The Mexican general election of July 1, 2018 may be described, without exaggeration, as the broadest, most authentic expression of electoral democracy in the country’s history. Fifty-seven million voters—more than 60% of the electorate—cast their ballot in a contest for more than 3,400 offices at all levels of government: by far the largest number of votes ever cast for the largest number of candidates in the country’s history.
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ONE FINDS QUITE A BIT OF NAME-CALLING among the innumerable articles and blog posts written in criticism of Hugo Chavez and his government. Although most of this invective is not very illuminating, one article by a young, Colombian, Trotsky-ish labor organizer describes Chavez perfectly in two words: a “postmodern Bonapartist.”
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From their canonization in the 1960s through their appropriation by postmodernism in the 1980s, the writings of the Frankfurt School have had their Marxian dimension minimized, vulgarized and ultimately ignored.
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There was a gathering of about fifteen people on the evening of December the 13th at Mess Hall, a small artist-run storefront in Rogers Park dedicated to community education and organizing. Sponsored by the 49th St. Underground and the Industrial Workers of the World, the topic of the event was described as “anti-capitalist street protest,” but the presenter made it clear from the beginning that he was going to talk about the Seattle anti-WTO summit protests of 1999 and their aftermath.
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My first impression upon entering Haseeb Ahmed’s installation, “The Common Sense,” which opened at Around the Coyote Gallery on September 5th was one of open space. It was an openness that contrasted sharply with the hundreds of paintings, photographs, sculptures that cluttered the rest of the many other galleries that opened that Night in Wicker Park’s FlatIron Building.
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