Born on this day in 1931, the heroic revolutionary faces a dangerous new wave of White House aggression. We must treat his birthday as a rallying cry to resist the illegal siege of Cuba, writes ROGER McKENZIE
Latest editorial
Remembering anti-Nazi actor Marlene Dietrich, 30 years after her death
JENNY FARRELL pays tribute to the German-born star of the big screen who spoke out against her fascist homeland
Marlene Dietrich and Emil Jannings in The Blue Angel (1930)
RAMZY BAROUD decries the rats of Gaza, the rodent and human type. Both abound as profiteering from tragedy reaches obscene levels
When gas company bosses gorged on assets, the GMB union fought back with the help of a 20-stone saddleback sow. MAT COWARD tells the story
JOHN REES looks at why the June 20 international anti-war conference is such a vital initiative
ROGER McKENZIE highlights how health workers in DRC are struggling to contain a deadly Ebola outbreak in a region already suffering conflict, aid cuts and a legacy of imperialist degradation
Associate Professor BUI QUANG TUAN explains how modernisation and growth are helping to unlock new foreign investment in the Vietnamese economy
MARLENE DIETRICH, who died 30 years ago, on May 6 1992, must be remembered not only for her importance as role model for emancipation, but also for her outspoken and active stand against her Nazi homeland.
Born in Berlin on December 27 1901, she became one of the most famous actors of all time.
Her breakthrough came with the 1929 film The Blue Angel. She left Germany for Hollywood in 1930.
Similar stories
Hundreds in Berlin gathered on January 15 to honour the US-born socialist who made East Germany his home. Florentine Morales Sandoval reports
NICK WRIGHT returns to Berlin and finds a city in darkness and political turmoil
In a speech to the 12th Xiangshan Forum in Beijing, SEVIM DAGDELEN warns of a growing historical revisionism to whitewash Germany and Japan’s role in WWII as part of a return to a cold war strategy from the West — but multipolarity will win out
From sexual innuendo about Blackpool Rock to Bob Dylan’s ‘God-almighty world,’ the corporation’s classist moral custodianship of pop music has created a roll call of censored artists anyone would feel honoured to join, writes NICK MATTHEWS