texts:
 Organisationsberatung. Einführung von Gruppenarbeit in der Automobil- und Chemieindustrie: Zwei Beispiele (Dissertation), Campus, Frankfurt/New York, 1996,

Edited Books and Special Issues

 with Christoph Kaletka, Antonius Schröder & Marthe Zirngiebl: Atlas of Social Innovation 2nd Volume: A World of New Practices. Oekom Verlag 2019. .

 with Christoph Kaletka, Antonius Schröder & Marthe Zirngiebl: Atlas of Social Innovation - New Practices for a Better Future. Sozialforschungsstelle, Dortmund 2018. (PDF)
 with Peter R.A. Oeji: Special Issue: Workplace Innovation – Social Innovation: Shaping Work Organisation and Working Life. In: World Review of Entrepreneurship, Management and Sustainable Development, Vol. 12, No.1, 2016. Hans Werner Franz, Josef Hochgerner, <mask> <mask> (in German): Challenge Social Innovation. Potentials for Business, Social Entrepreneurship, Welfare and Civil     Society. Springer, Heidelberg/New York/Dordrecht/London 2012,
 Becker, Thomas; Dammer, Ingo; <mask>, <mask>; Loose, Achim (in German): Netzwerkmanagement. Mit Kooperation zum Unternehmenserfolg, Springer, Berlin/Heidelberg/New York, 2011, 3. überarbeitete und erweiterte Auflage,
 with Heike Jacobsen (in German): Soziale Innovation. Auf dem Weg zu einem postindustriellen Innovationsparadigma, VS-Verlag, Wiesbaden, 2010,

Articles

 Dmitri Domanski, <mask> <mask>, Christoph Kaletka: A Comprehensive Concept of Innovation and its Implications for the Local Context – on the Growing Importance of Social Innovation Ecosystems and Infrastructures. In: European Planning Studies 2020, 28 (3), Special Issue "Struggling with Innovations", 454 – 474, doi.org/10.1080/09654313.2019.1639397
 Mark Majewski Anderson, Dmitri Domanski, <mask> Howaldt: Social innovation as a chance and a challenge for higher education institutions.Why higher education institutions are important for social innovation and how they can promote social innovation initiatives and projects. In: <mask>, Jürgen; Kaletka, Christoph; Schröder, Antonius; Zirngiebl, Marthe (Eds. ): Atlas of social innovation;

masks: Jürgen Howaldt Howaldt Jürgen Jürgen Howaldt Jürgen Howaldt


type: original

texts:
 Dortmund: Sfs, 2018, 51 – 54. New Pathways to Social Change – Creating Impact through Social Innovation Research. In: fteval Journal for Research and Technology Policy Evaluation, Proceedings of the Conference” Impact of Social Sciences and Humanities for a European Research Agenda. Vienna, 2019, 37 – 48, (PDF)
 with Michael Schwarz: Social Innovation and Human Development—How the Capabilities Approach and Social Innovation Theory Mutually Support Each Other. In: Journal of Human Development and Capabilities.Published online: 09 January 2017. 163-180, doi.org/10.1080/19452829.2016.1251401

 Dmitri Domanski, <mask> <mask>, Antonius Schröder: Social Innovation in Latin America. In: Journal of Human Development and Capabilities, Vol 17, No. 2, 2017, 307-312. doi.org/10.1080/19452829.2017.1299698
 with Ralf Kopp & Jürgen Schultze: Why Industry 4.0 needs Workplace Innovation: a critical look at the German debate on advanced manufacturing. In: European Journal of Workplace Innovation, Vol 2, No 1, 2016, 7 – 18, doi.org/10.46364/ejwi.v2i1.373
 with Dmitri Domanski & Christoph Kaletka: Social innovation: towards a new innovation paradigm. In: Mackenzie Management Review, 17(6), 2016, Special Edition, 20 – 44, doi.org/10.1590/1678-69712016/administracao.v17n6p20-44
 with Dmitri Domanski & Michael Schwarz: Rethinking social entrepreneurship: The concept of social entrepreneurship under the perspective of socio-scientific innovation research. In: Journal of Creativity and Business Innovation, 1, 2015, 88 – 98, (PDF)
 with Anna Butzin, Dmitri Domanski, Christoph Kaletka: Theoretical Approaches to Social Innovation - A Critical Literature Review.A deliverable of the project: “Social Innovation: Driving Force of Social Change” (SI-DRIVE), 2014 Dortmund: Sozialforschungsstelle

External links
 Staff page <mask> <mask>, Director of the Social Research Centre Dortmund, TU Dortmund University
 Publications by  <mask> <mask>  in the catalogue of the German National Library
 Homepage of the Project “Atlas of Social Innovation“

References

German sociologists
1960

masks: Jürgen Howaldt Jürgen Howaldt Jürgen Howaldt


texts: <mask> (born Andrés Rábago; September 16, 1919 – April 16, 1992) was an American popular vocalist, actor, and entertainer of Mexican descent, specializing in traditional pop and Latin music. He sold 8 million records in the 1940s singing in a romantic, baritone voice and in his trademark bilingual English and Spanish style. He had chart-busters, such as "Bésame Mucho", "Amor", and "What a Diff'rence a Day Made". He made personal appearances and performed on radio programs, most notably Your Hit Parade, in several movies, and on television. During this initial phase of his career, his popularity in the United States rivaled that of crooners Frank Sinatra and Perry Como. In 1954, he relocated to Mexico where he became a star of radio, television, motion pictures, records and nightclubs. He toured extensively throughout Latin America, Spain, Portugal and Cuba, and hosted the television variety program El Show de Andy <mask> in Argentina from 1956 to 1965.Upon returning to the United States, <mask> continued to record. His 1967 single "It's Such a Pretty World Today" reached #1 on Billboard Magazine's Easy Listening Chart. In the ensuing years, <mask> continued to perform in the United States and around the world, occasionally recording new records and making television appearances. Although well received, he did not achieve his previous level of success. During his 50-year career, <mask> received many international accolades and awards, most notably being recognized as the original Latino crossover artist who introduced American audiences to popular songs sung in English and Spanish, thus opening the doors for later Hispanic

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 bilingual artists to do the same. Through a fusion of musical styles, rhythms and languages, he created music that transcended borders and appealed to diverse audiences, becoming one of the first cross-cultural, multinational musical artists. Early life

<mask> was born September 16, 1919 (Mexican Independence Day) as Andrés Rábago in Boyle Heights, which, at the time, was an ethnically integrated, middle-class neighborhood  in Eastside Los Angeles.He was the second youngest of ten children (eight boys, two girls)  born to Mexican immigrant parents, Rafael Rábago and Vicenta (née Pérez), who had emigrated to United States in 1902 from the Mexican states of Durango and Chihuahua, where each had been born, respectively. His father was employed as an extra by Hollywood studios, while his mother was a housewife. As a child, he loved listening to American popular music and Big Band, such as Benny Goodman, Glenn Miller and Tommy Dorsey. He idolized crooners Dick Powell, Bing Crosby and Jack Leonard. He went wild over popular music, knew all the hit tunes, and was the neighborhood authority on every name band leader in the country. While attending school, he also worked as a newspaper vendor at a corner in downtown L.A. He grew up in a bilingual home, hearing and talking Spanish with his parents, while talking English with his brothers and sisters, and people outside of the home.His parents enjoyed listening to Mexican music, in particular, mariachi. At this young age, <mask> did not appreciate the music of Mexico, nor did he fully comprehend the Spanish language . He felt so frustrated that he would ask his parents to speak to him in

masks: Russell Russell


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 English. Moreover, in an interview from 1967, he poignantly stated that he was only able to learn a little Spanish from his parents due to the fact that they had died when he was just 11 years old. Despite these growing pains, he was determined to follow in the footsteps of his idols. In 1934, as a 15-year-old student in junior high school, he began his career as an up-and-coming teenage idol by singing with a local swing band headed by don Ramón Cruz. This band was composed mainly of Mexican and Mexican American musicians and played primarily in East Los Angeles.He also sang with the Stan Kenton Orchestra, and other groups, until one day he was told that he also would have to play an instrument to stay with the band. <mask> recalled how he dealt with this curious dilemma:

<mask> took drum lessons for 50 cents a lesson at the Phillips Music Company on Brooklyn Avenue (now Avenida César Chávez) in Boyle Heights. This neighborhood music store was owned by William Phillips, a Jewish-American Navy veteran, drummer, and musician. By practicing in the basement of his house and during breaks at his part-time job, he quickly became an excellent drummer. Stella Cruz, the sister of bandleader don Ramón Cruz, recalled in a YouTube video that <mask>, as a child, had contracted polio and had some paralysis in his left arm and leg. When this came to the attention of don Ramón Cruz, he taught <mask> to play the bass drum in order to strengthen those muscles. This may have been <mask>'s initial exposure to the instrument.<mask> attended Roosevelt High School in Boyle Heights, where he continued his musical education. He was a member of the

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 ROTC marching band, the jazz band, and the high school symphony orchestra. He performed at high school football games, parades and dances. And under the instruction of Mr. Harry Gruppengetter, the music teacher, he learned to read music. He also enjoyed playing handball and boxing. He recalled that his high school experience was positive, and that he did not feel discrimination: "In those days, I was just one of the guys. We had Russian people, we had Jewish kids, we had Mexican kids, we had the blacks, we never noticed things like that ...I'm a very cocky little Mexican kid from the East Side, and I never had those feelings. I always feel that it's up to the person." In 1935, at the age of 16, when <mask> discovered that Gus Arnheim, a popular and influential band leader, was looking for a drummer, he left high school the summer before his senior year to try and join his band. New singing style and name

Gus Arnheim and his orchestra had been playing the Cocoanut Grove and the Ambassador Hotel in Los Angeles since the late 1920s and had employed such singers as Bing Crosby, Russ Columbo, and Woody Herman. <mask> auditioned for Arnheim and got the job not only as a drummer but vocalist, too. However, since he was underage and could not tour out of state, Arnheim adopted him and became his legal guardian. In addition, since he thought it was a good gimmick that made good business sense, Arnheim suggested that <mask> sing bilingually in English and Spanish.<mask> was hesitant, stating "No, Gus, my Spanish is very bad; I'm embarrassed." Arnheim finally convinced the youngster by saying "Do something different and people will

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 notice." <mask> agreed. Now on tour with the band, <mask> noticed that when he played solo on the drums or sang bilingually, the couples in the audience would stop dancing and approach the bandstand to get a better look at the handsome vocalist who was singing in a different language. It was at a show at the Peabody Hotel in Memphis, Tennessee, that Arnheim saw that he was getting known. But Arnheim realized that it would be necessary for <mask> to change his name. <mask> recalled the conversation with Arnheim after the show:

<mask> compromised on the name change because during that era many performers adopted stage names in order to enter the entertainment industry.He did not want to be discriminated against and stereotyped as only a Latin singer. Besides, he felt the public would know his ethnic background by his singing in Spanish and by telling everybody he was Mexican. In contrast, the case has been made that <mask>'s light-skin and European features (like Vikki Carr) were the determining factors in opening the doors to the recording industry (Avant-Mier, 59; Macias, 125) that otherwise shut out Mexican-Americans whose appearance was dark-complexioned, like contemporary Chicano musician and singer Lalo Guerrero, who "wanted the success of an <mask>, whose appearance and name change were definite advantages." Loza notes: "in that particular era (and even today), name changing was common among performers, so that whether names have been changed for ethnic reasons cannot always be determined." <mask> performed as bilingual vocalist and swing drummer with Arnheim for 4 years. During this period, he received offers from Paul

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 Whiteman, Jimmy Dorsey, Glenn Miller, Charlie Spivak, and such bands as Johnny Richards, Sonny Dunham, Alvino Rey and Vido Musso. <mask>'s popularity grew to the point that acclaimed band leader Tommy Dorsey made him a lucrative offer to play only the drums, as he already had a singer, a young Frank Sinatra.<mask> declined because "he decided he could make more of a name if he concentrated on his singing," so he chose to join Alvino Rey. Some of the venues in the Los Angeles area where he played were the Cocoanut Grove at the Ambassador Hotel on Wilshire Boulevard, the old Follies Theater on Main Street, the Orpheum Theater on Broadway, the Santa Monica Pier, and Joe Zucca's Show Case in Hermosa Beach. Career begins

Records

While he was with Rey, <mask>'s bilingual vocals had caught the attention of lyricist and composer Johnny Mercer, who asked <mask> to cut a record for his fledgling Capitol Records. <mask> narrowed his choices down to three songs. He then chose the bolero "Bésame Mucho," with music and Spanish lyric by Mexican composer Consuelo Velázquez, English lyric by American composer Sunny Skylar, and backing by the Al Sack Orchestra. He sang "Bésame Mucho" bilingually, the first vocalist to offer Spanish and English treatments to popular songs, often with a chorus in English followed by a chorus in Spanish, and, in doing so, displaying his Latin background. The 1942–44 musicians' strike threatened to derail <mask>'s career before it had even begun.Union President James Petrillo had set the date of July 31 where no union musician could record for any record company. This caused record producers to scramble to get


texts: vocalists and musicians into recording studios to get the recordings done before the deadline. <mask> was able to make a test record with the George Siravo orchestra under the deadline. Mercer paid him $150 for both sides of his first record. <mask>'s first charted hit became the smash "Bésame Mucho" which reached #10 on the Billboard's Hot 100 Chart in the United States. It sold over one million copies. Velázquez heaped huge praise on <mask> by stating that the worldwide success of "Bésame Mucho", which would become the most recorded Mexican song in history, effectively began with his rendition and recording of the song.A review of this song stated that the Spanish Mexican influences were obvious, with <mask>'s Spanish contributing to a soft and effective crooning job. That same year he also had another huge hit, which became another signature tune "Amor", music by Mexican composer Gabriel Ruíz, Spanish lyric by Mexican lyricist Ricardo López Méndez, English lyric by Sunny Skylar, and backed by the Al Sack Orchestra. It reached #2 and was taken from the musical film Broadway Rhythm. The flip side of this record was "The Day After Forever". <mask> had two more hits that year: "What a Diff'rence a Day Made", original title "Cuando vuelva a tu lado" (When I Return to Your Side), music and Spanish lyric by Mexican composer María Grever with English lyric by American lyricist Stanley Adams and backed by the Paul Weston Orchestra. It reached #15 and was paired with "Don't You Notice Anything New?" The other hit was "I Dream of You", which reached #5 and was paired with "Magic Is the Moonlight".1944 was a banner year for <mask>. Such


texts: success was unprecedented for a "kid from East Los Angeles", albeit a very talented, hard-working, and cocky kid. He was a part of the era when popular singers, or crooners, were beginning to take the spotlight away from the bands. Crooners such as himself, Bing Crosby, Frank Sinatra, Dick Haymes and Perry Como each had his own unique style. As the youngest of all the crooners in this era, <mask> drew his style from those who had come before, especially Haymes. <mask> was viewed as the typical crooner, in the Sinatra style, who extended and drew out the words, while adding delightful shades and nuances to the phrases in his songs. He was not considered a bolero singer in the classic sense (of Latin America singers), but his execution of romantic songs had some of the best and most sincere phrasing.<mask>'s 4 top-ten hits on the Billboard Hot 100 Chart in 1944 sold millions of records, and opened the door later in the decade for touring around the country and appearances on radio programs, motion pictures, and television. By late 1944, he was declared by the Mutual Broadcasting System to be the "idol of the crew-cut and bobby-sox set, and one of the nation's top-ranking romantic balladeers". In 1946, his next big hit was "I Can't Begin to Tell You" which reached #7, and was from the film The Dolly Sisters. The next big hit came later in 1946: a two-sided hit with "Laughing on the Outside" which reached #4, and "They Say It's Wonderful" which reached #10, (from the Broadway show Annie Get Your Gun). His next hit, "Pretending" which reached #10 was backed with "Who Do You Love?" His final chart-toppers of the 1940s were in 1947:

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 "Anniversary Song" which reached #4, and "I'll Close My Eyes" which reached #15. <mask> had twelve records break into the charts between April 1944 and September 1948, eight of them in the top ten.He was not only an established star of the Era, but recognized as a unique contributor with his bilingual singing style that opened up the international market for Capitol. Music-store owner, Glenn E. Wallichs, a pioneer in the record industry for his attention to foreign markets, and co-founder of Capitol Records, made sure that <mask>'s records were distributed throughout Latin America, which meant huge sales for Capitol and ever-growing popularity for <mask>. The success of <mask>, along with the stable of Capitol recording artists, permitted Capitol to construct the famous thirteen-story "Stack o' Records" building in 1954. The following year, Capitol was sold for $8.5 million. Golden Age of radio

By 1944, he had become a well enough regarded pop vocalist to be invited to perform on radio programs. On November 9, he debuted on his own radio show on the "Blue" network, or NBC, called The <mask> Show, which broadcast out of Hollywood, California. He was the host and featured vocalist.In addition, he would invite guests to appear on his program, such as Dinah Shore and Johnny Mercer. On Sunday nights over CBS radio, <mask> was also a featured vocalist on the Old Gold Show, which was the name of the cigarette company that sponsored the program. Next up was an invitation to appear as a vocalist on The Jackie Gleason – Les Tremayne Show on NBC radio. Unlike his eponymous show which was broadcast from Los Angeles, California,  it was

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texts: necessary for <mask> to take the train out to the East Coast, as this show originated from New York. It was reported that during the trip, he got sick because he had never been on a train before. Also, in addition to duties as a vocalist, <mask> played straight man to Jackie Gleason, the legendary comic and performer who would later be the star of the classic television program The Honeymooners. He would do this later in a motion picture with Groucho Marx, too.With regard to his participation on the show, the Billboard 1944 Music Year Book stated that "the talented, handsome ... young singer's commercial appeal [was] tremendous. Starting with one song, audience response demanded his current three singing spots." Later, from September 3, 1945, to May 27, 1946, <mask> appeared on the CBS radio comedy show, The Joan Davis Show, which originated out of New York City. This program aired on Monday nights from 8:30 – 8:55 p.m. "Popular crooner <mask> served as both the variety anchor for The Joan Davis Show as well as Joanie's love interest in the situation comedy series ... [He] delivered as expected to the swoons and cheers of his millions of female fans of the era." In addition to singing, <mask> also acted and played straight man to comedian Joan Davis. Paul Weston and his Orchestra provided the music. Finally, and most notably, starting on April 26, 1946, <mask> began to appear as featured vocalist on the pop music radio program Your Hit Parade.This popular program aired on Saturdays, 9:00–9:30 pm on NBC radio and was broadcast out of New York City. He replaced Lawrence Tibbett, an opera singer, who had previously replaced Frank

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 Sinatra. After five months in New York, he was so popular that Lucky Strike cigarettes, the sponsor of the show, agreed to pay for the show to be broadcast out of its Los Angeles studios in order to appease <mask> who was homesick. The shows from Hollywood began on September 21, 1946. He stayed on the program for 2 seasons, which led to huge popularity for the singer. It was during this time that <mask> had the incredible fortune of having two records in the Top Ten, while performing as a vocalist on Your Hit Parade. As the original vocalist, he would actually be able to sing his own songs on the program, an event which very rarely happened.His screaming, teenaged fans called themselves the "<mask>prouts", of which there were 300 fan clubs throughout the United States. Personal appearances

As he became more popular, <mask> began making personal appearances in different venues in the country. His first personal appearance was on June 28, 1945, at the RKO Boston Theater in Newark, New Jersey, (Frank Sinatra's home town). Later, he made an appearance at the Paramount theater in New York, where he signed on to perform for two weeks, and wound up staying for five weeks. A review of <mask>'s performance stated: "His way of sliding into a husky chorus in Spanishafter going through the English versionhas all the slick chicks swooning like crazy." <mask> hoped to perform in Mexico, although he had never been there, despite being of Mexican heritage. Hollywood

<mask> was then invited to Hollywood by Buddy DeSylva, co-founder of Capitol Records, to screen-test for motion pictures.He was contracted to appear in the film The Stork Club

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texts: (1945). His movie career had an inauspicious start at Paramount Studios. The Mexican-American crooner was told by a security guard that it was a closed set and that he would have to leave. He waited outside the stage door, sitting in the sun until Hal Walker, the director, came looking for him and told him to get to work. <mask> asked nervously, "Are you sure it's all right now?" In his motion picture debut, he played himself in everything but name, as he [was] cast as a dance band singer and swing drummer. He sang "If I had a Dozen Hearts" in a duet with Betty Hutton and a solo on "Love Me".He also displayed his percussionist skills on a drum solo of "China Boy". In 1946, he appeared in the film Breakfast In Hollywood, where he sang "If I Had a Wishing Ring" in English and bilingual renditions of "Magic Is the Moonlight" / "Te quiero dijiste (Muñequita linda)" and "Amor". In the same year, he sang "Without You" (based on Cuban composer Osvaldo Farrés' song "Tres Palabras") on the soundtrack of the Walt Disney animated feature Make Mine Music, the pop music version of Fantasia. The "A Ballad in Blue" section illustrated the end of a relationship using raindrops, flower petals, and a love letter. In 1947, at the peak of his popularity, he appeared in the film Copacabana with Groucho Marx and Carmen Miranda. In this film, <mask> good-naturedly plays his dumb-bell nightclub singer role with a mild manner, wide-eyes, and a toothy smile. About his performance, co-star, Gloria Jean said, "[He] was very bland, wishy-washy, but he had a lovely voice."On March 13, 1947, he was a performer in the 19th Academy Awards at the Shrine


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 Auditorium in Los Angeles, California, as he sang "You Keep Coming Back Like a Song" from the musical film Blue Skies, one of the songs nominated for the Oscar that year. Television

Later, <mask> began to appear in the new medium of television in the early 1950s on Your Show of Shows with Sid Caesar on NBC, but continued to record, though less frequently. From December 1950 to June 1951, he appeared with his wife on the ABC-TV show <mask> and <mask>. "It was a brief but pleasant musical interlude, which originated live from New York [from 7:00 to 7:05] every weeknight." They also had an act that they would perform together in nightclubs. A review described their act as: "delightfully light, cleverly done and wholly entertaining." In addition to singing and dancing, <mask> would perform impressions of celebrities.Lastly, they appeared together in the musical short, House Party (1953). End of big band era
By October 1948, the big band business was at its lowest ebb in years. Tastes were changing, as the rock 'n roll age was beginning to dawn. <mask> lined up a band to back him, and he hit the road to revive business with a series of one-night engagements to meet the people up front again. By 1952, <mask>'s hits had stopped coming, as the big band era had come to a close. Capitol Records lost interest in him as a hit-making pop star and began to look on with negative feeling. At this point, <mask> began to look elsewhere for a place to perform.On 16 October 1953, he made his debut in Mexico City at the Teatro Lírico alongside such legendary performers as Agustín Lara, Tin Tan, Toña la Negra, and others. He was billed as "the

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 Mexican star of Hollywood and the greatest exponent of romantic Mexican song in the United States". Then, in November 1953, after returning from his trip to Mexico City, he announced to his wife Della that he no longer loved her, wanted a divorce, and that he would move to Mexico City. The couple was separated for a month, at which point Della initiated divorce proceedings. <mask> did not contest. After that, his private life became fodder for the gossip columns as he experienced a public backlash and negative publicity due to the shocking news of the couple's pending divorce. Many were angry and upset at this turn of events, as the <mask>s had been viewed as the "perfect Hollywood couple".They received hate-mail from irate fans, and <mask> was pressured by the Hollywood community and Roman Catholic Church clergy not to proceed with the divorce because it would cause "a public scandal". Mexico, Latin America, Spain and Cuba

Mexico
After the divorce was finalized in February 1954, <mask> was left virtually penniless, despondent, and out-of-work. His friend Charlie Skipsey, wealthy liquor distributor and later co-owner of the popular Mexican restaurant chains, Carlos'n Charlie's and Señor Frog's, advised <mask> to go to Mexico. In order to avoid the pressure of his situation in the United States, <mask> reluctantly agreed to move to Mexico on a temporary basis, but he was hesitant because he could not speak more than a few words of Spanish, and he thought the people would not like him. However, when he arrived in Mexico, he was astounded to find thousands of people greeting him at the airport. Skipsey put him up in the swanky


texts: and historic Hotel Regis  in Mexico City, where he found a confidante in actress Ariadne Welter, Skipsey's ex-wife and younger sister of actress Linda Christian. In due time, <mask> met Carcho Peralta, the owner of the hotel, and he talked to him about his unfortunate situation.In response, Peralta offered him the opportunity to sing at the hotel's nightclub, the Capri Room, backed by the orchestra of legendary composer, Agustín Lara. <mask> accepted. His show had a great response from the audience, and he began touring other night club venues in Mexico with similar success. His fortunes took a definite turn for the better when his friend Carlos Lopez Rangel, a newspaper editor and host of several radio programs, decided to interview him and tell his story to the public over the course of several programs, like a soap opera. The radio show had a tremendous impact and achieved such high ratings that it produced an outpouring of good will and sympathy for <mask> from the Mexican public. "The people opened their hearts for me," he said, "They treat[ed] me like a brother." <mask> realized at this point that he was popular in Mexico, so he made Mexico City his home base, while he performed for his fans.The idea of being a Mexican singer was intriguing to him. In short order, he was offered a recording contract with RCA Victor Records of Mexico. His subsequent recording of "Contigo en la distancia" ("I'm With You Though You're Gone") by Cuban composer César Portillo de la Luz and backed by Mario Ruiz Armengol and his Orchestra was an unparalleled success and was number one on the music charts for eight months. His interpretation


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 propelled this song to international fame and was so novel and overpoweringly romantic that it was viewed as influencing the birth rate in Mexico. His version of this classic Cuban composition is considered one of the best. Furthermore, he signed a deal to do seven motion pictures and began appearing on the top television programs The Colgate Comedy Hour and the Mexican Kraft Music Hall. And as long as he remained a resident of Mexico for at least 10 months out of the year, he paid a very small income tax.<mask> recalled this tumultuous yet rewarding phase of his life:

Yet, one thing that he found embarrassing was the fact that his Spanish did not match the fluency of a native speaker because, according to him, it was "east-side." Moreover, by his own admission, he was "the gringo" who had a horrible American accent when he spoke Spanish. Thus, in order to prepare for his film roles, he gathered with his friends, who helped him with his pronunciation and to speak properly. Although he was born of Mexican parents, he worked hard to overcome the "handicap" of having grown up in the United States in order to be accepted as an "hermano" in Mexico and be "one of the family" in Latin America. Soon, not only was he fully recovered from the woes which had forced him to leave the United States, but he had actually discovered his roots in Mexico. Heartened by his success, he decided to remain there. On July 10, 1954, he married Velia Sánchez Belmont, the daughter of Mexico's former ambassador to the Netherlands.The civil ceremony took place at the bride's parents' home, and the reception and banquet was held at the Paolo, the ballroom


texts:
 at the Hotel Regis. Shortly thereafter, in September 1955, his wife gave birth to their son, <mask> <mask>. During this period, he was a Latin-American star of films, television, radio, and nightclubs. He not only made personal appearances in Mexico, but he traveled abroad to perform in other countries, including Canada and the United States. By November 1956, he was earning $7,000 a week (a far cry from the $2,500 a year he earned in 1940, beating the skins as a drummer in a hotel orchestra). All this good fortune led <mask> to exclaim that "Mexico has been wonderful to [me]" and "has made me happier than I ever was in my life." Mexican films
Unlike the American movies he participated in, <mask> was the bona fide star of the pictures he made in Mexico.He wound up making only five films. These movies were of the light-hearted, comedic, and musical-variety kind, where he had a fair amount of dialogue and singing duties to perform. Since they were being marketed not just for Mexico and Latino communities in the United States, but for all of Latin America and Spain, <mask> was paired up with a diverse cast of Latin American movie stars, along with established and popular Mexican actors like Evangelina Elizondo, who appeared with him in three of his motion pictures. In these Mexican productions, <mask>'s roles were spoken in Spanish and peppered with some English phrases; in contrast, the roles in his American movies were spoken only in English; however, he sang bilingually in both. <mask> had to learn "enough Spanish to star in film in Mexico and in Spain. His first director cast him as a Mexican reared in the United States (the

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 case, again, of <mask> playing himself), but after that his accent was convincing and he became entirely bilingual." His film debut in Mexico was ¡Qué bravas son las costeñas!(Coastal women are so temperamental!) (1955), directed by Roberto Rodríguez and co-starring Cuban actress María Antonieta Pons and Mexican actors Joaquín Cordero and Evangelina Elizondo. Filming began on 16 August 1954 in Churubusco Studios in Mexico City and on location in Acapulco. It premiered on 2 June 1955 at Cinema Olympia, where it played for 3 weeks. Around this time, <mask> and Elizondo made a live appearance at the historic Million Dollar Theater to promote the film for the United States Latino public in Los Angeles, California. In his commentary, Mexican film historian Emilio García Riera begins his film review by introducing <mask>:

<mask> (Andrés Rábago), Chicano of Los Angeles, who made a modest career as a crooner and appeared in 4 films in Hollywood, entered the national cinema transformed into an extravagant type of 'pocho' playboy, complete with a pipe and captain's hat, owner of a yacht, with a particularly obnoxious American accent and a languid way of intoning songs, a-la-Bing Crosby. His character declares, of course, much love for Mexico, but he only manages to disrupt the typical tropical setting, where the women defend their honor against the attraction caused by their own sensuality ... <mask>'s character is not a threat to these heroines; one could say he only wishes to flirt with them in the style of a Hollywood B-grade musical-comedy.However, the response to frighten the 'pocho' from defiling the honor of a woman is wholly

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texts: disproportionate, and he is dismissed with dishonor. The following year in 1956, <mask> starred in three movies, the first being Mi canción eres tú (You Are My Song), directed again by Roberto Rodríguez and co-starring Mexican actress and singer Evangelina Elizondo. Filming began on April 1, 1955, in the Churubusco Studios, and the premiere was March 28, 1956, at Cinema Orfeón, where it played for two weeks. García Riera starts off his film review by noting that previously he, like many others, viewed <mask> as the epitome of conceitedness and extremely stuck-up. In this Hermanos Rodríguez production, <mask> represented a threat of hybridization. His character, called "Danny" more often than "Daniel", at 15-years-old beat it out of Mexico to go to the United States, and he returned with bilingual crooning abilities. His family members called him "bracero" (farm laborer), so as to not call him "pocho", He has future possibilities of entering the "gringo" middle-class due to his success on television, singing in high-priced cabarets, and the sale of records ...The film has good pacing in the beginning, but it gets lost, dispersed, and ends up being a victim of its bewildering musical numbers, which include: <mask>, Freddy Fernández, and Gustavo Villacampa singing "Perfida" while shirtless in the bathroom; <mask> wearing a straw hat and singing "Muchachita" (his big hit) to Irma Castillón, as they both tap-dance in the Hollywood style; in an audition, <mask> singing "Quiéreme mucho" in Spanish and English, while Antonio Raxel makes the comment that if <mask> sings in English, would he want his salary to be paid in dollars instead

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texts: of pesos; and <mask> singing "Amor, Amor, Amor" in a disconcerting musical number, complete with a couple from prehistoric times, another from the 8th century, an Arab with his harem, and Cupid. It's shocking and absurd. But in its defense, one can say that <mask>, from a distance, does not appear to be so stuck-up anymore. There have been others who have been worse. His next film was his most popular:  ¡Viva la juventud! (Hurrah for the Young People! ), a musical-comedy, directed by Fernando Cortés.Filming began on 31 October 1955 in the Tepeyac Studios, and the premiere was on 15 May 1956 at Cinema Orfeón, where it played for 8 weeks. According to García Riera, this film was a watershed in that its new formula of combining diverse genres, current events, several performing artists, and different styles of music and dance numbers was a hit with audiences and would influence how Mexican films were produced later in the decade of the 1960s. García Riera noted that the "gringo", middle- and upper-class element in the film, for example, the student body dancing cha-cha-chá and wearing sweaters with big letters with the Ciudad Universitaria (the campus of the National Autonomous University of Mexico) as a backdrop, was reinforced by "the 'pocho' singer <mask>, who covered his jalopy with expressions, such as 'Mercedes ven,' in the manner of American college-boys, and heard Michigan instead of Michoacán." He also felt that the film's plot was poorly written, pointed in too many directions, and that it contained too many comedic and musical numbers. Primavera en el corazón (Springtime in the Heart) was his last collaboration with

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 director Roberto Rodríguez co-starring Italian actress Irasema Dilián and Spanish actor Enrique Rambal. Filming on this musical-comedy began on 23 June 1955 in the Churubusco Studios, and the premiere was on 20 September 1956 at Cinema Alameda, where it played for 2 weeks. This film was noteworthy for being the first Mexican film in color (Eastmancolor) and in Cinemascope, done in the classic Hollywood style.His fifth and last Mexican film was Vístete, Cristina (Get dressed, Cristina), a musical-comedy directed by Miguel Morayta with Mexican actress Rosita Arenas. Filming began on 5 May 1958 in Azteca studios, and the premiere was held on 23 April 1959 at the Cinema Olimpia, where it played for two weeks. In his film review, García Riera labels <mask>'s character "el pocho Carlos." The character's actual name is "Carlos Lata". García Riera sarcastically wonders why <mask>'s character would be given such a last name as "Lata". In Spanish and in this context, "lata" means to "pester, bug, or be a pain, a nuissance." He also refers to <mask> as the "Hollywood crooner with the smoky voice ... who sings 'Amor'" and sums up his review in one sentence: "The movie is an illogical mess and very inconsistent, but not obnoxious, a quality which the 'pocho' <mask> was famous for having."Criticism
In Mexico, <mask> was criticized for modifying the lyrics, tempo and/or melody of traditional Latin American standards, for example, his jazzy, up-tempo renditions of "Perfidia" and "Cuando vuelva a tu lado" of the mid-1950s. He had already felt somewhat constrained when performing before Mexican audiences, as they often did not appreciate the

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 changes or updates he would make to traditional songs. In general, Mexicans, and Latin Americans, preferred that <mask> sing in Spanish and respect the traditional forms of music. If he were performing before a Mexican audience, he could not use special material because they might mock him by saying, "He's getting fancy." It seemed that "the gimmick (singing bilingually) that brought him fame in his native country was unwanted south of the U.S. border. He felt negative responses from audiences when he sang in English. Yet, despite the resistance and conservative leanings of his Latin-American audiences, <mask> could observe that by the early to mid-1960s, Mexican musicians and the public were opening up and becoming receptive to combining musical styles as he himself had already done in the 1940s and 1950s.He addressed this issue in a 1967 interview with Billboard magazine:

Thus, although <mask> received some criticism for his bilingual ballads and mixing of American and Latin American musical rhythms, he can also be considered to have been a musical pioneer in Mexico, due to the fact that his versatility influenced the next generation of Mexican rockers to be receptive to and combine musical genres. Argentina

From 1956 to 1965, <mask> traveled back-and-forth from Mexico City to Buenos Aires, Argentina, where he had a television variety show called El Show de <mask> on channel 7. The show was produced and broadcast during the summer months over the course of 13 weeks. In 1958, the name of the show was changed to El Show de IKA (sometimes billed as Desfile de Éxitos IKA)  when Argentina's largest automaker, Industrias Kaiser

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 Argentina (IKA) became the sponsor in a bid to sell more automobiles. Soft-drink manufacturer Pepsi Cola would also become a sponsor. At a cost of more than 3,000,000 pesos, it was the most expensive television show produced in that country, and the first to use cameras mounted high above the stage to capture exceptional visual effects. The unprecedented scale of the show became apparent as a Jeep was driven onto the stage during every performance, along with the ballet troupe of Eber and Nélida Lobato, a 50-piece orchestra conducted by Angel "Pocho" Gatti, and the Fanny Day choir, all in support of <mask>.In compensation for his hosting and singing duties, <mask>, for his part, received an unspecified, but princely sum. <mask> was described as being "a professional who was conscientious and diligent, and very American ... The show was a smash hit. We would rehearse every day. He was tireless." Other Latin American countries
He toured through "every country in Latin America," and his acceptance and popularity was such that "<mask>" became a household name in Latin America. He felt so welcomed that he stated: "When I am in Argentina, I am Argentine.When I am in Nicaragua, I am Nicaraguan." <mask> appeared on Latin American television in Caracas, Venezuela on the show Renny Presenta with Renny Ottolina (1964), where they sang "Manhattan" in English and exchanged pleasantries in Spanish before a live television audience. Spain

In 1962, <mask> was signed to a recording contract by Belter Records of Spain. The deal was that he would record the songs in Orfeon of Mexico, and the discs would be manufactured and released in Spain. He


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 recorded several albums, which were primarily ballads and up-tempo jazz numbers backed up by a full orchestra band conducted by Chico O'Farrell. He also recorded the two title songs for the soundtracks of popular Spanish movies of the time: Bahía de Palma (1962) and Sol de Verano (1963). The former featured sex symbol Elke Sommer wearing a bikini, the first time a woman was shown wearing a bikini in a Spanish movie.Lastly, in 1966, he sang "Soñarás" ("You Shall Dream") on the soundtrack of the Spanish animated movie El mago de los sueños (The Dream Wizard). <mask> performed frequently in Spain, and even sang for Spanish dictator Francisco Franco several times, who honored him with awards. Cuba
<mask> worked Cuba every six months, making personal appearances at the Dune Television and the Havana Hilton, occasionally alongside Tony Curbelo. He was present when Fidel Castro overthrew the government of Fulgencio Batista. Since he believed Castro was about to bring freedom to the Cubans, he celebrated with everyone in the streets. But he looked back with regret, as he said: "A country that had the greatest music in the history of Latin music from Cuba, you know? Now they're just closed in completely."Return to the United States

After being based in Mexico City for the past 11 years and performing in Latin America, <mask> "felt that he was losing his professional identity and also being subtly pressured into becoming a citizen of Mexico." Moreover, he believed that "you haven't got the freedom in Mexico that you've got here [in the US]. You wouldn't dare say anything against the government of Mexico, or you're found in an alley the


texts: next day, or you're thrown out of the country. You haven't got that freedom. In this country you can do everything you want; in fact, a little too much [laughs], you know?" He returned to the United States in 1966 and Capitol Records. His comeback album in the United States was "More Amor!"(1967), a collection of English and bilingual English/Spanish songs, most notably the singles "Longin'" and "Enamorado" ("In Love"). Capitol dubbed a version of "Longin'" in Spanish for release to its Latin American affiliates, while it produced a promotional music video for "Enamorado." No song from this album entered the Billboard charts. His comeback show took place at the Sahara Hotel and Casino in Las Vegas, Nevada, to rave reviews. The same year, his follow-up album for Capitol was called "...Such a Pretty World Today", and it produced a #1 single called "It's Such a Pretty World Today" that stayed on top of Billboard's Easy Listening Chart for nine weeks. His next single from the same album "I'm Still Not Through Missing You" also cracked the Top Ten. He also made some LP's for the Argentine market that were well received.That year, he married his fourth wife, Ginny Pace, a talk show hostess and former Mrs. Houston. On the CAP Latino label, <mask> joined Eddie Cano, another Mexican-American native of East Los Angeles, and Trío Los Copacabana (made up of Oscar F. Meza, Mike Gutierrez, and Rick Chimelis) for the all-Spanish "Quiereme Mucho", an album of trio music. Cano was the arranger and conductor. They sang such Mexican standards as "La Mentira", "Nosotros" and "Sabor a Mi". In the decade of the 1970s, he worked consistently, making


texts: appearances at home and abroad. From 1970 to 1971, he had personal appearances in Scottsdale, Arizona; Rio de Janeiro and São Paulo in Brazil; Buenos Aires, Argentina; Mexico; and Venezuela. In 1973, he recorded the "International/Internacional" LP for the Discos Latin International label, which included his Spanish cover version of Albert Hammond's "It Never Rains in Southern California", "Nunca llueve en el Sur de California".In addition to the United States, this album was sold in South America and Europe. In Spain, the album received a rave review, and <mask> was described as "The Latino Sinatra" and his singing style as "timeless, universal, and as valid today as when he began." Lastly, during this period, he appeared on various television programs, such as "The Tonight Show with Johnny Carson", "The Today Show" and "The Merv Griffin Show". During the 1980s, he continued to record and perform. He signed with Kim Records and released the LP "Yesterday, Now, and Forever" (1982). He was a frequent guest on television programs. In 1983, he could be seen on "Family Feud" with Richard Dawson.He performed on big band television specials for PBS to raise funds for public television. He was interviewed on Spanish radio programs and heard on radio commercials in the Los Angeles area. <mask> continued to appear and perform around the world, in major American clubs, Las Vegas, Lake Tahoe, the Chateau Madrid in New York, the View o' the World supper club at Disney World in Orlando, Florida, Disneyland, the Hollywood Palladium, La Fiesta Supper Club in Juarez, Mexico, the Garden Bar of the Miyako Hotel in San Francisco's Japan Center,


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 and in concerts before nostalgic swing audiences. Last years and death
In 1989, he retired to live in Sun City, Arizona, with his fifth wife, Dora. He died in 1992. Personal life

Charities
Although <mask> was 4-F (unfit for military service) due to a broken arm that did not heal properly, he helped to raise funds for the war by singing at fund raisers. <mask> came up with the idea for the different vocalists and big band musicians to form teams and play annual softball games for the Youth Welfare Fund, a charity.The Hollywood Chamber of Commerce organized the games for such teams as the "Andy Russell Sprouts" and the "Frank Sinatra Swooners" to play at Gilmore Stadium (which was demolished in 1952, when the land was used to build CBS Television City in the Fairfax District of Los Angeles, California). Other stars who participated were crooners Dick Haymes, Nat King Cole, and Mel Tormé; bandleader Harry James; dancer and actor Gene Kelly; and comedians Bob Hope and Mickey Rooney. Actress <mask> and Lois Andrews also participated as "<mask>s" bat girls, while Virginia Mayo was a "Frank Sinatra Swooners" bat girl. Friendships
One of the greatest thrills in <mask>'s life was to not only sing with his idol Bing Crosby, but to actually consider him a close friend. <mask> sang in a quartet with Crosby, Dick Haymes and Jack Benny on the latter's radio show. He and Della were close, long-time friends of the tenor Mario Lanza and his family. The couples would vacation together at a ranch near Lake Mead, Nevada.In 1950, <mask> and his wife Della were asked to be godparents to Lanza's second daughter, Ellisa. In an odd twist, Lanza

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 developed an infatuation with the blond and glamorous Della which inspired him to record his own romanticand according to him, betterversion of "Bésame Mucho" for her. By 1953, after standing by Lanza through the worst of his troubles, <mask>'s patience wore thin, and he cooled to the friendship. Romances
<mask> was romantically linked with different women in his life, such as actress Ariadna Skipsey (née Welter) (1954), the Countess Joaquina de Navas of Madrid (1964), Houston oil heiress Susan Smithford (1966), and Spanish dancer Maria Rosa Marcos (1967). Marriages
<mask> was married five times:

His first wife was Evelyn Marie Morse (1919–1993). Date of marriage was June 30, 1940, in Los Angeles, CA. Their divorce was finalized in 1945.His second wife was Della Norrell (née Adelina Naccarelli) (1921–2006), a New York nightclub singer. They wed at the Little Church of the West, Las Vegas, Nevada, on October 23, 1945. "During the ceremony, Della was crying when the minister asked, 'Do you?' So, <mask> just upped and said, 'Yes, she do.'" They would later marry in a Catholic church ceremony because Della felt that they were not really married. Afterwards, she became his singing partner, and they sang together on records, nightclubs, the ABC-TV show <mask> and Della Russell (1950–1951), and the musical short House Party (1953). They were considered the ideal, Hollywood couple, and their fans and the public at large were shocked when they divorced on February 3, 1954.His third wife was Velia Sánchez Belmont (1929–2002), the daughter of Eduardo Sánchez Torres, former Mexican ambassador to Netherlands. They wed in Mexico City on

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 July 10, 1954, and had a son, <mask>, Jr. the following year. They divorced in 1961. His fourth wife was Virginia "Ginny" Pace, a talk-show hostess and former Mrs. Houston. According to a 1962 newspaper article, Pace was married with 5 children. In 1967, she divorced her husband and married <mask> that same year. <mask> considered himself a "real family man" and was dedicated to his six children and grandchildren.The couple divorced in 1987. His fifth wife, with whom he was married up to the time of his death in 1992, was Doris E<mask>. Death

After suffering a paralyzing stroke in February 1992 followed by another stroke on April 12, 1992, <mask> died from complications at St. Joseph's Hospital in Sun City, Phoenix, Arizona, on April 16, 1992, at the age of 72. A public memorial service was held at St. Juliana's Catholic Church in Fullerton, California, on April 22, 1992. He was interred in Loma Vista Memorial Park in Fullerton, California. On his grave marker is inscribed the song title of one of the biggest hits of his career: "Amor". About love, <mask> said: "I fall in love wherever I go.I think being in love [is] the most exciting thing there is." His thoughts on enthusiasm were: "Enthusiasm is the greatest word in the world. It's seeing a scenic sunset and stopping to watch it. It's telling my wife she's beautiful. It's taking my sons to dinner and coming back to watch the football or baseball game on television. We're so blasé I can't stand it (he said of people in general). If I lose my enthusiasm, I'm dead.In fact, if I die before my wife, I've asked her to put a smile on my face before they bury me." Awards and

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 legacy

Awards
  The Pioneer of Argentine Television
  The Showman of the Americas (Argentina)
  Citation by Pope Paul VI
  Barcelonés Honorario (Spain)
  Mayorquín Honorario (Spain)
  Golden Microphone (1966) – An award by Capitol Records for record sales. El Águila de América (The Eagle of the Americas) (1972 or 1974) – an honor awarded him by Mexican journalists, members of the Mexico Newspaper Writers Guild (APERM). One of the Most Popular Singers in the World (1975) – Proclamation approved by the Los Angeles City Council and signed by Arthur K. Snyder, Councilman of the 14th District (which includes Boyle Heights, where <mask> was born). Award of Appreciation (1978) – for being the American who has done the most for Mexican music. Nosotros Golden Eagle Award (1979)

<mask> started a new way of singing that combined English and Spanish, plus Latin and American rhythms, that established him as being the original crossover artist. With his romantic, baritone voice; professional, polished demeanor; and energetic showmanship, he introduced American audiences to Latin-American musical compositions with Spanish lyrics, while influencing later Latino and non-Latino recording artists to be open to the idea of singing bilingually, due to his previous success with the concept.To further illustrate this point, <mask>'s repertoire also included songs in French "Je Vous Aime" and in German "Danke Schoen". From his peers in the music industry, he gained not only their professional respect but their love and admiration, as well. Ultimately, he embodied North American, South American, and European musical styles and invited people from

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texts: around the world to enjoy his unique and entertaining musical stylings. And it must be noted that <mask> "with his interest in contemporary American music combined with his strong Mexican culture ... always considered himself a mixture of both Mexican and American heritages." Today it is peculiar that his name is not remembered for being the first American Latino performer to sing in English and Spanish and to further blend North and South American musical styles. Although he received awards and recognition in his day, his name and accomplishments appear not to have been passed down to later generations, nor was it seen fit to include his name in museums or have some type of monument or memorial in his hometown of Boyle Heights. No movie was ever made about his life, nor does he have a star on the Hollywood Walk of Fame.Some academics (with the exception of Loza, Tumpak, et al.) outright dismiss <mask> simply because he was light-skinned, had European features, and Anglicized his name, instead of pouring over his myriad accomplishments as a Mexican-American, multilingual entertainer who performed in radio, television, motion pictures, and in venues all over the United States, Mexico, Latin America and Europe. Furthermore, later successful bilingual recording artists do not appear to know – much less credit <mask> for being one of the grand patriarchs of the Latin sound that is so prevalent today. And yet, although he remains under-appreciated, his legacy is unquestionable. His enormous popularity from the early 1940s to the early 1960s influenced artists across three continents to be open to different musical influences and to

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 the creation of hybrid musical forms that led to new perspectives, international understanding, and ultimately, whole new categories of music, like Rock en Español and World Music. Singing ambassador
The best way to sum up <mask>'s life is to come around full circle and look at how he envisioned his life at the dawn of his career ... as a "Singing Ambassador". These lines are from the inside sleeve of the record jacket of Favoritos, <mask>'s first album for Capitol Records back in 1943:

"Singing Ambassador ... <mask> is more than a singer ... blessed with a voice, a personality, and a sense of showmanship, which, combined, attract the envy of less-gifted performers.He has spectacularly catapulted into the foremost ranks of entertainers since 1943 and accomplished Herculean results in furthering the friendship of the North American peoples with those of Central and South America to the south. "<mask> is a handsome, young American, born and reared in Los Angeles, with a deep insight into the music of Latin America and with a flair for singing songs in both English and Spanish that has won him the plaudits of millions. "<mask>'s selections for this collection of 'favoritos' include Just Friends, Let's Fall in Love, I'll See You in My Dreams, Imagination, María Elena, La Borrachita, Cielito Lindo, and the plaintive Adios, Muchachos. All eight selections are beloved the world over. 'They're my favorites, too,' <mask> confesses. "Capitol is privileged to present <mask> and this smart package of unforgettable music. His songs serve to establish him as a friendly ambassador without portfolio.Good neighbors of the south ... Good

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 neighbors of the north ... are brought together by his virile, baritone voice. Saludos, amigos!" In popular culture
<mask> is mentioned in the Chicano seminal work The Autobiography of a Brown Buffalo (1972) by Oscar Zeta Acosta on p. 73:

"And unless we bathed and washed the dishes, we couldn't turn on the little brown radio to listen to The Whistler, The Shadow, or The Saturday Night Hit Parade with <mask>, the only Mexican I ever heard on the radio as a kid. We would sit and listen while we shined our shoes. During the commercials, my mother would sing beautiful Mexican songs, which I then thought were corny, while she dried the dishes. 'When you grow up, you'll like this music, too,' my ma always prophesied. In the summer of '67, as a buffalo on the run, I still thought Mexican music was corny."In his short story Zona Rosa, 1965 (2004), Vicente Leñero envisions this fashionable neighborhood in Mexico City as a female energy "who is well versed in literature; she's chatted with Carlos Fuentes at Café Tirol; she's become a bullfighting buff after seeing Paco Camino leaving Hotel Presidente. She lives at Génova 20 to be neighbors with Emily Cranz and <mask>, or at the Londres Residential to be on first-name terms with Gloria Lasso. A couple of his songs have been part of the soundtracks of motion pictures: "Soy un Extraño" ("I am a Stranger") in the 1990 Spanish movie Boom-Boom and "Amor" in the American movie Lolita (1997) directed by Adrian Lyne. Controversy about racial and ethnic identity

What's in a name? In his book Rock the Nation: Latin/o Identities and the Latin Rock Diaspora (2010), Professor Roberto Avant-Mier

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texts: points out on pp. 58–59 that <mask> did not embrace his Mexican heritage and Spanish language as a youngster. He also indicates that at the urging of bandleader Gus Arnheim, <mask> accepted to change his original name of "Andrés Rábago" to the anglicized "<mask>".He seems to imply, then, that <mask> simply gave up his name and cultural identity in exchange for musical and economic opportunities otherwise reserved for Anglo-American musicians. Furthermore, Avant-Mier contends, <mask> acquiesced because, from an early age, he seemed to be more comfortable with his American rather than Mexican culture. However, Avant-Mier does not take into consideration (as explained earlier) the context of the place and period that <mask> had been born and reared in the United States during the first half of the 20th century and its influence on one's self-identity. The country experienced two World Wars, a Great Depression, and a wave of nationalism and patriotism that fostered a common and united national identity, rather than ethnic pride. Yet, although <mask> spoke and understood more English than Spanish, and was exposed more to American than Mexican culture during the initial stage of his career, however, in no way did this signify a rejection of his Mexican culture. It was solely a temporary accommodation, as <mask> stated: "Part of the reason I changed my name – as did many Jewish entertainers – was that I did not want to be stereotyped [as just a Latin singer]. But now I'm hard to sell in my own country – except to those who already know me."Yet Avant-Mier rejects <mask>'s nuanced argument by concluding that "<mask> eventually

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 attributed his phenomenal success to the fact that his light skin and European features allowed him to pass as Anglo- or European-American." (Avant-Mier, 59) To support his conclusion, Avant-Mier simply references all nine pages (142–150) of Loza's Barrio Rhythm: Mexican-American Music in Los Angeles without specifying exactly where <mask> admits to "selling out", which Avant-Mier seems to imply. Avant-Mier overlooks <mask>'s talent, drive, and work ethic as essential components to his success. Plus, no credit is given to <mask> for having the flexibility to manage his identity in order to capitalize on the few opportunities available for a Mexican-American in a racist society, while being faithful to aspects of both his Mexican and American identities. While some may call this "selling out", others might view it as "when life gives you lemons, make lemonade",

Avant-Mier continues: "The case of <mask> also reminds us of social structures that often required Latino/as to perform whiteness in order to have any chance of success in the mainstream music business." (Avant-Mier, 59) Deborah Pacini Hernández states as much on p. 10 of her book Oye Como Va! : Hybridity and Identity in Latino Popular Music when she makes the same casual argument: "Latinos who could 'pass' as white could access the mainstream market, although only if they hid their ethnicity by changing their names, as did <mask> and Ritchie Valens, respectively born Andrés Rábago Pérez and Ricardo Valenzuela."Thus, neither seem to lend credence to <mask>'s claim that his Mexican-American ethnicity was clearly evidenced by his singing in Spanish and his continual

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texts: affirmation of being of Mexican descent. Specifically, once he had a huge hit with "Bésame Mucho", <mask>'s trademark was his bilingual singing ability, which would not only be a feature of many of his songs, but a reflection of his cultural upbringing. As Loza states: "Because he was singing bilingually, <mask> felt that the public would know his background by the Spanish songs in his repertoire"  and realize he was a Mexican who had simply adopted a stage name, as was the norm for many performers of all ethnicities in that era. <mask> has also stated that he was always upfront about his Mexican heritage: "You know, I would tell everybody, I'd say, 'I'm Mexican ... ' and they'd say, 'No, <mask>, you must be Spanish.' I'd say, 'No, I'm Mexican ... ' and they'd say, 'No, <mask>, but you're so light.' And I'd say, 'No, no, I'm Mexican. My father's Mexican.My mother's Mexican ... '"  Clearly, his ethnic identity was not up for negotiation. In truth, there was not much the talented, hard-working <mask> could do about his personal appearance, who just happened to be "six feet tall, weighs 170 pounds, has hazel colored eyes, and black hair." <mask>'s distinct racial characteristics apparently were classified as being "Anglo", although they fall within the diversity of Mexican racial identity with its three main components being Spanish, Indian, and Negro ancestry (in varying degrees). In <mask>'s case, his preponderance of European stock was a reaffirmation, and an extension, of his Mexican identity. There was no need for him to "perform whiteness" or "pass as white", as it was already a part of his racial heritage and identitybut as

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texts: a Mexican, not European-American. <mask>'s nationality was American, but, at the same time, he never denied his Mexican ethnicity. The name change was simply a means to an end.The explanation could be as simple as Arnheim did not like the sound, wanted something easier to pronounce, and chose "<mask>" because it reminded him of Russ Columbo (a vocalist and violin player associated with Arnheim and his Orchestra who had already gained popularity before his untimely death). "Russ Columbo" was a stage name, as his birth name was "Ruggiero Eugenio di Rodolpho Colombo". Another adherent who claimed that <mask>'s success was due to his "whiteness" was Lalo Guerrero, Mexican-American composer, singer, and musician. He stated that he might have had mainstream success, if he, too, were "güero" (light-skinned), like <mask> or Vikki Carr. In addition, according to Guerrero, they were the only Mexican-Americans who were accepted and successful in Mexico. This simple, almost naive explanation belies Guerrero's own stature as a legendary musician of some renown, known as the "Father of Chicano Music". As stated previously, one must take note that there were also examples of other Mexican-Americans and Mexicans who were successful and who did not anglicize their names: actors Anthony Quinn, Ricardo Montalbán, Katy Jurado, Pedro Gonzalez Gonzalez, etc.Other dark-complexioned recording artists who were known during the period were Mexican singer Toña la Negra and Cuban singers Celia Cruz and Benny Moré and musician Pérez Prado. In addition, Germán Valdés, Tin Tan, a Mexican comic, actor, and singer who grew up in the border area of Ciudad

masks: Russell Russell Russell Russell


texts: Juárez, Chihuahua, south of El Paso, Texas, was exposed to Mexican-American pachucos and caló. He used this knowledge to create his comical version of a pachuco, using bilingual dialogue to hilarious effect and enormous popularity. Surely, Guerrero must have appreciated and understood the fact that, despite the shade of a Mexican's skin tone, starting and maintaining a successful career in the entertainment industry mainly took a lot of hard work, dedication, talent, networking, and luck. But, the assessment of Avant-Mier that <mask>'s success was mainly due to the fact that he "Anglicized" his name and used his "European" features to bypass American society racist structure and perform "whiteness" is short-sighted. In contrast, for <mask>, the "name-change" was not that important in the big picture, since he would always claim, sometimes emphatically so, that he was ethnically Mexican. Some newspaper articles, books, and liner notes support this statement (see section What's in a Name?II). As such, this whole construct needs to be reframed:  <mask> as a Mexican was involved in a give-and-take, push-and-pull dynamic where, at times, he was on the forefront singing bilingually and declaring his Mexican ethnicity; and, at other times, conforming to American society's stereotypical notions of Mexicans performers in order to have the opportunity to perform and earn a living. Furthermore, to describe <mask> as performing "whiteness" brings up images of performing "blackface" which would be a misnomer, as this term is applied within the context of the racial discrimination exhibited by Anglo-Americans against African-Americans, so it


texts:
 seems out of place when referring to Mexicans or Mexican-Americans who not only have a distinct racial, ethnic, and cultural heritage, but a different history in the United States, as well. Moreover, <mask>'s ability to sing in Spanish would prove to be a double-edged sword: it gave him popularity and acceptance at the onset, but it also typecast him as a Latin singer, leaving him out of work when the popular wave of Latin music passed. But what bothered <mask> the most was that his identity as an American singer could be called into question. This same ability to sing in Spanish, however, then opened up a whole new market for him in Mexico, Latin America and Europe, where his brand of music was not only accepted but celebrated. Unfortunately, here, <mask> was subject to the Mexican brand of discrimination which tended to label him a "pocho".(see "Mexican Films" section above)

One must question if Guerrero's assertion regarding skin color and success in the music industry (and validation of this by later Latino scholars) is correct and universal: that light-skin and European features allowed for upward mobility, while tan or dark-skinned performers were penalized. One cannot deny the preponderance of light-skinned musical stars, but the dark-complexioned stars were also present in United States (and Mexico). Most important, the expression of Chicano artistic and musical creations were finding an outlet within and outside of the mainstream, for reasons that go beyond just skin color and discrimination. In <mask>'s case, he was gifted with an incredible voice, had a flair for showmanship, along with charisma and good looks. On a


texts:
 personal level, just like in the United States, his need to sing and perform were validated in Mexico and Latin America; moreover, he must have surely felt more ethnically Mexican than ever before, when in 1956, he married the daughter of a Mexican diplomat, who gave birth to his only son ... But after 11 years of living and performing in Mexico and Latin America, <mask> once again felt the blade of the double-edged sword when he said he "felt that he was losing his professional identity and also being subtly pressured into becoming a citizen of Mexico,"  which precipitated his return to the United States in the mid-1960s, and, again, having to resort to a temporary accommodation in terms of his Mexican-American identity. The pendulum now swung the other way, as he sang mainly in English and married a blue-eyed, blond former Mrs. Houston.In conclusion, questions regarding <mask>'s identity, appearance, acceptance, success, and influence over a career spanning 50 years and several continents is much more complex and layered than what Avant-Mier, Pacini Hernandez, and Guerrero have presented. What's in a name? II
<mask> had been emphatic about his Mexican ethnicity, over the course of his career from 1942 to 1989, which spanned almost 50 years. Notwithstanding, his racial ethnicity was described using different terms in newspapers, magazines, and on albums. On the inside flap of his debut album "Favoritos" (1943), Capitol described him as: "a handsome young American, born and reared in Los Angeles..."

In a 1944 newspaper article, he was called: a "talented, 23-year-old Mexican". In another newspaper article from 1944, he was

masks: Russell Russell Russell


texts:
 described as: "...a fellow of Spanish extraction..."

In a 1945 article, he was described as a 'Los Angeles-born Mexican lad'. In a 1946 article, he was called: "an American Spaniard".On the back cover of his album "The Magic of <mask>" (1958), RCA described his singing style, "...which stems from his Mexican-American upbringing..."

Among many names, he has also been labeled as: "Hispano", "Latin", "Spanish-Mexican", "of Mexican parentage", "Mexican of Spanish descent", "a Californian of Mexican descent", "Mexican-Spanish", "mexicano-norteamericano", "norteamericano" and "Chicano". The prodigal son returns ... ? After releasing the Capitol singles "Longin'" and "Enamorado" in 1966 (neither charted), <mask>'s comeback album in the United States was "More Amor!" (Capitol Records, 1967). On the back cover, there is a certain awkwardness and palpable confusion in the explanation about why <mask> had left the United States for Mexico, and why he had returned. <mask> apparently divorced his third wife, Velia Sánchez Belmont, sometime in the early 1960s (a September 7, 1963, newspaper article states that his new romance was the Countess Joaquina de Navas of Madrid). His television show in Argentina ended in 1964.His waning popularity was also evidenced by the popularity of a new wave of younger singers in Mexico, such as César Costa, Enrique Guzmán, and Alberto Vásquez, who in many ways, were his musical heirs. They took up the mantle that he had initially carried into Mexico, and these young singers performed Spanish covers of American and British Invasion hit songs of the 1960s to an enthusiastic, young female fan base, as <mask>

masks:
Andy Russell
Russell
Russell
Russell
Russell


texts: had once done as a crooner in the 1940s. Furthermore, and most tellingly, these younger singers were Mexican nationals, unlike <mask> who was an American of Mexican ancestry. <mask> probably saw the writing on the wall. He had now become passé. All these reasons most likely played a factor in <mask> looking toward the United States for a fresh start. In any case, this time around, the visions of grandeur turned out to be a mirage, as none of the songs on "More Amor!"charted on Billboard. The album followed the same <mask> formula: a nice balance of songs, some in English and some in his "bilingual style", which had proven so successful in the decade of the 1940s and in Latin America. Needless to say, regardless of what was written on the back cover and his situation in Mexico, <mask> did not have the same success in 1967 in the United States as he had had in 1944 for a plethora of reasons, many dealing with issues other than identityhe was older, musical tastes had changed, he had been effectively gone for 11 years, the milieu was certainly different, as the country was caught up in the social and political turmoil of the 1960s, etc. Yet, the notes on the back cover are a fascinating testament to where <mask> believed he was in terms of his public persona in 1967, after having been out of the country for 11 years. Notwithstanding, <mask> continued working. His comeback appearance at the Chauteau Madrid nightclub in New York was a phenomenal success. He also performed in Las Vegas, at other nightclubs, and was a frequent guest on television programs.Plus, he continued to make periodic trips to perform in Mexico and Latin

masks: Russell Russell Russell Russell Russell Russell Russell


texts:
 America. Apparently, he continued being a captivating and charismatic performer during his live appearances. That same year another album followed: "...Such a Pretty World Today" (Capitol, 1967), this time with all songs sung in English, except for "Lady", the last chorus of which he sings in his "flawless Spanish". This was followed by a single, "I'm Not Through Missing You". (Capitol 45 rpm, 1967). This approach seemed to work better as both songs charted in the top ten of Billboard's Easy Listening Chart. At this point, it may seem that <mask> was nudging towards being the American singer who sang in English, while not totally abandoning the Latin singer persona, in order to gain a modicum of success in the American recording industry.Less was being said about his name change at this point, as many people already knew that he was the Latin or Mexican singer with the American-sounding name. <mask> considered his nationality to be, first and foremost, American but ethnically he was Mexican-American. He corrected people who said he was Spanish based on his appearance (tall, light-skinned, and hazel eyes) by stating that he was Mexican. He found the term Mexican-American to be acceptable, but he had a difficult time accepting the term "Chicano". He stated: "My parents were born in Mexico, but I hate the word 'Chicano'. I am an American." In a later interview, he elaborated on the subject:

In the late 19th and early 20th century, the term "Chicano" was an insulting, disparaging term used by upper class Mexicans who lived in the United States to refer to indigent Mexican immigrants who had just crossed the border.Thus, <mask> is


texts:
 not using the term as it was reclaimed and redefined as a source of pride and political power in the 1960s, although he does agree with the principal. In spite of this, <mask> meant no offense or disrespect to those people who embraced the term Chicano; he just stated that it was not for him. Steven Loza, director of Ethnic Musicology at the University of California, Los Angeles, and author of Barrio Rhythm:  Mexican-American Music in Los Angeles may have had a different take than <mask> on the term "Chicano" when he stated: "Chicano music is <mask> ... He personified that whole experience." Charted hits
The following tables list records by <mask> that were sold and charted in the United States. He also made recordings in Mexico, however these "received little exposure in the U.S. but were hits all over Latin America and in Spain." One would have to consult each country's record charts to see how <mask>'s records rated in each individual country for a complete overview.Filmography

Discography
Album Titles:
  Favoritos (LP, Capitol, 1943)
  This is the Night (LP, Capitol, 1946)
  Without you / Tres palabras : from Walt Disney production "Make mine music" (LP, Capitol, 1946)
  The First Noël (La primera Navidad) (LP, Capitol, 1947)
  I'll Close my Eyes (LP, Capitol, 1947)
  Love notes from <mask> (LP, Capitol, 1948)
  The Magic of <mask> (LP, RCA Victor, 1958)
  Inolvidables del Cine Americano (Orfeón, 1959)
  Los Discos del Millón, Colección de Oro, The Golden Collection (LP, Mexico:  Orfeon, 1960)
  La Hora del Romance, The Time for Romance (Dimsa, 1961)
  Canciones de Aquí y Allá (LP, RCA Victor Argentina, 1962)
  More Amor!

masks:
Russell
Russell
Andrew Russell
Russell
Russell
Andy Russell
Andy Russell


texts:
 (LP, Capitol, 1967)
  ... Such a Pretty World Today (LP, Capitol, 1967)
  <mask> (Barcelona Madrid : Belter, D.L. 1967)
  <mask> (Original radio series produced by AFRTS – Armed Forces Radio and Television Service. Duration:  30:00. Performer(s):  <mask>, host; various performers. Description:  23 sound discs)
  Internacional/ International (LP, Discos Latin International, 1973)
  <mask> (Madrid : edita y distribuye Gramusic, D.L.1973)
  Yesterday, Now ... and Forever / Ayer, Hoy ... y Siempre (LP, Kim Records, 1982)
  Spotlight on – <mask> (compilation) (CD, Capitol, 1995)
  El Crooner Latino de Hollywood, <mask>, Soy un Extraño (compilation) (CD, Alma Records, 2003)
  <mask> con Accento Español (compilation, remastered) (CD, Rama Lama Music, 2011)
  <mask> 15 Grandes Éxitos en Español (Imex Media, Codex 2014)

V-Discs
  No.337B:  "Magic Is the Moonlight" "I Dream of You" (issued December 1944)
  No.341B:  "Don't You Notice Anything New" "I'll See You in my Dreams" (issued January 1945)
  No.450B:  "Negra Consentida" (issued June 1945)
  No.385B:  "After Awhile" "Sweet Dreams, Sweetheart" (issued March 1945)
  No.631B:  "La Borrachita" "Time Was" (issued May 1947)

Radio appearances

Citations

References
 Avant-Mier, Roberto (2010). Rock the Nation:  Latin/o Identities and the Latin Rock Diaspora. Continuum International Publishing Group. Carlos Ulanovsky, Silvia Itkin, Pablo Sirvén (2006). Estamos en el aire: una historia de la televisión en la Argentina (in Spanish). Emecé Editores. Hernández, Deborah Pacini (2010).Oye Como Va! :  Hybridity and Identity in Latino Popular Music. Temple University Press. Horn, David (2012).

masks:
Andy Russell
Andy Russell
Andy Russell
Andy Russell
Andy Russell
Andy Russell
Andy Russell
Andy Russell


texts:
 Shepherd, John, ed. Continuum Encyclopedia of Popular Music of the World Volume 8: Genres: North America. The Continuum International Publishing Group.Lamparski, Richard (1985). Whatever Became of ... Ninth Series. Crown Publishers, Inc.
  Loza, Steven (1993). Barrio Rhythm: Mexican American Music in Los Angeles. University of Illinois Press. Macías, Anthony (2008). Mexican American Mojo: Popular Music, Dance, and Urban Culture in Los Angeles, 1935–1968 (Refiguring American Music).Duke University Press Books. Nielsen, Jorge (2004). La Magia de La Television Argentina:  1951–1960, Cierta historia documentada (in Spanish). Ediciones del Jilguero. Restrepo Duque, Hernán (1992). Lo que cuentan los boleros [The Meaning Behind the Boleros] (in Spanish). Centro Editorial de Estudios Musicales, Ltda.(Latinoamerican Musical Center). Sheinin, M.K. David (2006). Argentina and the United States: An Alliance Contained (United States and the Americas). University of Georgia Press.  .
  Tumpak, John R. (2008). When Swing was the Thing:  Personality Profiles of the Big Band Era. Marquette University Press.External links

 <mask> at El Blog del Bolero
 <mask> songs at freegal music
 <mask> radio show appearances at Radio Echoes
 <mask> in The Stork Club at The Internet Archive
 <mask> in Breakfast in Hollywood at The Internet Archive

American baritones
American crooners
American male actors of Mexican descent
American male radio actors
American male television actors
American musicians of Mexican descent
American television personalities of Mexican descent
Spanish-language singers of the United States
Swing singers
Traditional pop music

masks:
Andy Russell
Andy Russell
Andy Russell
Andy Russell
Andy Russell


texts:
 singers
1919 births
1992 deaths
People from Boyle Heights, Los Angeles
Singers from Los Angeles
American radio comedy
Capitol Records artists
Chicano
Golden Age of Mexican cinema
Hispanic and Latino American people
Mexican-American culture
RCA Victor artists
20th-century American male actors
20th-century American singers
Articles containing video clips
People from Sun City, Arizona
Catholics from Arizona
20th-century American male singers
Male jazz musicians
Hispanic and Latino American


texts: <mask>  (March 31, 1928 – June 10, 2016) was a Canadian professional ice hockey player. From 1946 to 1980, he played 26 seasons in the National Hockey League (NHL) and six seasons in the World Hockey Association (WHA); his first 25 seasons were spent with the Detroit Red Wings. Nicknamed "Mr. Hockey", <mask> is often considered the most complete player to ever play the game and one of the greatest of all time. At his retirement, his 801 goals, 1049 assists, and 1850 total points were all NHL records that stood until they were broken by Wayne Gretzky, who himself has been a major champion of <mask>'s legacy. A 23-time NHL All-Star, he still holds the NHL record for seasons played, and his all-time NHL games played record of 1,767 was only surpassed in 2021 by Patrick Marleau. In 2017, <mask> was named one of the "100 Greatest NHL Players". <mask> made his NHL debut with the Red Wings in 1946.He won the Art Ross Trophy for leading the league in points each year from 1950–51 to 1953–54, then again in 1956–57 and 1962–63, for a total of six times, which is the second most in NHL history. He led the NHL in goal scoring four times. He ranked among the top ten in NHL scoring for 21 consecutive years and set an NHL record for points in a season (95) in 1953, a record which was broken six years later. He won the Stanley Cup with the Red Wings four times and won six Hart Trophies as the NHL's most valuable player. He also led the NHL in playoff points six times. <mask> retired for the first time in 1971 and was immediately inducted into the Saskatchewan Sports Hall of Fame that same year. He was then

masks:
Gordon Howe
Howe
Howe
Howe
Howe
Howe


texts:
 inducted into the Hockey Hall of Fame the next year, but came back two years later to join his sons Mark and Marty on the Houston Aeros of the WHA.Although in his mid-40s, he scored over 100 points twice in six years, won two straight Avco World Trophies (1974 and 1975) and was named most valuable player in 1974. He made a brief return to the NHL in 1979–80, playing one season with the Hartford Whalers, then retired at age 52. His involvement with the WHA was central to their brief pre-NHL merger success, forcing the NHL to recruit European talent and expand to new markets. <mask> was most famous for his scoring prowess, physical strength and career longevity, and redefined the ideal qualities of a forward. He is the only player to have competed in the NHL in five different decades (1940s through 1980s); he also played a shift in a 1997 game for the Detroit Vipers of the IHL, playing professional hockey for a sixth decade. He became the namesake of the "<mask> <mask> hat trick": a goal, an assist and a fight in the same game, though he only recorded two such games in his career. He was the inaugural recipient of the NHL Lifetime Achievement Award in 2008.Early life
<mask> was born in a farmhouse in Floral, Saskatchewan, the son of Katherine (Schultz) and <mask>. He was one of nine siblings. When Gordie was nine days old, the <mask>s moved to Saskatoon, where his father worked as a labourer during the Depression. In the summers, <mask> would work construction with his father. <mask> was mildly dyslexic growing up, but was physically beyond his years at an early age. Already six feet tall in

masks:
Howe
Gordie
Howe
Howe
Albert Howe
Howe
Howe
Howe


texts:
 his mid-teens, doctors feared a calcium deficiency and encouraged him to strengthen his spine with chin-ups. He began playing organized hockey at age eight.<mask> quit school during the Depression to work in construction, then left Saskatoon at 16 to pursue his hockey career. Playing careers
<mask> was an ambidextrous player, one of just a few skaters able to use the straight sticks of his era to shoot either left- or right-handed. As a young teen, he played bantam hockey with the King George Athletic Club in Saskatoon, winning his first championship with them in the 1942 Saskatchewan Provincial Bantam Hockey Finals. He received his first taste of professional hockey at age 15 in 1943 when he was invited by the New York Rangers to their training camp held at "The Amphitheatre" in Winnipeg, Manitoba. He played well enough there that the Rangers wanted <mask> to sign a "C" form which would have given that club his National Hockey League rights and to play that year at Notre Dame, a Catholic school in Wilcox, Saskatchewan, that was known for producing good hockey players. However, <mask> did not feel that was a good fit for him and wanted to go back home to play hockey with his friends; he declined the Rangers' offer and returned to Saskatoon. In 1944, <mask> was noticed by Detroit Red Wings scout Fred Pinkney and was invited to their camp in Windsor, Ontario.He was signed by the Red Wings to a "C" form and assigned to their junior team, the Galt Red Wings. However, due to a maximum number of Western players allowed by the league and the Red Wings' preference to develop older players, <mask>'s

masks: Howe Howe Howe Howe Howe Howe


texts:
 playing time with the team was initially limited. However, in 1945, he was promoted to the Omaha Knights of the minor professional United States Hockey League (USHL), where he scored 48 points in 51 games as a 17-year-old. While playing in Omaha, Frank Selke of the Toronto Maple Leafs noticed <mask>'s rights were not properly listed as Red Wings property. Having a good relationship with Detroit head coach Jack Adams, he notified Adams of the clerical error and <mask> was quickly put on the team's protected list. In the midst of his playing career, <mask> appeared as himself on the March 27, 1967 episode of the CBS game show To Tell the Truth. He received two of four possible votes.Although hockey was not as popular as other sports in America in 1967, panellist Peggy Cass was a hockey fan and recognized <mask>. She disqualified herself from voting. Detroit Red Wings
<mask> made his NHL debut on October 16, 1946, playing right wing for the Detroit Red Wings, scoring in his first game, at age 18. He wore #17 as a rookie. However, when Roy Conacher joined the Chicago Black Hawks after the 1946–47 season, <mask> was offered Conacher's #9, which he would wear for the rest of his career. Although he had not requested the change, <mask> accepted it when he was informed "9" would entitle him to a lower Pullman berth on road trips. He quickly established himself as a great goalscorer and a gifted playmaker with a willingness to fight.<mask> fought so often in his rookie season that head coach Jack Adams told him, "I know you can fight. Now can you show me you can play hockey?" The term "<mask> <mask>

masks: Howe Howe Howe Howe Howe Howe Howe Howe Gordie Howe


texts: hat trick" (consisting of a goal, an assist, and a fight) was coined in reference to his penchant for fighting; however, <mask> himself only recorded two such hat tricks in his career, on October 10, 1953, and March 21, 1954. Using his great physical strength, he was able to dominate the opposition in a career that spanned six decades (including one game with the Detroit Vipers of the IHL in 1997). In a feat unsurpassed by any hockey player, he finished in the top five in scoring for 20-straight seasons. <mask> also scored 20 or more goals in 22 consecutive seasons between 1949 and 1971, an NHL record. <mask> led Detroit to four Stanley Cup championships and to first place in regular-season play for seven consecutive years (1948–49 to 1954–55), a feat never equalled in NHL history.During this time, <mask> and his linemates—Sid Abel and Ted Lindsay—were known collectively as "The Production Line", both for their scoring and as an allusion to Detroit auto factories. The trio dominated the NHL in such a fashion that in 1949–50, they finished one-two-three in NHL scoring. This was despite the fact <mask>'s career prime was during a defensive era, when scoring was difficult and checking was tight. However, as he was emerging as one of the top players in the league, <mask> sustained the worst injury of his career - his skull was fractured and his cheekbone and nose were broken after his attempt to check the Toronto Maple Leafs captain Ted Kennedy into the boards went awry during the 1950 playoffs. The severity of the fracture was such that he was taken to the hospital for emergency surgery in order


texts: to relieve the pressure on his brain. He missed the rest of the playoffs, but his dominant teammates were still able to win the Stanley Cup. The next season, 1950–51, <mask> came back, responding to his severe injuries by playing in every game, by leading the NHL in goals, assists, and total points (86), and by winning the scoring title by 20 points.This was the first year of a four-year period of dominance by <mask> which the NHL had never seen before. He won four straight scoring titles and in two of the years (1950–51 and 1952–53) he led the NHL in both goals and assists, which has only been done by five other players in history (a total of 10 times aside from <mask>). In three of those years, he led the NHL in goals. In 1952–53, <mask> became the first NHL player to score 90 points, finishing the season with 95 points and a career-best 49 goals  which just missed tying the league record of 50 goals held by Rocket Richard (albeit in a 50-game season). Prior to <mask>, no NHLer had led the NHL in points more than two times in a row. Only three other players have ever matched the feat of winning four straight scoring titles since—Phil Esposito, Jaromír Jágr and Wayne Gretzky (who won seven in a row). As <mask> emerged as one of the game's superstars, he was frequently compared to the Montreal Canadiens' Maurice "Rocket" Richard.Both were right wingers who wore #9, were regular challengers for the league scoring title, and could also play roughly if needed. Their first NHL match-up was in 1946, where Richard hit <mask> with a hard check and an elbow to the chin, then <mask> knocked Richard

masks: Howe Howe Howe Howe Howe Howe Howe Howe


texts: out with a single punch. <mask> recalled "They always thought there was bad blood because I hit [Richard] once coming across the line and he spun like a rocket and fell down. He wasn’t hurt that much and I started to laugh. But the laughter stopped when there were eight guys on me". <mask> also had a rivalry with the Canadiens' centre Jean Béliveau, who wrote in his autobiography that "trying to strong-arm Gordie off the puck in a corner was akin to wrestling with a telephone pole". The Red Wings and Canadiens faced off in four Stanley Cup finals during the 1950s, and again in the 1966 final; Detroit prevailed in 1952, 1954 and 1955, but Montreal triumphed in 1956 and 1966.The Red Wings also had a fierce rivalry with the Chicago Blackhawks who defeated them in the 1961 Stanley Cup Finals. Chicago's Stan Mikita recalled one time as a rookie when he slashed <mask> saying "he was an old man who didn’t belong on the ice"; later in the season <mask> exacted revenge with a check that gave Mikita a concussion. Bobby Hull recalled the times he and <mask> played against each other saying 'I enjoyed every high-sticking minute of it', describing <mask> as "strong as a bull and tougher than a night in jail”. In the 1968 All-Star Game where Hull and <mask> were teammates for the first time, Hull said "it was nice finally having Gordie on my side. He was no fun playing against". Hull and <mask> would also be rivals in the World Hockey Association (WHA), as members of the Winnipeg Jets and Houston Aeros, respectively, and would be reunited as teammates on the Hartford Whalers where they finished off their


texts: playing careers. After being consistent contenders through the 1950s and early 1960s, the Red Wings began to slump in the late 1960s.When <mask> turned 40 in 1967–68, the NHL expanded from 6 to 12 teams and the number of scoring opportunities grew as the game schedule increased. <mask> played the 1968–69 season on a line with Alex Delvecchio and Frank Mahovlich. Mahovlich was a scorer, and Delvecchio was a gifted playmaker. The three were dubbed "The Production Line 3", and at age 40, <mask> scored 103 points, surpassing 100 points for the only time in his NHL career by scoring 44 goals and a career-high 59 assists. However, following his personal best 103-point season, conflict arose with the Red Wings after <mask> discovered he was just the third-highest paid player on the team with a $45,000 salary. While team owner Bruce Norris increased <mask>'s salary to $100,000, he blamed <mask>'s wife, Colleen, for the demand. <mask> remained with the club for two more seasons, but after 25 years, a chronic wrist problem forced him to retire after the 1970–71 season and he took a job in the Red Wings front office.At the beginning of 1972, he was offered the job as first head coach of the New York Islanders, but declined it. By the end of his NHL career, <mask> had won the Hart Memorial Trophy as the NHL's most valuable player six times: 1952, 1953, 1957, 1958, 1960 and 1963 – at that time the most of any player, and as of 2019 second only to Gretzky's nine. He also finished second or third in the voting for the Hart a further six times. <mask> was named to the NHL's First All-Star Team 12 times and

masks: Howe Howe Howe Howe Howe Howe Howe Howe Howe


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 to the Second All-Star Team eight times. <mask> was named an Officer of the Order of Canada in 1971. His number 9 jersey was retired by the Red Wings on March 12, 1972. World Hockey Association
One year later, <mask> was offered a contract to play with the Houston Aeros of the newly formed World Hockey Association (WHA), which had also signed his sons Mark and Marty to contracts.Dissatisfied with not having any meaningful influence in the Red Wings' office, he underwent wrist surgery to make a return to hockey possible, and he led his new team to consecutive league championships in 1974 and 1975. In 1974, at age 46, <mask> won the Gary L. Davidson Trophy, awarded to the WHA's Most Valuable Player (the trophy was renamed the Gordie Howe Trophy the following year). <mask> played with the Aeros until 1977, when he and his sons joined the New England Whalers. After Marty's cheekbone was broken by Robbie Ftorek, in the next game <mask> used his stick to cross-check Ftorek in the face. Writer Michael Farber recounted “Mark told Gordie, ‘Dad, he’s [Robbie] my friend, he’s an old teammate on Team Canada, he has been a mentor to me,’ But none of that mattered. Robbie had mussed up a <mask>. <mask> <mask> grew up on the prairie.He believed in prairie justice.”

1974 Summit Series

<mask> was named with sons Mark and Marty to the WHA version of Team Canada for an eight-game series against the Soviet Union. Playing on a line with son Mark and Ralph Backstrom, Gordie contributed seven points in seven games at age 46. The Soviets won the series four wins to Canada's one, and with three ties. In the final

masks: Howe Howe Howe Howe Howe Howe Gordie Howe Gordie


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 season of the WHA, Gordie had the opportunity to play with Wayne Gretzky in the 1979 WHA All-Star Game. The format of the game was a three-game series between the WHA All-Stars against Dynamo Moscow. The WHA All-Stars were coached by Jacques Demers, and Demers asked <mask> if it was okay to put him on a line with Gretzky and his son Mark. In game one, the line scored seven points, as the WHA All-Stars won by a score of 4–2.In game two, Gretzky and <mask> each scored a goal and <mask> <mask> picked up an assist as the WHA won 4–2. WHA also won Game Three to ensure a clean sweep. Hartford Whalers
When the WHA folded in 1979, the renamed Hartford Whalers joined the NHL. While the Red Wings still held <mask>'s NHL rights even though he had retired eight years earlier, the Whalers and Red Wings reached a gentleman's agreement in which Detroit agreed not to reclaim him. <mask> had experienced dizzy spells in the latter part of the 1978–79 WHA season, and underwent an "extensive battery of tests" before deciding to play the 1979–80 NHL season. <mask> played one final season, appearing in all 80 games of the schedule and helping his team to make the playoffs by scoring 41 points (15 goals and 26 assists). At 52 years and 10 days, <mask> became the oldest man to play an NHL game where his Whalers lost 4–3 to the Canadiens.Late in the season, the Whalers signed Bobby Hull and put <mask>, Hull and Dave Keon on the same line. One particular honour came when Wales Conference head coach Scotty Bowman selected <mask>, Phil Esposito and Jean Ratelle to the mid-season All-Star Game—which was to take place in

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