Emmanuel Farhi (8 September 1978 – 23 July 2020) was a French economist and professor of economics at Harvard University.
His research focused on macroeconomics, taxation and finance. He was a member of the French Economic Analysis Council to the French Prime Minister from 2010 to 2012.

Education
The son of an economist of Egyptian Jewish descent, Farhi grew up in Paris where he attended the Lycée Louis-le-Grand. At age 16 he won the Concours général in Physics and continued on to study Mathematics in preparatory class. Ranking 1st on the national entry exam to the elite engineering school École Polytechnique in 1997, he eventually chose to attend another prestigious French graduate school, École Normale Supérieure. He specialized in Mathematics obtaining 2nd place on the Agrégation de Mathematiques (French degree). He was then admitted to the Corps des Mines in 2001.

He finished his studies at the Massachusetts Institute of Technology (MIT) and was awarded a Ph.D. in 2006. That same year he began working at Harvard as assistant professor in the Faculty of Arts and Sciences. He received tenure four years later when he was named a full professor.

Career
Farhi started his career in the Economics department of Harvard in 2006 and was tenured in 2010. One of the leading economists of his generation both in the U.S. and in France, Farhi's research focused on macroeconomics and finance, specifically on financial stability and reforming the international monetary system. A former economic adviser to French Prime Minister François Fillon, the International Monetary Fund named Farhi one of the 25 best economists under 45 in 2014.

Though highly quantitative, his work shed light on practical issues such as macroprudential regulation, mitigating the impacts of economic crises or understanding the implications of fiscal policies. For example, he assessed the controversial Social VAT, a measure introduced by French President Nicolas Sarkozy and repealed by his successor François Hollande only to reemerge under a different form: the "Competitiveness Pact". Farhi's work cast a spotlight on a range of issues, including monetary economics, public finance, international economics, global imbalances, fiscal policy, and taxation. He also focused on issues like mitigating the impacts of economic crises and macroprudential regulation, a system used to describe the laws, rules, and conditions for banks and financial organizations that are meant to protect the whole financial system from risk.

Farhi was granted several awards for his work, including
 2009 Bernácer Prize for the best European economist under the age of 40
 2011 Malinvaud Prize
 2013 Best Young Economist prize awarded by the Cercle des économistes
 2013 Banque de France and Toulouse School of Economics (BDF-TSE) Award in Monetary Economics and Finance

In September 2014, the IMF published a list of the 25 "economists under 45 [who] will have the most influence in the coming decades on our understanding of the global economy".
Farhi was one of the 7 French economists listed for his work on "monetary economics, international economics, finance and public finance, including research on global imbalances, monetary and fiscal policy, and taxation."

Farhi frequently co-authored academic papers with Ivan Werning, David Baqaee, Xavier Gabaix and Jean Tirole among many others.

Personal life
Farhi died on July 23, 2020, after a suicide. He was 41.

Selected publications
Farhi authored and published many academic articles and a book.
 Reforming the International Monetary System
 « Speculative Growth: Hints from the US Economy » (en coll.), American Economic Review, vol. 96, n° 4, September 2006.
 « Saving and Investing for Early Retirement: A Theoretical Analysis » (en coll.), Journal of Financial Economics, vol. 83, n° 1, 2007.
 « An Equilibrium Model of Global Imbalances and Low Interest Rates » (en coll.), American Economic Review, 2008.
 « A Theory of Liquidity and Regulation of Financial Intermediation » (en coll.), Review of Economic Studies, 2009.
 « Progressive Estate Taxation » (en coll.), Quarterly Journal of Economics, 2010.
 « Nonlinear Capital Taxation without Commitment » (with Christopher Sleet, Iván Werning, and Sevin Yeltekin) Review of Economic Studies, October 2012, 79, no. 4: 1469–1493.

References

External links
 Harvard Bio page
 Harvard Crimson Tenure Article in 2010
 Farhi's comments on Social VAT posted on Greg Mankiw's blog in July 2007.
 Econ Focus interview, Federal Reserve Bank of Richmond, Second/Third Quarter 2019

1978 births
2020 deaths
French people of Egyptian-Jewish descent
Place of death missing
Fellows of the Econometric Society
21st-century  French economists
Scientists from Paris
Lycée Louis-le-Grand alumni
École Normale Supérieure alumni
Corps des mines
MIT School of Humanities, Arts, and Social Sciences alumni
Harvard University faculty
Suicides in the United States
2020 suicides

Emmanuel Farhi


The femoral artery is a large artery in the thigh and the main arterial supply to the thigh and leg. The femoral artery gives off the deep femoral artery and descends along the anteromedial part of the thigh in the femoral triangle. It enters and passes through the adductor canal, and becomes the popliteal artery as it passes through the adductor hiatus in the adductor magnus near the junction of the middle and distal thirds of the thigh.

The femoral artery proximal to the origin of the deep femoral artery is referred to as the common femoral artery, whereas the femoral artery distal to this origin is referred to as the superficial femoral artery.

Structure

The femoral artery represents the continuation of the external iliac artery beyond the inguinal ligament underneath which the vessel passes to enter the thigh. The vessel passes under the inguinal ligament just medial of the midpoint of this ligament, midway between the anterior superior iliac spine and the symphysis pubis (mid-inguinal point).

In common usage, in clinical practice including angiology and vascular surgery, the femoral artery includes the common femoral artery, and the superficial femoral artery however, the Terminologia Anatomica (TA) only lists the femoral artery. (The TA is the international standard for human anatomical terminology developed by the Federative International Programme on Anatomical Terminology).
The common femoral artery (CFA) is located between the inferior margin of the inguinal ligament, and the branching point of the deep femoral artery. Its first three or four centimetres are enclosed, with the femoral vein, in the femoral sheath. In 65% of people, the common femoral artery lies anterior to the femoral vein in the upper thigh.  The CFA is, after the popliteal artery, the most common peripheral site of general dilatation or aneurysmal formation, at a frequency of 1/10 of the aorta. Highly calcific arterial stenosis in the CFA is very difficult to treat by endovascular intervention. Stent positioning in CFA may be limited by compressive or torsional forces, leading to stent fracture and/or restenosis. On the other hand, lithoplasty balloon angioplasty may represent a safe tool to treat CFA stenosis.
The superficial femoral artery is a designation for the segment between the branching point of the deep femoral artery and the adductor hiatus, passing through the subsartorial canal. However, this term is not listed in Terminologia Anatomica, and usage of the term superficial femoral is discouraged by many physicians because it leads to confusion among general medical practitioners, at least for the femoral vein that courses next to the femoral artery. In particular, the adjacent femoral vein is clinically a deep vein, where deep vein thrombosis indicates anticoagulant or thrombolytic therapy, but the adjective "superficial" leads many physicians to falsely believe it is a superficial vein, which has resulted in patients with femoral thrombosis being denied proper treatment. Therefore, the segment is alternatively termed the subsartorial artery. The segment enters the adductor hiatus and becomes the popliteal artery which goes through the popliteal fossa.

Relations
The relations of the femoral artery are as follows:
 Anteriorly: In the upper part of its course, it is superficial and is covered by skin and fascia. In the lower part of its course, it passes behind the sartorius muscle.
 Posteriorly: The artery lies on the psoas, which separates it from the hip joint, the pectineus, and the adductor longus. The femoral vein intervenes between the artery and the adductor longus.
 Medially: It is related to the femoral vein in the upper part of its course.
 Laterally: The femoral nerve and its branches.

Branches
Common femoral artery
 The superficial circumflex iliac artery is a small branch that runs up to the region of the anterior superior iliac spine.
 The superficial epigastric artery is a small branch that crosses the inguinal ligament and runs to the region of the umbilicus.
 The superficial external pudendal artery is a small branch that runs medially to supply the skin of the scrotum or labium majus as.
 The deep external pudendal artery runs medially and supplies the skin of the scrotum or labium majus.
 The deep femoral artery is a large and important branch that arises from the lateral side of the femoral artery about 1.5 in. (4 cm) below the inguinal ligament. It passes medially behind the femoral vessels and enters the medial fascial compartment of the thigh. It ends by becoming the fourth perforating artery. At its origin, it gives off the medial and lateral circumflex femoral arteries, and during its course it gives off three perforating arteries.
Superficial femoral artery
 The descending genicular artery is a small branch that arises from the femoral artery near its termination within the adductor canal. It assists in supplying the knee joint.

Clinical significance

Clinical examination
The site for optimally palpating the femoral pulse is in the inner thigh, at the mid-inguinal point, halfway between the pubic symphysis and anterior superior iliac spine. Presence of a femoral pulse indicates a systolic blood pressure of more than 50 mmHg.

Vascular access
Femoral artery is the frequent site of access in angiography. As the pulsation of the common femoral artery can often be palpated through the skin; and the site of maximum pulsation is used as a point of puncture for catheter access. From here, wires and catheters can be directed anywhere in the arterial system for intervention or diagnostics, including the heart, brain, kidneys, arms and legs. The direction of the needle in the femoral artery can be against blood flow (retro-grade), for intervention and diagnostic towards the heart and opposite leg, or with the flow (ante-grade or ipsi-lateral) for diagnostics and intervention on the same leg. Access in either the left or right femoral artery is possible and depends on the type of intervention or diagnostic.

To image the lower limb vascular anatomy, the common femoral artery (CFA) is chosen as the site of entry. However, CFA entry can only be assessed by retrograde puncture. Therefore, a catheter is advanced retrogradely through the contralateral common femoral artery into common iliac artery, crossing the midline into ipsilateral CFA. The SFA can then be assessed by antegrade puncture.

The femoral artery can be used to draw arterial blood when the blood pressure is so low that the radial or brachial arteries cannot be located.

Peripheral arterial disease
The femoral artery is susceptible to peripheral arterial disease. When it is blocked through atherosclerosis, percutaneous intervention with access from the opposite femoral may be needed. Endarterectomy, a surgical cut down and removal of the plaque of the femoral artery is also common. If the femoral artery has to be ligated surgically to treat a popliteal aneurysm, blood can still reach the popliteal artery distal to the ligation via the genicular anastomosis. However, if flow in the femoral artery of a normal leg is suddenly disrupted, blood flow distally is rarely sufficient. The reason for this is the fact that the genicular anastomosis is only present in a minority of individuals and is always undeveloped when disease in the femoral artery is absent.

See also
 Brachial artery, an arm based artery with a similar function

References

Additional images

External links

 Image at umich.edu - pulse
 Diagram at MSU
 QuantaFlo vs ABI in Peripheral Arterial Disease

Arteries of the lower limb

Femoral artery


is a wrestling video game manufactured by Technōs Japan and released for arcades in 1989. It is the first WWF arcade game to be released. A series of unrelated games with the same title were released by LJN for the original Game Boy. Technōs followed the game with the release of WWF WrestleFest in 1991.

Features
The game features some of the signature moves and trademark mannerisms of the wrestlers in the game. There are also cut scenes featuring Ted DiBiase, André the Giant and Virgil. Mean Gene Okerlund, and Miss Elizabeth make appearances as well. Before the first match, the player's chosen team enters the arena via the "ring cart" seen at WrestleManias III and VI.

Gameplay

Players select two wrestlers to form a tag team. The playable wrestlers are Hulk Hogan, "Macho Man" Randy Savage, The Ultimate Warrior, Big Boss Man, "Hacksaw" Jim Duggan, and The Honky Tonk Man. Up to two players can play at once. The players take their team through a series of matches with other tag teams in New York City and then Tokyo.

The game features a basic grappling and attack system. From a grapple, a player can either toss the opponent, throw them into the ropes, or go into a headlock from which two character-specific grapple moves can be performed. Each wrestler also possesses standing strikes, running attacks, running counterattacks, ground attacks, and moves from the top turnbuckle. A referee is present in the ring, but cannot be attacked or otherwise affected by the wrestlers.

It is also possible to brawl outside of the ring, provided the player reenters before a count of 20. There, a table can be picked up and swung at opponents. If both wrestlers go outside the ring at once, their tag team partners automatically jump out to join the fight. Occasionally one of these partners will wander off screen and return wielding a folding chair. Neither the chair nor table can be taken inside the ring.

After three matches are won, players get to challenge the Mega Bucks ("The Million Dollar Man" Ted DiBiase and André the Giant) for the final round. Most grapple moves do not work against André because of his immense size. The Mega Bucks are not selectable characters. However, there are cheats for MAME that allow them to be used (together or separately), the drawback being that if DiBiase or André get a submission victory, the game will think that the player lost. Also, there can sometimes be graphical errors which will make the in-ring opponent disappear.

If the player wins the title match, a newspaper headline heralding the players' tag team as champions is shown. The player is then taken through another series of three matches (one of which will feature DiBiase) in the other city and a final match against DiBiase and André before the game ends.

Reception
In Japan, Game Machine listed WWF Superstars in their November 1, 1989 issue as being the third most successful table arcade unit of the month. In North America, it was the top-grossing software conversion kit on the RePlay arcade charts in January 1990.

See also

 List of licensed wrestling video games
 List of fighting games

Notes

References

WWF Superstars gameplay footage
 Game Director Yoshihisa Kishimoto

1989 video games
Arcade video games
Arcade-only video games
Technōs Japan games
WWE video games
Multiplayer and single-player video games
Tag team videogames
Video games developed in Japan
Professional wrestling games

WWF Superstars


Village People is an American disco group known for its on-stage costumes and suggestive lyrics in their music. The group was originally formed by French producers Jacques Morali, Henri Belolo and lead singer Victor Willis following the release of the debut album Village People, which targeted disco's large gay audience. The group's name refers to Manhattan's Greenwich Village, with its reputation as a gay neighborhood. The characters were a symbolic group of American masculinity and macho gay-fantasy personas. To date, Willis is the only original member still remaining with the group.

The group quickly became popular and moved into the mainstream, scoring several disco and dance hits internationally, including the hit singles "Macho Man", "In the Navy", "Go West", and "Y.M.C.A.", which was their biggest hit. In March 2020, the Library of Congress described "Y.M.C.A." as "an American phenomenon", and added the song to the National Recording Registry, which preserves audio recordings considered to be "culturally, historically or aesthetically significant".

History

1977–1979
French musical composer and producer Jacques Morali and his business partner Henri Belolo, known collectively as Can't Stop Productions, were enjoying a successful string of hits in France and Europe. In 1977, they moved to New York City to attempt to break into the American market. Morali had written a few dance tunes when he was given a demo tape recorded by singer/actor Victor Willis. After hiring Willis to sing background vocals on the four tracks, Morali approached him and said, "I had a dream that you sang lead on my album and it went very, very big". Willis agreed to sing on the debut album Village People.

Songwriters Phil Hurtt and Peter Whitehead wrote the lyrics for the first album (Willis would subsequently take over writing duties in 1978 for the group's biggest hits). The Village People studio band was called Gypsy Lane, conducted by Horace Ott, who also provided much of the musical arrangements for Morali, who did not play any instruments.

The album became an international hit, and demand for live appearances soon followed. Morali hastily built a group of dancers around Willis to perform in clubs and videos. Morali met the first recruit, Felipe Rose (who claims Indigenous American descent and dressed in costume as "an Indian") in a New York gay bar called The Anvil. Willis hand-picked Alex Briley (who initially appeared in nondescript costumes before switching to G.I. uniforms). The others were Mark Mussler (construction worker), Dave Forrest (cowboy), Lee Mouton (leatherman/biker), and Peter Whitehead (one of the group's early songwriters), who appeared on American Bandstand and in the video for the group's first hit, "San Francisco (You Got Me)".

When record sales soared, Morali and Willis saw the need to create a permanent group. They took out an ad in a theatre trade paper which read: "Macho Types Wanted: Must Dance And Have A Moustache." Glenn Hughes (leatherman), David Hodo (construction worker) and Randy Jones (cowboy) were among the hundreds who answered the ad.

With the "official" lineup in place, the group did a hasty photo-shoot for the cover of the already-recorded Macho Man album. The album's title track catapulted the group into the mainstream, and their single "Y.M.C.A.", from the group's third album Cruisin', became one of the most popular hits of the 1970s.

In 1979, the United States Navy considered using their single "In the Navy" in a television and radio recruiting campaign. Belolo offered them permission if the Navy would help film a music video for it. The Navy provided them access to the San Diego Navy base, where the , several aircraft, and the crew of the ship would be used. This song was also performed on the TV series The Love Boat and Married... with Children, and in the 1996 comedy film Down Periscope.

The group's fame peaked in 1979 with a three-month North American tour, several appearances on The Merv Griffin Show and American Bandstand, and performing with Bob Hope to entertain US troops. They were also featured on the cover of Rolling Stone, Vol. 289, April 19, 1979.

Willis left the group in August 1979, during the production of the upcoming musical movie tentatively titled Discoland: Where the Music Never Ends. He was replaced by Ray Simpson, the brother of Valerie Simpson (of Ashford & Simpson) who had previously sung background vocals with the group on their 1979 tour. The end of 1979 saw the release of Live and Sleazy, a double album featuring Victor Willis on lead vocals on the "Live" disc and Simpson's debut with the group on the "Sleazy" disc.

1980–1985
In June 1980, the feature film now retitled Can't Stop the Music was released. The film was directed by Nancy Walker, written by Allan Carr and Bronte Woodard, music and lyrics by Jacques Morali (except Willis who penned the lyrics to "Milkshake" and "Magic Night") and starring Steve Guttenberg, Valerie Perrine, Jean-Claude Billmaer, and Bruce Jenner. By the time it was released disco's popularity had waned. At the March 1981 Golden Raspberry Awards, the movie was named Worst Picture and Worst Screenplay, and was nominated in almost all the other categories. Although the title song became a club play chart success and moderate radio hit, it was nominated for Worst Original Song "Razzie" and did not live up to sales expectations, never obtaining gold status as a single or album. The soundtrack also featured the talents of David London, who under his real name Dennis "Fergie" Frederiksen became the future lead singer of Toto and one of the main contributors to Village People's next album. The group embarked on a tour in promotion of the film in Australia and Japan. The Japanese show was filmed at Budokan and released on DVD as Village People Live In Japan.

The group appeared in the November 22, 1980, episode of Love Boat (season four, episode seven). At the end of 1980, Jeff Olson joined the group as the cowboy.

In 1981, with new wave music becoming more popular than disco, Morali and Belolo ditched the familiar characters and re-branded Village People with a new look inspired by the New Romantic movement, and released the album Renaissance. It only attracted minor, mostly negative attention, but it did produce the group's first hit single in Italy with "5 O'clock in the Morning".

Willis rejoined the group briefly in late 1981 for the writing and recording of the album Fox on the Box, which was released in 1982 in Europe and Japan, and in 1983 in the United States under the title In the Street. David Hodo and Ray Simpson both left the group in 1982 with Mark Lee and Miles Jaye replacing them respectively. Jaye contributed lead vocals to a single in 1983 called "America", which would be added as an extra track to the 1999 remaster of In the Street. In 1984, the group sang background vocals on a disco version of "Where The Boys Are" by Lorna Luft.

Their next album, the 1985 dance/Hi-NRG release Sex Over the Phone, was not a huge commercial success, but it fared better in sales and club play than Renaissance. The title track, when released as a single, was banned by the BBC because of its subject matter: credit-card phone sex. Despite this, it did peak at 59 on the UK singles chart. The album featured yet another new lead singer, Ray Stephens (of The Great Space Coaster fame). It was the group's last album of new material until A Village People Christmas in 2018. Py Douglas came in to sub for Stephens for some of the group's live appearances in 1985 and can be seen in both promotional videos made for the group.

In 1985 the group took a hiatus.

1987–2017 (Sixuvus Ltd)

The band returned in 1987 with the line-up of Randy Jones, David Hodo, Felipe Rose, Glenn Hughes, Alex Briley, and Ray Simpson, and formed Sixuvus Ltd, a group that managed the affairs of the group and had the license to use the name Village People and its characters in use until 2017.

The 1990s brought a resurgence for the Village People. On September 22, 1991, they performed in front of 41,815 in Sydney, Australia, as part of the pre-game entertainment for the New South Wales Rugby League Grand Final held at the Sydney Football Stadium. They also performed a medley of self-parody songs at the MTV Movie Awards – "In the Movies" ("In the Navy"), "Psycho Bitch" ("Macho Man"), and "My MTV" ("Y.M.C.A."). The group also made a guest appearance on the hit show Married... with Children in the episode "Take My Wife, Please".

Founder Jacques Morali died of complications related to AIDS in Paris on November 15, 1991. Three years later, the Village People recorded with the Germany national football team on its official World Cup '94 song Far Away in America. In 1995, Eric Anzalone replaced Glenn Hughes as the Leatherman/Biker, and made his music video debut with Kelsey Grammer, Rob Schneider, and other cast members during the end-credits of the film Down Periscope, performing "In The Navy" with Ray Simpson on lead vocals.

At the beginning of the 21st century Village People released two singles, "Gunbalanya" (2000) and "Loveship 2001" (2001) under the name "Amazing Veepers". It was reported in 2001 that 'Gunbalanya', which was recorded with indigenous Australian people, took its title from a word meaning "in the tribe" though it is in fact the name of an Aboriginal settlement. Leatherman/Biker Glenn Hughes died of lung cancer in New York City on March 4, 2001. Village People performed as the opening act for Cher on her Farewell Tour until it ended in April 2005. Former cowboy Randy Jones married Will Grega, his boyfriend of 20 years.

Later in the 2000s Village People continued to make appearances worldwide. The original lead singer and "cop", Victor Willis, was arrested over drug and weapon related charges. On September 12, 2008, Village People received a star on the Hollywood Walk of Fame. Willis was not in attendance at the ceremony. Willis gave his first live concert in 28 years in Las Vegas on August 3, 2007, and married Karen, a lawyer and executive, later that year. In May 2012 Willis won a landmark ruling in the first case heard regarding the Copyright Act of 1976, which allows recording artists and writers to reclaim their master recordings and publishing rights initially granted to record companies and publishers after 35 years. He recaptured copyrights including "Y.M.C.A.", "Go West", "Magic Night", "Milkshake", and "In the Navy". Willis also began to recapture his 33% share of songs he co-wrote.

In August 2013, Village People released a new song "Let's Go Back to the Dance Floor", written by Harry W. Casey of K.C. and the Sunshine Band. Jim Newman joined the group as the Cowboy, and in October 2013 Bill Whitefield joined as the Construction Worker, a role he had filled in for the group over the years for David Hodo who retired. Continuing his legal quest, Willis reclaimed ownership of "Y.M.C.A." and other songs written with Jacques Morali, with the removal of Henri Belolo, previously credited as a third writer. Victor Willis released Solo Man, an album he recorded in 1979 featuring the Village People band. Willis appeared as himself on the game show "To Tell The Truth" and performed "Y.M.C.A." the following year.

Village People continued to make television appearances, such as performing "Y.M.C.A." during halftime of the Chicago Bulls game as part of '70s Night. They also made several commercials including LetGo commercial debuts during the Rio Olympics, and a series of commercials in the UK for YOPA online estate agents.

2017–present (Victor Willis returns)
In 2017, after years of legal battles over royalties and songwriting credits, Victor Willis and Can't Stop Productions settled their differences. This resulted in Willis obtaining the license to use the name and characters of Village People and returning as lead singer with a new group of background singers, while Sixuvus Ltd, which had been performing as Village People since 1987 and included original members Felipe Rose and Alex Briley, had its licence terminated. The trademark "Village People" then became the subject of litigation, but in 2018, the US District Court denied Sixuvus' preliminary injunction and ruled that only Willis's group was entitled to use the Village People trademark. Original member Rose launched his solo career and released the single "Going Back To My Roots" (a cover of the 1977 Odyssey dance hit) which received Best Dance Record Award at the 2018 Native American Music Awards.

Changes to the new Village People lineup took place when Leatherman Josh Cartier was replaced by J. J. Lippold before the rebranded group's first appearance at the Streamys Awards. G.I./sailor Sonny Earl was replaced by Atlanta native James Lee who filled in for him on more shows than he performed. In November 2018. Village People release their first studio album in 33 years, A Village People Christmas.

On August 3, 2019, Village People co-creator Henri Belolo died aged 82. On November 4, 2019, the group's Christmas album was re-released as Magical Christmas and included two additional tracks. On December 21, 2019, the group released its first Christmas single, "Happiest Time of the Year". On December 31 the Village People performed live in Times Square on Fox's New Year's Eve with Steve Harvey and broke a world record for attendees doing the Y.M.C.A. dance (a record formerly held by the previous touring group).

On April 21, 2020, the Village People released a new single, "If You Believe", which hit #25 on Billboards Adult Contemporary chart. This was the first Top 25 hit for the group in 40 years. On June 9, Victor Willis demanded that President Donald Trump not use Village People music at his rallies in particular "Macho Man" and "Y.M.C.A." while on September 11 Willis was okay with him using "Y.M.C.A" at his campaign rallies. On September 22 the Village People were confirmed to be featured in the song "My Agenda" from the Dorian Electra album My Agenda (2020). On October 24 Saturday Night Live performed a parody of the group's reaction to Donald Trump's use of their music at his rallies. On October 30, Willis clarified his and the group's position against Trump's use of his music at his rallies. On November 7, supporters of President-elect Joe Biden celebrated his victory by dancing in the streets and singing "Y.M.C.A." across the United States.

Mark Lee, the former member of Village People and "construction worker" between 1982 and 1985, performed in various venues as a solo musician, singer and pianist from 2008 and until his death in 2021.

In November 2022, a third single, "Magic Christmas," was released from the group's Magical Christmas album and entered the Billboard a/c chart at #23, the highest chart entry for any Village People single.

In popular culture

Due to their easily recognizable characters, the group have frequently been imitated or parodied in movies, television series, video games and music. Numerous covers and homages of their songs have been recorded. Examples of homages and parody include an episode of the 1990s CGI show ReBoot, a scene in the 1993 film Wayne's World 2, a mention in the 1991 comedy City Slickers, a 1993 episode of Married... with Children, the 1997 video for U2's single "Discothèque", a 2000 episode of 3rd Rock From the Sun, and the 2013 animated film Despicable Me 2.

The leather-clad biker character with a horseshoe mustache has also become a widespread pop culture icon associated with gay culture, and "Y.M.C.A." has become an anthem of the LGBT community. According to Jack Fritscher, Jacques Morali drew his inspiration for the character from the dress code of the gay BDSM leather bar and sex club The Mineshaft. Leather man Hughes frequented the club.

In AllMusic's entry on the group, Ron Wynn summarized them as "part clever concept, part exaggerated camp act" who were "worldwide sensations during disco's heyday and keep reviving like the phoenix." Village Voice critic Robert Christgau originally found the group to be a humorous annoyance, but warmed to their music after listening to the 1978 album Cruisin'; he wrote in Christgau's Record Guide: Rock Albums of the Seventies (1981): "I give up—I've never been capable of resisting music this silly. At least this time they're not singing the praises of 'macho,' a term whose backlash resurgence is no laughing matter, and the gay stereotyping—right down to 'The Women,' every one a camp heroine of screen or disc—is so cartoonish that I can't imagine anyone taking it seriously. As for all the straights who think 'Y.M.C.A.' is about playing basketball, well, that's pretty funny too."

Discography

 Village People (1977)
 Macho Man (1978)
 Cruisin' (1978)
 Go West (1979)
 Live and Sleazy (1979)
 Can't Stop the Music (1980)
 Renaissance (1981)
 Fox on the Box (1982)
 Sex Over the Phone (1985)
 A Village People Christmas (2018)

Lineup

Original seven members
 Victor Willis (cop/admiral/athlete/gigolo/nondescript)
 Felipe Rose (Native American)
 Alex Briley (GI/nondescript)
 Lee Mouton (biker)
 Mark Mussler (construction worker)
 David Forrest (cowboy)
 Peter Whitehead (nondescript)

1977 to 1979
 Victor Willis (cop/admiral/athlete/gigolo/nondescript)
 Felipe Rose (Native American)
 Alex Briley (GI/sailor)
 Glenn Hughes (leather man)
 David Hodo (construction worker)
 Randy Jones (cowboy)

1979 to 1980
 Ray Simpson (cop)
 Felipe Rose (Native American)
 Alex Briley (GI/sailor)
 Glenn Hughes (leather man)
 David Hodo (construction worker)
 Randy Jones (cowboy)

1981 to 1982
 Victor Willis (cop)
 Ray Simpson (cop)
 Felipe Rose (Native American)
 Alex Briley (GI/sailor)
 Glenn Hughes (leather man)
 David Hodo (construction worker)
 Jeff Olson (cowboy)

1982 to 1984
 Miles Jaye (cop)
 Felipe Rose (Native American)
 Alex Briley (GI/sailor)
 Glenn Hughes (leather man)
 Mark Lee (construction worker)
 Jeff Olson (cowboy)

1984 to 1985
 Ray Stephens (cop)
 Felipe Rose (Native American)
 Alex Briley (GI/sailor)
 Glenn Hughes (leather man)
 Mark Lee (construction worker)
 Jeff Olson (cowboy)

1987 to 1990
 Ray Simpson (cop)
 Felipe Rose (Native American)
 Alex Briley (GI/sailor)
 Glenn Hughes (leather man)
 David Hodo (construction worker)
 Randy Jones (cowboy)

1990 to 1995
 Ray Simpson (cop)
 Felipe Rose (Native American)
 Alex Briley (GI/sailor)
 Glenn Hughes (leather man)
 David Hodo (construction worker)
 Jeff Olson (cowboy)

1995 to 2013
 Ray Simpson (cop)
 Felipe Rose (Native American)
 Alex Briley (GI/sailor)
 Eric Anzalone (leather man)
 David Hodo (construction worker)
 Jeff Olson (cowboy)

2013 to 2017
 Ray Simpson (cop/admiral)
 Felipe Rose (Native American)
 Alex Briley (GI/sailor)
 Eric Anzalone (leather man)
 Bill Whitefield (construction worker)
 Jim Newman (cowboy)

2017 to 2018
 Victor Willis (cop/admiral)
 Angel Morales (Native American)
 Sonny Earl (GI)
 J. J. Lippold (leather man)
 James Kwong (construction worker)
 Chad Freeman (cowboy)

2018 to 2020
 Victor Willis (cop/admiral)
 Angel Morales (Native American)
 James Lee (GI)
 J. J. Lippold (leather man)
 James Kwong (construction worker)
 Chad Freeman (cowboy)

Since 2021
 Victor Willis (cop/admiral)
 Isaac Lopez (Native American)
 James Lee (GI)
 J. J. Lippold (leather man)
 James Kwong (construction worker)
 Nicholas Manelick (cowboy)

Temporary members
 Py Douglas briefly replaced Ray Stephens in some television appearances during the group's 1985 European tour and appears in the promotional videos for "Sex Over The Phone" and "New York City".
 Alec Timerman stood in for Alex Briley on occasion between 2001 and 2003.
 Richard Montoya also replaced David Hodo on some 2008 dates.
 Angel Morales filled in for Felipe Rose in 2008–2010, later replacing Felipe Rose.
 Ray Rodriguez stand-in for Felipe Rose in 2011–2013.
 Stephen Hewitt stood in for Felipe Rose for 12 dates of the North American leg of the 2013 tour.
 A. J. Perrelli stood in for Jeff Olson in 2013. Perrelli died on October 16, 2013, from a head injury.
 Pacho Andrews, stand-in for Felipe Rose in 2013.
 James Lee, stand-in for Sonny Earl in 2017–2018, eventually replacing Sonny Earl.

Timeline

See also

 List of artists who reached number one in Ireland
 List of artists who reached number one on the US Dance chart
 List of number-one dance hits (United States)

References

External links

 Village People at Rolling Stone
 Official website of Victor Willis

American dance music groups
American disco groups
American disco musicians
American hi-NRG groups
Bands with fictional stage personas
Musical groups from New York City
Casablanca Records artists
LGBT-themed musical groups
Musical groups established in 1977
1977 establishments in New York City

Village People


St. Mary's Abbey, also known as the Nunnaminster, was a Benedictine nunnery in Winchester, Hampshire, England. It was founded between 899 and 902 by Alfred the Great's widow Ealhswith, who was described as the 'builder' of the Nunnaminster in the New Minster Liber Vitae.  The first buildings were completed by their son, Edward the Elder. Among the house's early members was Edward's daughter Edburga.

Sometime after 963 Bishop Æthelwold re-founded the monastery and re-endowed it, imposing the stricter Benedictine rule. According to Æthelwold's hagiographer, Wulfstan the Cantor, Æthelwold made a woman called Æthelthryth abbess of the Nunnaminster.  Æthelwold may also have translated the relics of Edburga, now recognized as a saint, to a more prominent shrine within the Nunnaminster; however, this event is only attested in Osbert of Clare's much later Vita S. Edburgae.

The house stood between High Street and Colebroke Street and was known as Nunnaminster. According to the Domesday Book the abbess held Lyss, Froyle, Leckford Abbess, Long Stoke, Timsbury, and Ovington in Hampshire; Coleshill in Berkshire; and Urchfont and All Cannings in Wiltshire. The Nunnery was rebuilt again after the Norman conquest, perhaps by AD 1100, by which time it was known as St Mary's Abbey. During The Anarchy the monastery was burnt in the great fire of Winchester in 1141. The house became impoverished during the fourteenth and fifteenth centuries, but thanks to various grants and concessions it recovered its position and was in a healthy state at the time of the suppression.

The house was suppressed as part of the Dissolution of the Monasteries in November 1539, with pensions granted to the abbess, prioress and nuns.

Considerable remains of the buildings survived into the seventeenth century, but only certain watercourses survive into the present.

Burials
Eadburh of Winchester, though in 972 some of her remains were  transferred to Pershore Abbey

References

External links
A History of the County of Hampshire: Volume 2, The Victoria County History 1973

1539 disestablishments in England
Christian monasteries established in the 9th century
Winchester
History of Hampshire
Abbeys in Hampshire
Benedictine nunneries in England
9th-century establishments in England

St Mary's Abbey, Winchester


Gennady Gorelik (born 1948, Lviv) is a research fellow at the Center for Philosophy and History of Science, Boston University.    A physicist by education and historian by occupation, he published ten books and many articles on popular science and history of science, including in-depth biographies of 20th-century Russian physicists, Matvei Bronstein, Andrei Sakharov, and Lev Landau.

In his biography of Sakharov, he provides the documentary explanation of Sakharov's metamorphosis from a secret father of the Soviet H-bomb to most prominent advocate of human rights in the Soviet Union.

In 1995, he received a Guggenheim Fellowship.

Selected publications
 Размерность пространства: историко-методологический анализ [Dimensionality of Space: historical and methodological analysis]. Moscow, 1983
 First Steps of Quantum Gravity and the Planck Values, Studies in the history of general relativity. [Einstein Studies. Vol.3]. Eds. Jean Eisenstaedt, A.J. Kox., Boston, (1992) p. 364-379
 Matvei Petrovich Bronstein and the Soviet Theoretical Physics in the Thirties (1994), with Viktor Ya. Freckle; translated by Valentina M. Levina
 The Top Secret life of Lev Landau. Scientific American, 1997, August
 The Metamorphosis of Andrei Sakharov. Scientific American, 1999, March
 The World of Andrei Sakharov: A Russian Physicist's Path to Freedom (2005)
 Matvei Bronstein and quantum gravity: 70th anniversary of the unsolved problem  // Physics-Uspekhi 2005, vol 48, no 10, pp. 1039–1053
 Советская жизнь Льва Ландау The Soviet Life of Lev Landau. Moscow, 2008
 The Paternity of the H-Bombs: Soviet-American Perspectives // Physics in Perspective, Vol 11, N 2 / June, 2009, p. 169-197
 A Galilean Answer to the Needham Question // Philosophia Scientiæ 2017, 21(1), 93–110

 Web exhibit "Andrei SAKHAROV: Soviet Physics, Nuclear Weapons, and Human Rights" at American Institute of Physics

Notes

External links
Web-site & publications+

Boston University faculty
Living people
21st-century American historians
American male non-fiction writers
1948 births
21st-century American male writers

Gennady Gorelik


The Return of Monte Cristo (Sous le signe de Monte-Cristo) is a French film (1968) directed by André Hunebelle.

Plot
Edmond Dantes (Paul Barge), imprisoned in Sisteron for denouncing and allowing the dismemberment of a whole network of resistance, escapes in the company of his friend Bertuccio (Paul Le Person) in 1947 to South America. But the wreckage of the plane was soon rescued near Brazil and the two fugitives are considered dead. They save the life of a young girl, Linda (Claude Jade), and her father Louis (Gabriel Gascon) in the wilderness. One day Linda is kidnapped. The bandits seek to do violence. The release ended with the murdering of her father. Dantes and Bertuccio promise to never abandon Linda. The years pass, but the chances of their misfortune lead them to meet a drunk man, Faria (Pierre Brasseur), who claims to hold a treasure. Two days later the three men and Linda set off for the mountains, carrying high explosives needed to clear a path to the location of treasure ... Rich, with a new name Christian Montes, Edmond introduced into the environment where Morcerf (Raymond Pellegrin) - who married Edmond's bride Maria (Anny Duperey) - and Villefort (Michel Auclair) and live luxuriously thanks to the millions stolen that enabled their success. He finds the informant confirms her suspicions and draws in a trap the two instigators of the felony. Linda brings a snare to the master Villefort, who wants to kill Edmond for a second time...

Cast
Paul Barge - Edmond Dantès
Claude Jade - Linda
Anny Duperey - Maria
Pierre Brasseur - Faria
Paul Le Person - Bertuccio
Michel Auclair - Villefort
Raymond Pellegrin - Morcerf
Jean Saudray - Carderousse
Gabriel Gascon - Louis

External links

1968 adventure films
French adventure films
Films based on The Count of Monte Cristo
Films shot in Almería
Films directed by André Hunebelle
1960s French films

The Return of Monte Cristo (1968 film)


Jean-Claude Hartemann (18 December 1929 – 27 November 1993) was a 20th-century French conductor.

Biography

Born in Vezet (Haute-Saône), a student of Jean Fournet at the École Normale de Musique de Paris, Hartemann took part to the 1956 Besançon International Competition. From 1957 to 1960, he was first conductor of the Grand Théâtre lyrique de Dijon, where he met Jésus Etcheverry, with whom he perfected his training. From 1960 to 1963, he was musical director of the Théâtre de Metz, then permanent head of the . Regularly invited to the Opéra-Comique, he was its musical director from 1968 to 1972. He founded several ensembles, including the Ensemble instrumental de France in 1966, the Solistes de France in 1971, and the  in 1988. A talented Mozartian, he recorded several French operettas, Gounod's St. Cecilia Mass, and created works by Franck Martin. From 1972 to 1977 he taught at the Schola Cantorum de Paris, then at the Centre culturel d'Évry. In a context of crisis in orchestral conducting in France, he is one of the very few conductors to have passed on his profession, whose lyrical repertoire was for him the essential basis.

Jean-Claude Hartemann died in Paris in 1993 at age 63.

References

External links
  (discography)
 Jean-Claude Hartemann on Discogs
 Jean-Claude Hartemann on  Larousse "Dictionnaire de la musique".
 La chanson de Fortunio directed by Jean-Claude Hartemann on 23 February 1964 (Institut National de l'Audiovisuel)
 Gounod - St. Cecilia Mass (recording of the Century: Jean-Claude Hartemann) on YouTube

People from Haute-Saône
1929 births
1993 deaths
French male conductors (music)
20th-century French conductors (music)
20th-century French male musicians

Jean-Claude Hartemann


Rodolfo "Corky" Gonzales (June 18, 1928 – April 12, 2005) was a Mexican-American boxer, poet, political organizer, and activist. He was one of many leaders for the Crusade for Justice in Denver, Colorado. The Crusade for Justice was an urban rights and Chicano cultural urban movement during the 1960s focusing on social, political, and economic justice for Chicanos. Gonzales convened the first-ever Chicano Youth Liberation Conference in 1968, which was poorly attended due to timing and weather conditions. He tried again in March 1969, and established what is commonly known as the First Chicano Youth Liberation Conference. This conference was attended by many future Chicano activists and artists. It also birthed the Plan Espiritual de Aztlán, a pro-indigenist manifesto advocating revolutionary Chicano nationalism and self-determination for all Chicanos. Through the Crusade for Justice, Gonzales organized the Mexican American people of Denver to fight for their cultural, political, and economic rights, leaving his mark on history. He was honored with a Google Doodle in continued celebration of National Hispanic Heritage Month in the United States on 30 September 2021.

Early life
Rodolfo Gonzales was born the youngest of Federico and Indalesia Gonzales's eight children in Denver, Colorado in 1928. His father had immigrated to Colorado at an early age from Chihuahua, Mexico. Even as an immigrant, Federico Gonzales taught the histories of Mexico's struggle against Spanish domination and against Porfirio Díaz. Federico Gonzales imparted his knowledge to his son, a struggle that culminated in the Mexican Revolution (1910–1920). Rodolfo's mother, Indalesia Gonzales, died when Rodolfo was two years old; his father never remarried. His siblings were raised in Denver's tough "Eastside Barrio", where the Great Depression took an even heavier toll on Mexican Americans. However, according to Gonzales, "though the Depression was devastating to so many, we, as children, were so poor that it was hardly noticed". The Gonzaleses were a very poor family. Gonzales, along with his mother and siblings worked in the fields, and his father worked hard in the coal mines to provide for the family throughout Gonzales's life. Gonzales attended high schools in Colorado and New Mexico while simultaneously working in the beet fields, and graduated from Manual High School at the age of 16. Since his youth he demonstrated a fiery tendency, which caused his uncle to say that "He was always popping off like a cork. So, we called him Corky." The nickname stuck.

In February 1949, at the age of 21, Gonzales married Geraldine Romero, aged 17/18. They had eight children, who eventually took on their father's legacy of the Crusade for Justice.

Boxing career
Gonzales had a successful professional boxing career and at one time was ranked as a top three Featherweight by Ring Magazine. However, he always lost when competing at the highest level and never received a shot at the title. He retired from the ring in 1955 after compiling a record of 63 wins, 11 losses, and 1 draw. Gonzales found the sport empowering, saying, "I bleed as the vicious gloves of hunger cut my face and eyes, as I fight my way from stinking barrios to the glamour of the ring and the lights of fame or mutilated sorrow." His success in boxing lent him a prominence that he would later capitalize upon during his political career. He was inducted into the Colorado Sports Hall of Fame in 1988. When Gonzales turned to politics, he was ranked the 5th best boxer in the world.

Political activism
Gonzales's early political involvement in the Democratic party centered around campaigning for Mayor of Denver Quigg Newton in 1947, registering Latino voters for the Democratic party in 1950 and leading the Colorado "Viva Kennedy" campaign.

Gonzales's successful efforts to organize for change within the Democratic party became a crucial turning point toward Chicano Nationalist politics and the foundation of the Crusade for Justice in 1967. In 1966, Gonzales had written a letter of resignation to Alfredo J. Hernandez, the chair of SER in Denver, stating, "S.E.R., is offering a gateway to a society that offers hypocrisy, sterilization, castration, and neurosis in exchange for the values of integrity that are inherent in our culture...I will not compromise my principles, me ideals and my honor to be seated at the same table with hypocrites." Gonzales concluded that the two-party system offered little benefit. Believing Chicanos could not rely on the "gringo establishment" to provide education, economic stability, or social acceptance, he sought alternatives.

The Crusade for Justice was an idea born from the Fisherman's meetings. These meetings were the original organization of Chicanos discussing issues surrounding Chicano rights and culture. The Fisherman meetings started out small, without the structure the Crusade for Justice developed later. The goal was to gain a following, and to spread education on the injustices Chicanos were experiencing. To begin with, the Fisherman's meetings were only open to men. When the conversation started to cross over from culture to more political issues, such as border laws, women demanded a part in the discussions, as they were directly affected just as much as the men, by the topics at hand.

Gonzales believed strongly in the power of educating the people around him, and bringing the Chicano community together to hear one another's voices. He said, "You have to get people involved, and the best way to do that is to live among the people, to hear what they are saying and to agitate them".

The development of the Crusade for Justice helped gain momentum for the Chicano Movement in Denver. The movement was not strictly political in their organizing and education; "it was about art, music, vision, pride, culture, and value of participation." Gonzales explained. Gonzales took the ideas developed through the Crusade and implemented them at a personal level, making it into the political force it became. He had the courage, confidence, and ability to inspire greatness within the entire Chicano community.

Gonzales became co-founder of a new political party, focused intensively on the rights of Mexican-American people. The party was called Congreso de Aztlán, referring to the land of the Southwest United States. Gonzales believed the only way to meet the goals created by the Crusade within the political world, was through the creation of a third political party. The main goal of the creation of this party was to unite the Mexican-American vote under one banner. The idea for this party was born at a pioneer youth conference in 1967, the conference was called by Reies Lopez Tijerina. The party gained immense support in Texas by 1970, and began spreading the party's reach shortly thereafter. Once it began to spread, there were issues due to a lack of coordination among different groups supporting the party. There were not enough resources to keep the party going, and it died out within the decade. Tijerina became one of Gonzales' largest rivals throughout the parties expansion. Tijerina believed that the Congreso de Aztlán was doing more to separate the Mexican American vote than to unite it, and that working within the Democratic Party would provide larger success in the political world in reaching their goals.

Gonzales' found a private school in 1971 as a solution to the issues within the public education system. The school would focus on building students' self-esteem through culturally-relevant curricula. It was named after Tlatelolco, a square in Mexico City. During the conquest, it was the site of the last stand of the Aztecs, witnessing the massacre of thousands. In post-Revolutionary Mexico, Tlatelolco became home to the Plaza de las Tres Culturas, which celebrated Mexico's dual cultural heritage, seen as vindication of indigenous Mexico. It was also home to a community of scholars. In 1968, Tlatelolco became the staging ground for massive student protests, and saw yet another massacre, this time by Mexican forces. As such, the school's name evokes the history of duality, reconciliation, and hope for indigenous and Mestizo people. The Tlatelolco massacres were in response to the Olympics, where thousands of people were being displaced for an Olympic event.

Yo Soy Joaquín - Poem
With his poem Yo soy Joaquín, known in English as I Am Joaquin, Gonzales shared his new cosmological vision of the "Chicano", who was neither Indian nor European, neither Mexican nor American, but a combination of all the conflicting identities. This new "raza", or "race" found its roots in the Pre-Columbian civilizations, which he believed gave it rights to inhabit the ancestral land of Aztlán. It was strengthened by conceptions such as those of José Vasconcelos, Mexico's Secretary of Education under the Revolutionary Álvaro Obregón, who proclaimed that the hope of humanity lay in the mixed "Raza Cósmica" of Latin America. But perhaps more than anywhere else, Joaquín, the archetypical Chicano, found hope for his future in his own personal and spiritual awakening, a realization forced upon him by his status as an oppressed minority in the United States.

Some scholars have credited Gonzales with authoring this historicized, politicized definition of what it is to be a "Chicano". The far-reaching effect of the poem is summed up by UC Riverside professor Juan Felipe Herrera: "Here, finally, was our collective song, and it arrived like thunder crashing down from the heavens. Every little barrio newspaper from Albuquerque to Berkeley published it. People slapped mimeographed copies up on walls and telephone poles." It was so influential that it was turned into a play by Luis Valdez's Teatro Campesino that toured nationally. It is seen as a foundational work of the burgeoning Chicano Art Movement that accompanied, complimented, and enhanced the Chicano Movement, and, as the Plan Espiritual de Aztlán exhorted those talented members of the community to use their abilities to advance la Causa ("the Cause"), Yo soy Joaquín provided a strong example.

A feminist analysis of Gonzales's poem reveals that women are submissive, and extensions of the men to which they are related in communal and familial ways. Chicanas are depicted as faithful, long-suffering religious figures or family matriarchs who exist to support Chicano males. Women are only discussed in relation to the suffering of Chicano males, and to serve as a support as for the epic heroes referenced in the body of the poem.

The Crusade for Justice
Gonzales and other Chicano activists had developed the image of the Crusade for Justice as 'the vanguard' of the rapidly growing Chicano Power Movement. "The Crusade, originally a multi-issue, broad-based civil rights organization oriented toward nonviolence, came to symbolize Chicano self-determination and espoused a strong nationalist ideology that militant youth found extremely attractive. [….]"

The Crusade for Justice was born out of the growing awareness of the inequality Mexican-Americans were experiencing in their daily lives within the United States. It became obvious through high school graduation statistics that "school systems have failed the Mexican-American people." More than any other demographic, Chicano students were ending up in labor jobs and prisons, dropping out, and not being given the same opportunities by their faculty/advisors as were white students.

Due to the growing awareness within the Chicano community of the injustices they experienced within all layers of society, many gatherings, organizations and outreach programs participated in the development of the Crusade. The Viva Kennedy Committee was created by John F. Kennedy's presidential campaign in the early 1960s, with goals to increase voter turnout in the Hispanic community for the election in 1960 against Nixon.

This helped to politically activate many Chicanos, but the goal of the Viva Kennedy Campaign was to strengthen John F. Kennedy's electoral support. The goal was not directly focused on Chicano power, pride, or justice. Gonzales recognized that if the goals of the Chicano movement were to be met, activism within the Chicano community needed to be led by those who were impacted by the injustices experienced, and so action towards creating a movement from within the Chicano community started to take form. The Viva Kennedy Campaign helped to spark the beginning of the Crusade, but that was exactly what it was, the beginning.

Before Chicanos started protesting as a collective group, most of the United States was unaware of the unjust treatment of Mexican-American people. At the time this movement started the American Southwest had a population of over 5 million Mexican-Americans. People started taking action, hiking hundreds of miles to state capitals to bring awareness to their cause. In the spring of 1966 there was a march from Delano, California, to Sacramento, a distance of 300 miles. That same summer farm workers hiked again in Texas to protest low wages from San Juan to Austin. Mexican-American leaders attended federally sponsored conferences and meetings, and walked out because their needs were not being accurately met or represented.

This movement was given influence from the civil rights movement at the time, led by Martin Luther King Jr. Dr. Ralph Guzman, a professor in political science and an important figure in the Chicano movement stated in his Viva la Causa article that "Mexican-Americans have drawn from the dramatic struggle of the Negro people. But they have added artistry of their own". The Chicano movement was not strictly centered around political activism, it was about art, music, vision, pride, culture, and value of participation. Gonzales made sure to lead with strength of character and humility, and encouraged his fellow activists to do the same. Anti-violence was a tactic the Crusade for Justice aimed for, but it was not a goal as it was in the following of MLK.

Gonzales knew that the Crusade was being watched closely by the FBI and even the mafia, Chicanos were often mislabeled, and their motives and tactics were demonized by the media. There were no chances to be taken. The Crusade's goal was to bring justice, to introduce change through struggle, operating within the preset guidelines of the United States judicial system, not to start a war. Gonzales's character is illustrated in the letter he wrote to S.E.R. (Service-Employment-Redevelopment), an organization that focuses on the needs of Hispanics, specifically in the areas of education, training, employment, business, and economic opportunity. Gonzales wrote to the Chairman of the Board of S.E.R., Mr. Alfredo J. Hernández: "S.E.R., is offering a gateway to a society that offers hypocrisy, sterilization, castration, and neurosis in exchange for the values of integrity that are inherent in our culture—I will not compromise my principles, my ideals and my honor to be seated at the same table with hypocrites."

Dr. Ralph Guzman wrote: "This is a new era, and Mexican-Americans are activated Americans. They are telling American that they, too, are entering the game; that they, too, belong. How well they succeed will be directly related to their own abilities to replace fragmented, weak organizations by effective political unity, to utilize ethnic identity as a root-force for progress within a larger society and to develop leadership dedicated to the fulfillment of the rising expectations of all Mexican-Americans". And Gonzales did.

Chicano Youth Liberation Conferences
In 1968, the Poor People's Campaign in Washington, D.C., was originally started by Martin Luther King Jr. After his assassination, associates took on the campaign that represented the first broad-based initiatives introduced by Mexican Americans, African Americans, and Native Americans to promote economic justice and land rights. Participants attended seminars and panels on organizing, activism, and self-defense as well as Chicano culture and gender issues. The activities within these seminars, workshops, and panels were painting, poetry, debates, and networking to other activists in the country. A main idea that developed from this campaign was that everyone would be united in the struggle against oppression, exploitation, and racism. Like third-world countries who have fought against colonialism and the dominance of European and American imperialism, Chicanos began to see their struggles the same way: Chicanos too had been colonized by mainstream American Society, stripped of culture, and taught to be ashamed of who they were and where they came from.

The best known Chicano Youth Liberation Conference was held in 1969, brought together large numbers of Chicano youth from throughout the United States, and provided them with opportunities to express views on self-determination and involved in both on-campus and community politics. This conference brought youth of all types - students, non-students, militant youth from the street gangs (vatos locos), and ex-convicts (pintos) to discuss community issues and politics of 3,000 people. The conference emphasized themes related to the quest for identity as popularized by Gonzáles and Luis Valdez, which were "eagerly received by students searching for an ideology for the emerging student movement." Chicano youth believed that for Mexican Americans  to be instilled with pride in their ethnicity and culture; Chicanos needed to reject the dominant values of American Society, including capitalism and white Anglo-Saxon Protestant culture.

During the week-long conference, Gonzáles stressed the need for students and youth to play a revolutionary role in the movement. Conference participants were told that previous generations of students, after completing academic programs and becoming professionals, had abdicated their responsibility to their people, to their familia de La Raza. This abdication of responsibility was attributed to the fact that Mexican American students had been Americanized by the schools, that the youth had been conditioned to accept the dominant values of American society, particularly individualism, at the expense of their Mexican identity. The result had been the psychological 'colonization' of Mexican American youth."

The first conference in March 1969 produced a document, "Plan Espiritual de Aztlán," which developed the concept of ethnic nationalism and self-determination in the struggle for Chicano liberation. The statement of the "revolutionary caucus" also came out of that conference. "For 144 years we have been trying to peacefully coexist but no peace has come to our communities. Revolution is the only means available to us. We owe no allegiance, no respect, to any of the laws of this racist country. Our liberation struggle is a war of survival."

The second Chicano Youth Liberation Conference (CYLC) in 1970 (March 25) represented a further refinement in Gonzáles's efforts toward Chicano self-determination, the formation of the Colorado Raza Unida Party. The demonstration of "Chicano Youth Unity" became the "spirit of Denver." Juan Lopez and Sam Kushner wrote about the Second Youth Conference calling it "a call for the creation of a Nation of Aztlán and the formation of an independent Chicano party, guided by the congress of Aztlán."The conference was sponsored by the Crusade for Justice, expanding their reach to encourage and mobilize the youth within the community. The second CYLC had 14 states represented that included civil and human rights organizations bringing anyone in the Chicano movement together. "Enemies and friends gathered and got along all under one roof." Political figures, community members, militant groups, and gangs were all represented uniting under La Raza. La Raza meant, "we are one nation. If one is oppressed, we're all oppressed. If one is hungry, we're all hungry. We are one nation. La Nation de Aztlán." The Currigan Exhibition Hall was offered as a place for the conference to be held, placed adjacently to the Denver PD. Gonzales refused the offer, stating "they wanted to seal us in and keep an eye on us". Instead the conference was held at the Stockyard Stadium on 46th Avenue and Interstate 70. The conference events included political, educational, Aid Farmworkers workshops, and cultural performances where big figures in the movement like Gonzales, Manuel Lopez, and the Latin Defense Organization spoke. Other workshops included women's workshops that focused on family and equality for women. "If we had liberated mothers, we would be free too. My question is now, when?" 3,000 to 5,000 youth were expected to attend the conference. People travelled from all over the country to attend the conference. The Model Cities, a coalition geared towards improving the lives of youth in different areas donated 1,000 dollars in a food fund to the Chicano Youth Conference. Conference facilitators also provided food and housing for the visiting youth.

"El Plan Espiritual de Aztlán"
"El Plan Espiritual de Aztlán" is an indigenous irredentist claim to Aztlán. This involves creating power in the Chicano community through community lead and serving organizations. It demonstrates that Chicanos are the only ones that truly have rights to the land. "El Plan Espiritual de Aztlán, which sought to organize the Chicano people around a nationalist program. Also what came out of this conference was this statement by the Revolutionary Caucus, which sought a politics beyond narrow nationalism, toward more class analysis and internationalism". This was a beginning point of a more internationalist outlook for certain sections of the Chicano Movement.

The plan called for the mass mobilization of Chicanos under the same identity, the Mestizo Nation. The new identity of Chicanos described them as a free community with their own culture. The Mestizo Nation also stated that Chicano community was free economically and that were together under the political beliefs. This idea was basically the starting point for the creation of a third political party in favor of the Chicano community. In 1969 the "El Plan Espiritual de Aztlán" was implemented and developed designed to bring political, economic, social power of Chicano people. One idea from the plan was to create community controlled institutions like schools, law enforcement, production of resources, development of cultural values, etc. that resemble the Chicano people.

Bibliography
I am Joaquin : an epic poem, (1967).
Message to Aztlán: selected writings of Rodolfo "Corky" Gonzales, (2001) Houston: Arte Público Press. .

See also

Oscar Zeta Acosta
César Chávez
Chicanismo
Chicano poetry
Civil Rights Movement
Carlota D. EspinoZa
Hector P. Garcia
Dolores Huerta
List of notable Chicanos
MEChA
Mexican Americans
Reies Tijerina
Malcolm X
Young Lords

Notes
Marín, Christine. A spokesman of the Mexican American movement :   Rodolfo "Corky" Gonzales and the fight for Chicano liberation, 1966-1972, San Francisco: R. and E. Research Associates, 1977.
Haro, Juan. The Ultimate Betrayal - An Autobiography. ( / 0-8059-4379-X)

References

External links
Escuela Tlatelolco
Obituary from La Prensa San Diego
  Young Lords Origins

Activists for Hispanic and Latino American civil rights
American male poets
American poets of Mexican descent
American boxers of Mexican descent
Featherweight boxers
Boxers from Denver
1928 births
2005 deaths
Deaths from kidney failure
Peace and Freedom Party politicians
American male boxers
20th-century American poets
Activists from California
20th-century American male writers
Chicano nationalists

Rodolfo Gonzales


The Farmer and the Stork is one of Aesop's Fables which appears in Greek in the collections of both Babrius and Aphthonius and has differed little in the telling over the centuries. The story relates how a farmer plants traps in his field to catch the cranes and geese that are stealing the seeds he has sown. When he checks the traps, he  finds among the other birds a stork, who pleads to be spared because it is harmless and has taken no part in the theft. The farmer replies that since it has been caught in the company of thieves, it must suffer the same fate. The moral of the story, which is announced beforehand in the oldest texts, is that associating with bad companions will lead to bad consequences.

Although the story line remains more or less constant, the fable has been differently titled. In the Perry Index, where it is numbered 194, it is a fowler who has caught the stork in his nets. In his catalogue of the fables, Adrados refers simply to a bird-catcher and relates the story of a farmer, as does the Neo-Latin poet Hieronymus Osius (1564). For William Caxton (1484) he was a labourer and in Samuel Croxall's collection (1722) he is called a husbandman.

References

External links
Illustrations in books

Farmer and the Stork
Fictional farmers
Fictional storks
Literary duos

The Farmer and the Stork


Kanjeng Raden Tumenggung (K.R.T.) Radjiman Wedyodiningrat (21 April 1879 – 20 September 1952) was an Indonesian physician and one of the founding figures of the Indonesian Republic. He was a member of the Budi Utomo organization, in 1945 was elected to lead the Investigating Committee for Preparatory Work for Independence (BPUPK). On 9 August 1945, the day after the Atomic bombing of Nagasaki, Rajiman, along with nationalist figures Sukarno and Mohammad Hatta were flown to Saigon to meet with Field Marshall  Hisaichi Terauchi, the Japanese commander of the Southern Expeditionary Army Group.

In 1950, having become a member of the legislature, the People's Representative Council (DPR), he led its first plenary session. Two years later, Rajiman died and was buried in Yogyakarta. He was named a National Hero of Indonesia on 8 November 2013.

References

1879 births
1952 deaths
20th-century Indonesian physicians
BPUPK
Indonesian collaborators with Imperial Japan
Members of the Volksraad (Dutch East Indies)
National Heroes of Indonesia
People from Yogyakarta
PPKI

Rajiman Wediodiningrat


Kenneth Paul Morse was an early employee at Aspen Technology, Inc., and four other startups. He is the former managing director of the MIT Entrepreneurship Center, and chairman of Entrepreneurship Ventures, Inc. He holds the chair in Entrepreneurship, Innovation, and Competitiveness at Delft University of Technology.

Morse graduated from the Massachusetts Institute of Technology with an S.B. in political science in 1968. He also earned an MBA from Harvard Business School in 1972. Morse is visiting professor at ESADE Business School in Barcelona and holds a chair in Entrepreneurship, Innovation and Competitiveness at Delft University of Technology in Netherlands. His father, Richard S. Morse, taught early entrepreneurship courses at MIT and was also an Assistant Secretary of the Army.

References

External links
 MIT Enterprise Forum Bio
 ESADE Business School Bio

Living people
MIT School of Humanities, Arts, and Social Sciences alumni
Harvard Business School alumni
MIT Sloan School of Management faculty
1946 births

Kenneth Morse