these kinds of events “are a beautiful way to reclaim the role played by women in joropo.” More than 20 artists participated in this third edition of Mujer Joropo, demonstrating the commitment of contemporary Venezuelan women to their own history, to the artistic legacy of their ancestors, and to the responsibility of preserving and promoting the heritage they now hold. “Zumba que zumba,” a joropo llanero by Fabiola José feat. Ricardo Sandoval and Jesús González. From underground communal festivity to national identity manufactured by the music industry ----------------------------------------------------------------------------------------------- On April 10, 1749, the governor and captain general of Venezuela, Don Luis Francisco de Castellanos, published what may be the first documented reference to the joropo. He did so in the form of a decree banning the Xoropo Escobillado, “…due to its extreme movements, insolence, heel-stomping, and other indecencies, it has been frowned upon by some people of sound mind…”. The official decided to consult the Royal Audience on this matter, likely due to widespread controversy, and in the meantime, warned that those who violated the ban would face public scrutiny plus two years of imprisonment, and women would be “…confined to hospitals for an equal period…”. Although this is the first formal ban to explicitly name joropo, we cannot overlook the fact that, as early as 1532, the Catholic Church’s published constitutions regulated and prohibited popular festivals in general, especially those where the music and dances of Mulatto, Black, and Indigenous women “…disturb devotion…,” or where both sexes mingle in dance, or those where the veneration of saints was a pretext for throwing a party. If we consider that there is evidence that the first vihuelas [medieval Spanish string instrument] arrived in 1529 in the territory we now call Venezuela, and if we acknowledge the express order of the Catholic Monarchs to ship instruments and musicians starting with Columbus’s second voyage (1493), we could infer that between these dates and Governor Castellanos’s ban, there were some 220–250 years of incubation for what would eventually become an irreversible trend in popular culture, which the colonial order had no choice but to accept. Although the term xoropo has been interpreted as coming from Arabic as jarabe ( شراب , sharab), for the Andalusian researcher, poet, and musician Antonio Manuel Rodríguez Ramos, the root is undoubtedly that of drinking ( شرب , shurib), and he explains that initially, this is how the festival of drinking, singing, dancing, and eating might have been called. And the fact is that drinking –alcohol– was the best way for converts to avoid suspicion from the Tribunal of the Holy Office of the Inquisition, which was formally operational in our country between 1610 and 1821 [https://bibliofep.fundacionempresaspolar.org/dhv/entradas/i/inquisicion/]. Related to other rhythms including fandangos, jácaras, folías, jarabes, and sones, Venezuelan joropos were documented in the independence struggle that led Bolívar’s armies as far as Peru during the nineteenth century. In the mid-twentieth century, one of these joropos, the llanero, was established as the national music style and dance, though it was a version that had certainly lost its communal and rustic character. By then, the music industry, aware of the deep roots these sounds had in Venezuelans, marketed a series of commercial products featuring music, lyrics, and singers stylized to fit institutional, urban, and bourgeois tastes. As we noted above, on March 15, 2014, the Venezuelan government declared “Traditional Venezuelan Joropo in All its Diversity” as part of the nation’s cultural heritage, recognizing it as an element of identity and unity –not only in many of our festivities and collective expressions throughout the country, but also as a collective process of community organization. The declaration of the diversity of joropos as cultural heritage was the result of a series of debates that took place both within the community of cultural workers and among research specialists. With the same strategy of asserting the joropo not only as a dance but as a complex cultural system that integrates music, song, dance, poetry, and oral traditions passed down through generations, Venezuela proposed to the UNESCO Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage that the Venezuelan joropo [https://albaciudad.org/2025/12/unesco-joropo-patrimonio-cultural-inmaterial-humanidad/] be included on the Representative List of the Intangible Cultural Heritage of Humanity. The committee approved the proposal on December 9, 2025. Venezuelan joropos thus allow people to come together and reclaim their humanity through the recognition of their own dignity. Through parrandas, festivals for singing, dancing, eating, and drinking, joropo expresses a communal setting where agriculture, cattle rearing, and fishing were the means of sustaining life. Persecuted by the colonial order, homogenized by the nation-state, and commercialized by the music industry through jingle-franchise schemes, Venezuelan joropos also survived the journey from the rural countryside to the oil-driven urban environments. This continuous history of persecution, denial, whitewashing, and normalization has actually pushed joropo women and men to sneak away, resonate, hold firm, reinvent [http://www.elperroylarana.gob.ve/wp-content/uploads/2019/12/joropo_llanero_edicion_digital.pdf] themselves, and stand out in a permanent process of self-consciousness, recognition, and realization. It is not merely a connection to the land, to love, to our mothers, but to the dream of living in a free land, and the will to produce a cultural liberation project. #### Note (1) With a myriad of local expressions, joropo is the most widespread traditional rhythm in Venezuela. Its execution typically features at least one singer, maracas as percussion, the Venezuelan cuatro [four-stringed instrument], and other string instruments such as the harp or the mandolin. The most well-known variations are the joropo llanero, from the plains region, joropo oriental from the eastern coastal areas and Margarita island, and joropo central from Miranda and Aragua states in the center of the country. Listen to the songs above for examples. Fabiola José is a Venezuelan singer. She has performed in countries across South America, Africa, Europe, and Asia. Her singles and albums are available on all digital platforms. She hosted and produced “Cantante y Sonante” for Radio Nacional de Venezuela. In 2018–2019, she created a series of videos for social media, published on her YouTube channel #HechoEnCasa. She holds a bachelor’s degree in Music from IUDEM, Caracas (2005); specialized under Maestro Tom Krause in Spain (2007); and an M.A. in Arts and Cultures of the South from UNEARTE, Venezuela (2020). Fidel Barbarito is a Venezuelan musician and researcher, with a bachelor’s and master’s degrees in music and history, respectively. He teaches in the undergraduate and graduate programs at the National Experimental University of the Arts (UNEARTE). Together with Fabiola José, he promotes several musical projects aimed at disseminating traditional folk repertoires, integrating them with contemporary compositions inspired by these sounds. Joropo llanero. Parranda de reexistencia is one of his published essays. The views expressed in this article are the authors’ own and do not necessarily reflect those of the Venezuelanalysis editorial staff. The post Venezuelan Women and the Living Tradition of Joropo [https://venezuelanalysis.com/columns/venezuelan-women-and-the-living-tradition-of-joropo/] appeared first on Venezuelanalysis [https://venezuelanalysis.com/]. — From Venezuelanalysis [https://venezuelanalysis.com/feed/] via This RSS Feed [https://venezuelanalysis.com/feed/].
Trump Axed Nearly $1B in Solar Funding as Puerto Rico Faces Power Outages
María Pérez lost power for about three months after Hurricane Maria struck Puerto Rico in September 2017. Her home in Salinas, on the island’s southern coast, sits near a river. As the hurricane knocked out the island’s grid and sent rainwaters surging down from the mountains, Perez’s house flooded with a swirling mix of muddy water and animal feces, rising 3 feet high and warping the hallways. Source [https://truthout.org/articles/trump-axed-nearly-1b-in-solar-funding-as-puerto-rico-faces-power-outages/] — From Truthout [https://truthout.org/feed/?withoutcomments=1] via This RSS Feed [https://truthout.org/feed/?withoutcomments=1].
Trump Budget Boosts War Spending While Slashing Domestic Programs
The Trump administration released its fiscal 2027 budget request Friday, asking Congress to increase spending on defense programs by 43% and decrease funding for non-defense accounts by 10%. The proposal kicks off what will be a monthslong process on Capitol Hill as lawmakers write the dozen annual government funding bills ahead of the Oct. 1 deadline. Congress rarely adheres to the… Source [https://truthout.org/articles/trump-budget-boosts-war-spending-while-slashing-domestic-programs/] — From Truthout [https://truthout.org/feed/?withoutcomments=1] via This RSS Feed [https://truthout.org/feed/?withoutcomments=1].
IAEA Sounds Alarm on US-Israeli Strike Near Iran Nuclear Plant
The director general of the International Atomic Energy Agency on Saturday demanded “maximum military restraint” from the U.S. and Israel as it confirmed reports that strikes had targeted a location close to Iran’s Bushehr Nuclear Power Plant, killing at least one person. In a statement released via social media, the IAEA relayed a message from Director General Rafael Mariano Grossi… Source [https://truthout.org/articles/iaea-sounds-alarm-on-us-israeli-strike-near-iran-nuclear-plant/] — From Truthout [https://truthout.org/feed/?withoutcomments=1] via This RSS Feed [https://truthout.org/feed/?withoutcomments=1].
Argentina, 50 years after its darkest night
It has been fifty years since the coup d’état of March 24, 1976, one of the most tragic chapters in Argentina’s recent history [https://peoplesdispatch.org/2026/03/26/50-years-since-the-start-of-argentinas-bloody-dictatorship/]: a dictatorship that combined state terrorism with a structural transformation of its economy. Throughout the 20th century, the country experienced six interruptions of its democratic order – in 1930, 1943, 1955, 1962, 1966, and 1976 – but the last coup ushered in the most violent cycle. In coordination with other dictatorships in the Southern Cone and with the backing of the United States government, the military regime carried out a systematic plan of repression, disappearance, and social discipline. ### Read more: How the Argentine dictatorship annihilated a generation of revolutionaries [https://peoplesdispatch.org/2026/03/30/how-the-argentine-dictatorship-annihilated-a-generation-of-revolutionaries/] The figures serve to illustrate the magnitude of the horror: 30,000 disappeared persons, more than 900 clandestine detention, torture, and extermination centers, around 500 appropriated infants, and nearly half a million exiles. Far from being isolated excesses, these crimes constituted a deliberate state policy. They were not deviations from a system, but its language. Violence was not an excess; it was the method. Repression was coordinated on a regional scale through Operation Condor, which integrated Argentina, Chile, Uruguay, Brazil, Paraguay, and Bolivia into a system of transnational persecution. Violence did not merely seek to eliminate opponents: it aimed to dismantle social organizations, weaken the capacity for collective resistance, and impose a new order. The dictatorship did not merely shut down democracy: it reconfigured the country’s productive structure. The objective was to replace an industrial model oriented toward the domestic market with one based on financial speculation, external openness, and indebtedness. ### Read more: 50 years since the start of Argentina’s bloody dictatorship [https://peoplesdispatch.org/2026/03/26/50-years-since-the-start-of-argentinas-bloody-dictatorship/] Within this framework, one of the most profound regressive redistributions of income in Argentine history took place. Workers’ share of national income fell from 45% to 25% between 1976 and 1977. The 1978 devaluation further eroded wages, while between 1976 and 1983 more than 20,000 factories closed and industrial employment declined steadily. The attack on the world of work was systematic. Labor rights were eliminated, union activity was curtailed, and the capacity for collective bargaining was weakened – effects that persisted even after the return to democracy. At the same time, the foreign debt multiplied, exceeding USD 45 billion, money that was largely used to finance capital flight. A substantial portion of the private debt was also nationalized, shifting its costs to society as a whole. The social consequences were immediate: between 1974 and 1982, poverty rose from 4.6% to 22%, GDP per capita fell by 14%, and industry contracted by 15%. Thus, a primary-sector-based economic model was consolidated, one dependent on external financing and vulnerable to international cycles. The legacy of that process was not merely economic. It also left behind a power structure that shaped the country’s development for decades, with the International Monetary Fund operating as a central actor in the management of debt and its political consequences. Jorge Luis Borges, perhaps the most important writer in Argentine literature, attended a session of the historic trial of the military juntas held in 1985, where the phrase that would become a slogan and symbol of the struggle of human rights organizations worldwide was coined: Never Again. That day he heard the courageous testimony of Víctor Basterra. Abducted in 1979 along with his wife and daughter, Basterra was taken to ESMA, the country’s largest clandestine detention center. A graphic arts worker, he endured torture during his captivity and managed, in secret, to take and safeguard photographs of both other detainees and his captors. Those images were and remain key to the convictions of the military personnel in the trials that continue to this day. After listening to him, and moved by that experience, Borges masterfully described the cynicism and cruelty of the torturers: “Of the many things I heard that afternoon and hope to forget, I will recount the one that affected me most, to free myself from it. It happened on December 24. They took all the prisoners to a room where they had never been before. Not without some astonishment, they saw a long table set. They saw tablecloths, porcelain plates, cutlery, and bottles of wine. Then the delicacies arrived. It was Christmas Eve dinner. They had been tortured and knew full well they would be tortured the next day. The Lord of that Hell appeared and wished them a Merry Christmas.” Half a century after the dictatorship began, the economic course of Javier Milei’s government [https://peoplesdispatch.org/2025/12/22/austerity-and-alignment-to-washington-two-years-of-president-javier-milei/] continues along the same path set by the military regime. The plans seem to be carbon copies of those of the dictatorship, and the persistence of a program that reproduces a familiar pattern with dire consequences for workers and their families is evident: concentration of wealth, indebtedness, deindustrialization, and deterioration of living conditions. This is not merely an economic program, but the dominance of the same economic groups that steer the country’s course according to their own interests. The link between Washington and Buenos Aires is once again taking shape under a logic of dependency rooted in the last dictatorship. What has happened in Argentina cannot be viewed in isolation, but rather as part of a regional pattern in which various Latin American countries seek to be reintegrated into the global economy under conditions of dependency, through cycles of indebtedness and austerity. However, Argentina’s history is also one of resistance. Fifty years after the coup, the memory of the 30,000 disappeared and the persistence of human rights organizations continue to serve as an ethical and political foundation from which broad sectors of society challenge the country’s direction. Julián Bokser graduated in Psychology from the University of Buenos Aires (UBA), is a doctoral candidate at the UBA’s Faculty of Social Sciences, and is a university professor. He served on the National Coordination Committee of ALBA and is a member of the communications team at the Tricontinental Institute for Social Research [https://thetricontinental.org/es/]. This article was written byGlobetrotter [https://globetrotter.media/]. The post Argentina, 50 years after its darkest night [https://peoplesdispatch.org/2026/04/04/argentina-50-years-after-its-darkest-night/] appeared first on Peoples Dispatch [https://peoplesdispatch.org/]. — From Peoples Dispatch [https://peoplesdispatch.org/feed/] via This RSS Feed [https://peoplesdispatch.org/feed/].
Trump Relies on Centuries-Old Notions of Whiteness to Activate His MAGA Base
I was appalled and sickened by the AI-generated image of the Obamas as apes on Donald Trump’s Truth Social account on February 5, 2026. Bear in mind that this shameless anti-Black vitriol came out on this year’s 100th anniversary of Black History Month. In response to the justifiable backlash to the racist image, Press Secretary Karoline Leavitt said, “Please stop the fake outrage and report on… Source [https://truthout.org/articles/trump-relies-on-centuries-old-notions-of-whiteness-to-activate-his-maga-base/] — From Truthout [https://truthout.org/feed/?withoutcomments=1] via This RSS Feed [https://truthout.org/feed/?withoutcomments=1].
Nuclear Plants 'Must Never Be Attacked,' Says Watchdog as Iran Reports US-Israeli Strike at Bushehr Facility
[https://www.commondreams.org/media-library/bushehr-nuclear-power-plant.png?id=65469665&width=1245&height=700&coordinates=0%2C59%2C0%2C59] The director general of the International Atomic Energy Agency on Saturday demanded “maximum military restraint” from the US and Israel as it confirmed reports [https://www.aljazeera.com/news/2026/4/4/iaea-says-projectile-hits-near-irans-bushehr-nuclear-plant-killing-one] that strikes had targeted a location close to Iran’s Bushehr Nuclear Power Plant, killing at least one person. In a statement [https://x.com/iaeaorg/status/2040360500047819000] released via social media, the IAEA relayed a message from Director General Rafael Mariano Grossi, who expressed “deep concern about the reported incident.” Grossi warned that nuclear power plants or nearby areas “must never be attacked, noting that auxiliary site buildings may contain vital safety equipment” and stressed “the paramount importance of adhering to the seven pillars [https://www.iaea.org/newscenter/pressreleases/iaea-director-general-grossis-initiative-to-travel-to-ukraine] for ensuring nuclear safety and security during a conflict.” The IAEA said the attack near the Bushehr plant, Iran’s only operational nuclear power facility, was the fourth such attack since Israel and the US began its invasion of Iran on February 28. The plant lies in a city inhabited by about 250,000 people. A security staff member was killed by a projectile fragment and a building on the Bushehr site was impacted by shockwaves and fragments. Grossi said that no increase in radiation levels was reported. Iranian Foreign Minister Abbas Araghchi also condemned [https://x.com/araghchi/status/2040379983286153514] the Bushehr strike and issued a reminder of the “Western outrage about hostilities near Zaporizhzhia Nuclear Power Plant in Ukraine” when Russia attacked the site. “Israel-US have bombed our Bushehr plant four times now. Radioactive fallout will end life in [Gulf Cooperation Council] capitals, not Tehran. Attacks on our petrochemicals also convey real objectives,” said Araghchi. Al Jazeera reported that at least two petrochemical facilities had been hit by the US and Israel in southern Iran’s Khuzestan province, an energy hub in the country. At least five people were injured in those attacks, Iranian news agency Mehr reported [https://www.aljazeera.com/news/2026/4/4/iaea-says-projectile-hits-near-irans-bushehr-nuclear-plant-killing-one] that the state-run Bandar Imam petrochemical complex, which produces liquefied petroleum gas and chemicals as well as other products, sustained damage. President Donald Trump said [https://www.commondreams.org/news/iran-israel-war-trump] late last month that he would delay any attacks on Iran’s energy infrastructure until April 6 and said the delay was "subject to the success of the ongoing meetings and discussions.” He has threatened to destroy Iran’s power plants and other civilian infrastructure if Iranian leaders don’t end the blockade on the oil export waterway the Strait of Hormuz, which they began in retaliation for the US-Israeli strikes that started more than a month ago and which has fueled skyrocketing global energy prices [https://www.commondreams.org/news/trumps-gas-prices]. The threat amounted to Trump warning that he could soon commit a war crime, said [https://www.nytimes.com/2026/03/24/us/politics/trump-iran-power-stations.html?searchResultPosition=3] international law experts. — From Common Dreams [https://www.commondreams.org/feeds/news.rss] via This RSS Feed [https://www.commondreams.org/feeds/news.rss].
Nurses Forge Alliances to Protect Patients From Trump’s Immigration Crackdown
After the House of Representatives passed bills to send $10 billion in funding to the Department of Homeland Security in January, the nation’s largest union of registered nurses published a demand that Congress abolish Immigration and Customs Enforcement (ICE). “Nurses demand the removal of immigration enforcement agents from communities, the abolition of ICE, and accountability for this… Source [https://truthout.org/articles/nurses-forge-alliances-to-protect-patients-from-trumps-immigration-crackdown/] — From Truthout [https://truthout.org/feed/?withoutcomments=1] via This RSS Feed [https://truthout.org/feed/?withoutcomments=1].
The flame that illuminates a path for Africa: Burkina Faso’s Progressive Popular Revolution and President Ibrahim Traoré’s new “Revolution Manifesto”
[https://liberationnews.org/wp-content/uploads/2026/04/10-05-2025_-_Presidente_de_Burkina_Faso_Ibrahim_Traore_durante_uma_reuniao_com_o_presidente_russo_Vladimir_Putin-1024x665.jpg]Let everyone in the administration, in all spheres, be revolutionary like our fighting forces. In your daily ways of doing things, you must bring new ideas that must innovate. If you continue to do what we have been doing for decades and you expect a new result, then you are crazy, as someone would say. Change your methods, revolutionize your lives, revolutionize your ways of doing things, propose new ideas. That is how we will succeed in the bet of our development. — From Liberation News – The Newspaper of the Party for Socialism and Liberation [https://www.liberationnews.org/feed/] via This RSS Feed [https://www.liberationnews.org/feed/].
