Detroit (2017): Judgment of racism?No, handwashing

The Cycle Ladies directors, from cinema-club to the edge of time (in its first year of work), ends with the Detroit essay: judgment of racism?Nope.A hand washing, on the Bigelow film, which is broadcast from my column the dream factory.What at the beginning seems like a trial to racism, is gradually diluted to become a greeting to the flag of the Zionist/gringo empire, via Hollywood, the largest laundry in the world (not only) in cinema.In spite.Banal harms one of the saddest episodes/racism desors in the US: the ‘summer of 67 ′.Detroit had the bloodiest uprising of the last 50 years and of greater material losses in the country's history, Time registered.The weekend there were 41 dead,347 injured and3.800 detainees;5.000 people on the street;1.300 buildings reduced to debris;two.700 businesses looted;500 million dollars in damages.(1)

The film begins badly: that the great migration prior to the I GM ‘drives’ almost six million African Americans to leave the rural areas of the south, ‘seduced by manufacturing jobs and civil rights offered by the north’.1.The great migration occurred during the I GM when closing Joseph Story, from there Storyville in New Orleans, the so -called Red Lights District or the brothels located there located.two.This migration did not "drive" the African Americans, but expelled them, under the mirage of the labor opportunity: cheap labor was sought in the two large cities: Detroit (automobile industry) and NY (city construction).3. Los afroamericanos no fueron ‘seducidos’: no les quedaba otra alternativa pues ya Sureños o Confederados (terratenientes y algodoneros) y Norteños o la Unión (liderado,1861/65, por Lincoln: él, que marcó el fin de la esclavitud, tenía esclavos) querían resolver una necesidad económica y otra militar bajo la utilización del chantaje.An example: the decree signed by the abolitionist general John C. Freemont, en1861, y que concedía libertad a esclavos del Missouri, lo revocó Lincoln por temor a ‘alarmar a los amigos que tenemos en el Sur’.(two)

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Then it is said that after the II GM, the whites began their own migration to the outskirts and left the increasingly segregated urban neighborhoods without money or employment.For the 60s, racial tension reached a high point that resulted in the struggle for civil rights.From there, Harlem, Philadelphia, Watts and Newark.In Detroit, African Americans were confined to a few overpopulated neighborhoods, under the ‘control’ of a very aggressive and white majority police.Thus, the promise of equal opportunities that came from the distant/apocryphal New Deal did not exceed the illusion."The change was inevitable.It was only about how and when, ”says the film.And ‘Action’, Chamber in hand and occasion paraphernalia.White runs accompanied by police, as in a common grave those of Ciudad Jardín shoot next to police officers.A couple of blacks kisses/plays on the street, which entails a Manichaean optics: black hedonism seen from white envy.The initial vignettes try to synthesize the white mess vs..Black: its historical segregation, racism and intolerance.

As in Mudbound, in Detroit the black Pierce returns from the war."No Vietnamese called me‘ nigger ’," says the notice at the bar, where there is pool, domino, poker. Como en los ‘locos añostwo0′ proliferan las Speakeasies o tabernas clandestinas: todos, los negros, claro, son echados y luego arrestados.Are they only caused by damage?Bicycle theft;Blacks that throw Molotov pumps with gas stations.And they say, like Charlie Parker: ‘Now’s The Time’ or ‘It's the time’.Five km from the ghetto of the west zone the vandals act, says the police, which has a order not to open fire, although there are shots. Domingotwo3.jul.1967. Hay más detwo00 saqueadores detenidos y pocos policías para enfrentarlos pues la mayoría está para proteger a los bomberos.Therefore, then they will call the National Guard and the State Police. Disturbios, Día1.It is time to promote change, as they say in election times. John Conyers, negro, diputado del Distrito1°, micrófono en mano, pide conservar la calma.This change, he maintains, will not be achieved today to tomorrow, but is on his way.

Blacks ask for the presence of Stokely Carmichael, leader of the BPP.Conyers asks not to destroy his own neighborhood because burning it is not the solution, although that is asked.Without even considering what the infiltrators do.Firefighters try to turn off fires. Disturbios, Díatwo.At the request of Mayor Cavanagh, National Guard and State Police are sent.Which guarantees greater repression, not a more sensible arrangement.In TV, the governor of Michigan, George Romney, guarantees the protection of people and properties in the areas involved, for ‘the management of this case of disorder and matonería’.Like blacks, whites do not consider them ‘people’ or have properties because we must not protect them, just repress them.Effortless it is possible to infer it.With Detroit at war and hidden snipers on the roofs, violence continues: it is not said that they are white or that they only act against the ‘niggers’.Military paratroopers, along with police and soldiers fall like flies that, they say, fight against a handful of snipers ... Are they black or look around?

A150 manzanas del oeste de Detroit se prohíbe el acceso.It is anyone's land, abandonment and destruction zone.Tom McIntyre, ABC reporter, says that ‘it is hard to believe that this happens in the US’.But, it occurs in the fifth most important gringa city, that it was the main focus on car production: Ford, General Motors, Fiat-Chrysler, among other brands.Romney declares the state of ‘public emergency’.And all kinds of decrees and norms to protect people and properties.No, Blacks, of Course.But, that is not said: it is confirmed throughout history.A girl sees TV.He goes to the window and already, by the ‘show’ he becomes ‘sniper’ in the eyes of the soldiers who watch.Armería, fishing store, cigarrería: blacks, only they continue to loot them.‘No gringo has the right to loot stores’, it is said while the patrol passes with Krauss as a walk.It adds: ‘neither bush buildings or shoot rifles from the roofs’.Do you have this handle where anyone can buy a weapon in Walmart and shoot at the one who wants anywhere?

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LBJ: “With violence nothing is achieved, my compatriots.The real problem of violence is that we were never violent ”.Verbal effects and next to the deception of the one who believes that he first deceives the other... Disturbios, Día3."We were too little violent!". Y entonces ¿por qué es el país que ha invadido otros 85 desde1945 hasta hoy y los saqueó, embargó, subsumió y obligó a pagar multas, retuvo sus cuentas bancarias y saqueó sus recursos? Un negro va a su trabajo en la fábrica Ford.At the beginning, access is denied.When you are authorized to pass, oh, snipers: are they called that because they look like Franco's shooters, for their extra-ordinary fascism?‘What else may it seem if no Vietnam?’ Ask Mark Boal, Detroit's screenwriter.‘Can you believe that it is the US?’ He adds.Not only can it be believed, but it is so.A country with deep endogenous violence, but only speaks of the exogenous.And that, supposedly, others provoke.As it happens in common grave with the subpte.who lives seeing the ‘straw’ in the eye of others, but not the beam in his own.

For Krauss everything goes for acting on time. “Esto será peor que lo de1943″, sentencia Demens y con ello se refiere a los disturbios que se dieron desde eltwo0.jun hasta eltwo2: según los optimistas de la distorsión histórica, a causa de la explosión demográfica y las tensiones sociales asociadas al incremento militar de la intervención de EEUU en la II GM, dizque cuando ‘la industria automotriz se convirtió al esfuerzo de guerra’.1.The US always promoted the idea that at least population greater development and that is why its eagerness to sterilize the ethnic groups of Latin America, as in common grave, Bolivia, Peru, Argentina and Brazil yesterday to today to today.two.Not only does the automotive industry be the war, but capitalism lives from it and thus robust its bank income, together with drug trafficking and commercial blockade, as well as the withholdings of accounts of the countries that the US invades.3.Making war and not love does not imply any effort for the gringos.Phil Krauss's paternalism could not be missing: "They need us [the blacks] and we disappoint them [indeed] right and left".

A black leaves a store with a bag like booty at the precise moment when the patrol passes.It goes for a run, it is persecuted and since (not) it is natural it falls ridu.The young black falls and hides under a truck.An old woman assists and calls Roberta, her wife.The sarcasm shines for its (bad) presence: it is said that graffiti is recurring, that all looting is covered by ‘legend’ (yes, legend) ‘soul brothers’ or ‘soul brother’ brother ’.The detective notifies Krauss who has a young black man with a rifle shot near Virginia Park. Hay toque de queda desde lastwo1:00 horas.The young man believes that his boss is Vinny, but he thinks he has two jobs and two bosses: perhaps it is so, who could say no?

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After The Supreme Show, the group of young blacks he will record for Motown is prepared.The presenter creates expectation.Then the frustration will come.The band comes from the heart of ‘Motor City’: Detroit, of course.The city of the car, today mostly uninhabited and mostly black in the extramurous.It is presented to The Dramatics or the dramatic, pathetic name for the human tragedy that contains.But, the concert is suspended because outside ‘they are looting’.Everyone must go to their homes: if they have them, of course.Peremptory order to leave the Fox Theater.Larry, the singer, the future star, resists leaving, but his younger brother, Fred, tells him that ‘we can't do anything, another day will be…’ The drama of the dramatic begins to reveal himself.Empty Theater.Larry sings to an absent audience.Reflect.Bus trip. Un pasajero propone ir a la12th.Street, where the Motel Algiers is located, central scenario of the historical conflict and, therefore, of Kathryn Bigelow's film.

By Pedreas, the passengers go down from the bus and disperse.Krauss arises with Tanchuck who interrogates him for the crime of the young black man who loses his life before the bag.Despite the evidence, the scoundrel denies: only shooting in Virginia Park and rifle bullets, his.Tanchuck will recommend accusing him for homicide, asks him to return to work and wait for the prosecutor.In a common grave, this will not be given: the prosecutor travels a lot, mandated, simulates ‘the best in history’ and the ‘most beautiful’, according to the rector of the U.Where I study'.Police reiterates back home.Larry and Fred go to Algiers: ‘There is place’ for guests.For the receptionist the ritz stays later: believe, they are a couple.As if it were Guadalajara, Medellín or Bogotá, Focos of Sexual Tourism and Drugs for Gentrification: as shown Aquarius (2016), Kleber Mendonça film, with Sônia Braga as Clara Bragança, who lives in the homonymous building, occupies the only spaceInhabited and faces the owner's grandson and the head of the new project, who intend to take it at the tip of parties/orgies and termites on the upper floor.

The pretty bold sends them to a room ‘back’ in the ‘Annex Building’, as always about blacks.Allusion is not free, but functional to structural and institutional racism.To exacerbate the viewer's interest and try to justify, in part, an anti -racist look, which never sets, in the motel there are atypical interracial couples: white with blacks.Only k.Bigelow, it is evident, it is not S.Lee: one puts the fictional at the service of the show;Read, put the show at the service of the real.And remember the eternal game of the white ‘dirt’ according to which ‘Black Viola Blanca’.Larry and Fred correspond to piece A-8.A policeman threatens a young black.The Black Guardian of a market comes to his aid.When pointing, in front of the policeman, who is his ‘nephew’, he releases ‘no nephew, son of a bitch’, not ‘unfortunate’, as softened the translation of the film.And he accuses him of being a ‘uncle Tom’, as he is told pejoratively to all that collaborationist/submissive with white racism.

DESMUKES, is presented as United Security worker, a market vigilant.Among the group of soldiers that arrives in the neighborhood, an officer designates Jefferson and Woods to take the roof of ‘that building’: who are the snipers of other roofs?Larry thinks that Fred has a ‘problem’: he invites him to the Algiers pool, where the ‘blanquitas’ are, here, ‘whores by profession’: Karen and Julie believe that being free does not mean ‘surrender free’.Larry appears next to Fred and adds ‘Cleveland’ to establish dialogue with them.Aubrey, Carl and Lee, are in piece A-14.After light music, Larry puts to sound ‘trane’, saxal tent of jazz.Carl, host of the A-14, then epicenter of the conflict, makes sausages and says that being black is like having a weapon pointing to the face.Take out a small weapon and orders Lee.

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"This is police brutality, old," says Lee.Carl shoots him.On the ground the ‘attacked’ asks for a sausage.And laugh in the midst of what was shock.Both have represented the parody/farce ‘Police Blanco Mata Negro’.It is just a gun of racing, ‘does not kill or hurt anyone,’ he explains.A fogueo weapon.But not ‘traumatic’ like those of common pit that do kill.‘I only demonstrate white power,’ he reiterates in case he doubts.And think that they should give a lesson to ‘those pigs, down there’.And comes the climax of the film, from the game to the tragedy, in artificial mode.Police destroy street lanterns.You have all the freedom to do so.Blacks, no.Keifer's Radio Command: ‘HERE, UNDERFICIAL MAJOR ROBERTS.The army is being attacked by a sniper ’around Algiers.Documentary photos in b/n are inserted into the film.But, they barely "feeling" of likelihood.The story is far from what is shown by Bigelow, by the distorted approach and the biased treatment towards the white establishment given by the filmmaker N.In Cal (1951).

The patrol of the overact krauss reappears that squeaks the wheels on the asphalt.To confer some drama, rather ‘artificial’, it was said, it is announced that ‘Ford plans to close the factory for a day’.What is apparently much more serious than all disturbances with human losses so far impossible to calculate."In moments of hate, love becomes more important," Philosopher Larry with his girlfriend on the phone.The official shooting does not wait.Carl and his friends turn off lights and hide from the State, local and National Guard Police.KRAUSS invades with his ‘dirty/partners’ El Algiers.Carl lower the stairs.First that falls.Then the general raid that occupies more than half of the film will come.Krauss puts a razor to the left of Carl to instill it for ‘homicide attempt’.In PPP, he cries incontestably.All those who harass/cornera the police barely express: ‘I did nothing.Don't pull me!I have no weapon ’.However, the police outrage continues.

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For Krauss, Carl is a very young guy who, already dead, looks ‘sniper’.And he gives his fake-news: “One of the guests, Carl Cooper died.He tried to take the weapon from a police officer.[…] There is still a crime scene and all are suspicious ”.The Krauss vs.Carl and the razor on the floor to simulate an attack, he repeats himself with Lee for telling him that the police shot.Demens attacked him and challenged the razor against him.Krauss accuses everyone of criminals, if they don't pray.Dispositing Size of Mark Boal script/Hollywood: “Rehend out loud!Don't you sing that why Gospel? "Execlable form of racism by belief and fry to apply the old imperial motto to take advantage: ‘Divide and win!’.The Michigan State Police, before thinking about defending the detainees, says not to get involved in civil rights emboles.Krauss simulates with read his murder to mentally torture others and to reduce their physical power through wear.

"Do not move and do not make noise, if not the next one will really be".And urge Roberts to ‘kill the next’, in simulation mode.The Flynn/Karen episode allows you to regain the hope of amendment regarding racism: ‘Am I blue?’ And Karen ‘No, is rose’.Which unleashes the anger of a possible repressed homosexual with male mask, one that has not left the closet or, if you want, of the motel.Krauss accuses the veteran of Vietnam, Greene, of being a pimp by Karen and Julie.Lee escapes: now looking for ‘another guilty’.The only script argument is: ‘The weapon does not appear’.Larry notes that the police were wrong from home, nobody has done anything, nobody has shot them ’.For Krauss it is possible.Was there any?Krauss threatens to kill Karen with her rifle and puts her to choose between her first or see how she kills others.The stereotype of the black ‘pimeta’ is imposed in the most obscene and unpunished way.

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Roberts tells Karen and Julie that it is just an interrogation tactic that of Krauss with the detainees.Now Peters confesses that he did not kill Lee, nor Krauss to the detaine.The only one, Karen remembers, was a toy and never appeared during the judicial process.Demens is impelled to simulate Aubrey's crime: he only believes he is really and does it.Krauss finds the body, another criminal farce.The others did not shoot.It was just a game, mortal, but does this matter in the end of warrior/economy?Inserts in b/n with injured or remains on stretchers: photos of the time of the riots.The father of Aubrey is notified that his son has died at the Motel Algiers.Police are looking for Dysmukes in the factory: the scapegoat to which one or several victims will assign.One of the ever -facing suspects in front of those responsible for never.The eternal game of ‘justice’ in ‘white dirt’.

Para los detectives Dismukes es responsable de tres occisos, por el hecho de tener un revólver calibre38.It is not just that the screenwriter has little imagination to justify a fact.But, historically, black has stigmatized as a criminal: by murderer, thief, drug addict.And it is the whites who put the whole drug, steal non -stop, kill without repair, for that reason: because it is not the archetypes of the crime, being it.Dismukes puts an argument on the mat: when a certain authority attends the black, it makes others denounce it, because ‘they do not like to hear what they should do’.Hypothesis contaminated by the same white.Friends visit Larry at the hospital.A black points for TV that not all are thieves or murderers, that hopefully everything was better for them.Kraus advises Demens to say that he did not do anything wrong: ‘Something that took a minute should not decide your whole life’.

That is, without being said, the everlasting attitude of the police in front of the citizen.That is why the theologian Frei Betto said in his book La Mosca Azul (1944): “Give a person a sliced power and will know who is in fact that person.Power, contrary to what is said, does not change to people: it makes them reveal.It is like the artist who lacked brush, inks and cloth or the murderer who, finally, has a weapon.The power rises to the head when it was already [found] distilled, at rest, in the heart.Like alcohol, drunk and sometimes delirious, excites aggressiveness, collapse scruples.Once invested with the function or position, title or prebend, the person believes itself and does not admit that subordinates contradict their will, their opinions, their ideas or their whims ”.(3) Demens, Flynn, Krauss, to discharges.But, Flynn already knows that they will sink them all.Even the most unsuspecting will have noticed it.

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Krauss flees like the criminal without anyone persecuting him.It falls the greatest responsibility for crimes.Upon reaching it Tonchuck and calling it ‘shit racist’, he argues that he will not say anything without his labor lawyer because ‘a testimony under coercion has no value’: what, curious, does happen with Phil, but not with Dismukes.And that helps the story, script and Bigelow bias.Friends seek Larry again.This time at home: he called the Motown and wants to hear, in studio, the music of The Dramatics: ‘I will not sing to dance the unfortunate whites!’, Exclaims with fury while regrets the death of Fred.‘Since when do you care that whites dance?’, What seems like an apology.During the three black disturbance week they were killed in cold blood by officers.In common grave they would say ‘false positives’, a wrong voice such as ‘extrajudicial crimes’.Always, euphemism.

Demens and Flynn are captured, without bail..But then they will be acquitted, as if nothing...What confirms marginality, nonengine, black invisibility.Whose major level reaches Invisible Man (1952), by Ralph Ellison.(4) Larry receives government mail.On the bus, remember Krauss forcing them to pray, at the risk of deriving criminals.As if, if it were, to pray they were removed.‘Come to a black in court and suppose I am the defendant.They killed three of ours.They hit us!They aligned and attacked us and you [the judges] do the same!There is no justice here.Púranse! ’, The young man shouts.In practice, whites are prosecuted;Then ‘innocent’.According to the judge, these police officers were obliged to remain silent, to have a lawyer and take care of what they said: it could be used against them in court.‘I do not believe that the defendants, for being police officers, have the right to expect anything more of us, but the [letter] gives them the right not to settle for less’.

It is never said that blacks and white were arbitrarily stopped and without the right to claim anything: perhaps with the (valid) excuse that a film describes and does not judge.What, by contrast, does not imply not rebelling against official history, as well as Boal was licensed to modify unknown facts.For those over its functions, there are no human rights or civilians or any letter.Press holder: ‘Officer confession cancels’.Therefore, for the judge the confessions are inadmissible.‘What a lot of shit!’, The officers declare when leaving the trial, although the subtitles say ‘stupidities’ and no shit.Dymukes to Krauss: ‘He knows as good as I haven't had to kill those boys’."Yes, it's a shame," he says.‘So What’ (And what!) Would add thousands Davis.Or John Coltrane, who is cited with Detroit devotion.Add what does not pass speculation with ‘law’: ‘they should have complied with the police order and delivered their weapons’.But what weapons?

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‘But, you are a reasonable guy’, false comfort that to close a sad episode of exacerbated racism gives Krauss to Dismukes.This, street, leaves and vomits where can: nothing more eloquent.Nothing more fair.As, the same is Larry's attitude with Krauss: that of contempt, a human piltrafa.What recalls that cinema is an art of the sensitive, not only of the visible, according to Rancière in after the end, referring to the cinema of Béla Tarr.(5) The languid trial of the officers, ends with the sanction of the grand jury, composed of whites: ‘Aggression: innocent’.‘Homicide: innocent’."What we see today is a disappointment for the judicial system of the state of Michigan," says an angry black family.And a black woman: "This would not have happened if there had been black girls with whites in the motel".According to the story, Irrefutable."No sir.They would not have done this to white men.That is the truth! I don't care who knows it! ”Could this object?

They ask Pollard about Aubrey's death, ‘How do you feel after losing your son?’.Your lady: “How do you think it feels?How would you feel?It is a terrible pain […] that will never disappear.Police crimes must be tried as any other crime ”.Larry renounces to sing because, after all, who listen to this type of music?In addition, Motown has not so far been a black company.If whitish blacks.Hence, decide ‘have a low profile’.Go to the church.He requested to sing in the choir what an ignorant White warned of ‘garbage’: Gospelsongs.He is not willing, as recommended by the father, to go to club clubs, so they pay him more: they are full of police.The authentic Dysmukes, for threats, ended in the suburbs as guardian in Sears Roebuck.Although ‘innocent’, the three officers never returned to active service.Years later, a court ordered one of them to pay a fine of USD $ 5.000 to Aubrey Pollard family.

Fred Temple's family demanded Detroit for guilty homicide.But, the city did not recognize its guilt/responsibility.Carl's gun was never found.Julie went to Detroit, raised four children and is now a hairdresser.The dramatics jump to fame in the 70s and play until today.Larry never returned to the band.He still lives in Detroit and sings in a church.Final credit: “The facts surrounded by the homicides of the Motel Algiers […] were never conclusively demonstrated in a criminal process.Therefore, parts of this film were created and dramatized according to memories of the participants and the available documents ”.

Racism survives intact

Who does not know the story maybe Detroit's happy.Who knows her must repair what Boal writes and Bigelow tells.For more initial effort to show racism inside, afterwards it survives intact on the outside.What paints well, in the end it dissolves between racism and intolerance to leave an impossible radiography to digest.As reflected by the singer of The Dramatics and then a church choriseconomic exploitation of whites and its racist industry.In sum, what appears as a trial to racism (unstoppable) (6) by a filmmaker, ends up being a simple hand washing, which pilate, for the genre, and its historical pilatunas.

Grades:

(1) Smith, Martin.John Coltrane - Jazz, racism and resistance. Retratos del Viejo Topo, Barcelona,two003,143 pp.:106.

(2) Calderazzi, Antonio Massimo.The black revolution in the US. Bruguera, Barcelona,1970,331 pp.: 46.

(3) Betto, Frei.The blue fly. Ocean Sur,two011,two64 pp.

(4) Ellison, Ralph.The invisible man. Lumen, Barcelona,1952, PDF, 572 pp.: 5.

(5) Rancière, Jacques.After the end. El cuenco de plata, Buenos Aires,two013, 85 pp.:11.

(6) https: // www.Democracy Now.org/es/2021/11/19/Angela_davis_us_critical_race_theory

FICHA TÉCNICA: Título original y en español: Detroit.Country: USA. Año:two017.Gender: Historical / Police / Thriller Drama. Formato:35 mm; color y b/n;143 min.Say.: Kathryn Bigelow.Screenplay: Mark Boal.Mus.: James Newton Howard.Fot.: Barry Ackroyd.Mon.: William Goldenberg.Prod.: K.Bigelow / Mark Boal / Matthew Budman / Megan Ellison / Colin Wilson.Int.: Melvin Dismukes (John Boyega);Philip Krauss (Will Poulter);Larry Reed (Algee Smith);Fred Temple (Jacob Latimore);Carl Cooper (Jason Mitchell);Julie Ann (Hanna Murray);Karen (Kaitlyn Dever);Demens (Jack Reynor);Flynn (Ben O'Toole);Greene (Anthony Mackie);Aubrey Pollard (Nathan Davis Jr.);Lee (Peyton Alex Smith);AGREY POLLARD MR.(Gbenga Akinnagbe);JOHN CONYERS JR.(Laz Alonso).Prod./ Distrib.: Annapurna Pictures. Estreno:two8.jul.2017 (50 years after riots).

* (Bogotá, Colombia,1957) Padre de Santiago & Valentina.Writer, journalist, literary critic, film and jazz, professor, speaker, style corrector, translator and, above all, reader. Colaborador de El Magazín de EE,two012, y columnista,two3/mar/2018. Su libro Ocho minutos y otros cuentos, Colección 50 libros de Cuento Colombiano Contemporáneo, fue lanzado en la XXX FILBO (Pijao Editores,two017). Mención de Honor por Martin Luther King: Todo cambio personal/interior hace progresar al mundo, en el XV PremioInt.Test thinking against the countercurrent, Havana, Cuba (2018).Seven essays on imperialisms - literature and biopolitics, in co -authorship with Luís and. Soares, fue publicado por UFES, Vitória (Edufes,two020). El libro El estatuto (contra)colonial de la Humanidad, producto del III CongresoInt. Literatura y Revolución fue lanzado por UFES, eltwo0/feb/2021.Author, translator and co -author, with Luis and.Soares, on the Rebelión portal.E-mail: lucasmusar@yahoo.com