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<mask> (17 May 1933 – 16 December 2013) was an Irish fashion designer. Amongst her clients were the Irish president Mary Robinson. Early and personal life
<mask>, née Vernon, was born in Taylor’s Hill County Galway on 17 May 1933. She was the eldest of seven children, her four brothers John, Robert, William and Ray and her two sisters Elizabeth and Anne. Herbert Scott Vernon, <mask>'s father, was born in Ballinrobe, County Mayo and worked as a Bank of Ireland agent. Her mother, Netta Vernon née Morrissey, was from Charleville, County Cork. Herbert Vernon died at the age of 60, his death led her mother to move to America to earn money for the family.Here, she started working as a housekeeper, this being her first job. As <mask>’s brothers were still in school when their father died, Netta earned enough money working to send home to put them through college. <mask> met <mask>, from Stillorgan, at an international rugby match in Lansdowne Road. Conor, born 1928, was a partner in <mask>. This was a business founded by his father, which then merged to become Stokes Kennedy Crowley accountancy firm (now KPMG). The two married in 1957, but delayed having a family as <mask> wanted to continue her work. In 1968 the couple welcomed their first child, Vernon.They later had two more children, Fiona and Lisa. The family lived in Dolly’s Grove, a 62-acre stud farm in Dunboyne, County Meath. <mask> studied fashion design at Grafton Academy in Dublin, which opened in 1938. It is located at the Grand Canal Dock. She was pushed into going there by her mother, although her father never approved of women getting an education. Career
When <mask> graduated from the Grafton Academy, she went on to work as an air hostess for Aer Lingus. At the time, being an air hostess was considered a very glamorous job, it provided her with the opportunity to travel and be on the first transatlantic flight out of Ireland.IB Jorgenson was one of the designers of the Aer Lingus uniforms. He also attended the Grafton Academy and later became good friends with <mask>. When <mask> met her husband, it was expected that she would stop working to raise a family, however she decided to continue working. She was not ready for a family and decided to go on the pill, and to get a job. It was rare for a married women to have a job in that time period, but in 1960 <mask> began working for Irene Gilbert. Irene Gilbert was another leading Irish fashion designer, she is famous for her work and friendship with Grace Kelly. She designed multiple of Grace's outfits, which <mask> would have also worked on.She perfected the designing skills that she learned at Grafton Academy, for example, Draping. <mask> learned a lot about the fashion business from Gilbert. She learned more about fashion design itself, but also sales in fashion, marketing, and management. <mask> travelled to the United States multiple times doing sales and correspondence for Gilbert, this prepared her a lot for when she decided to open her own business. <mask> worked for Gilbert for seven years, until her first child was born. <mask> then launched her own knitwear business in 1968. She then set up her workshop and store on Duke street in the city centre of Dublin.<mask>'s reputation enhanced through the stocking of well known designers such as Valentino, Thierry Mugler and Ungaro to supplement her own designs. Her innovative and creative designs led to a greater demand from her clients. She employed 600 knitters across the country to meet expectations. Her innovative spin on the traditional woollen jumper was the standout of her early designs. <mask> was becoming an iconic figure in the fashion industry and was starting to make appearances through the media and TV shows, one in particular being "Head To Toe" which was the prime fashion TV show on RTE. She appeared on the show in 1992 to showcase her Autumn/Winter collection for that year. Clients
<mask> dressed everyone, from presidents to film stars.She spent a lot of her later life still designing and throughout the eighties, she began bringing her clothes to the rich women of America. She had a number of high profile customers which included Miranda Guinness, Terry Keane and Rosaleen Linehan. Her popularity grew in the US because of her custom fitted clothing and personal interest in all of her customers. <mask>'s most note worthy achievement was the dressing of Mary Robinson when she met Queen Elizabeth in London in 1993, and Pope John Paul in Rome in 1996. Another accolade was when she designed the dress that Marie Heaney wore when her husband Seamus Heaney was awarded the Nobel Prize for Literature in 1995. <mask> received the Satzenbrau Designer of the Year award in 1990. By then, her clothes became more colourful, yet remained elegant.One of <mask>'s most well known Irish fashion icons was Miranda Iveagh, known to be one of Ireland's best dressed females. When asked about being dressed by <mask> she said she felt "frightfully happy" dressed in her designs. Iveagh also talked about how <mask> had a way at selling her designs by charming the husbands at spending more money than they anticipated on their wives. Later life and death
In the mid-to-late 1990s, <mask>’s career continued to be busy, as was her husbands. <mask> was competing in the European horse racing championships. The two kept horses on their farm in Dunboyne and rode them every day. She underwent a hip operation in 1999, which marked a decline in her health.<mask> died on 22 September 1999, when <mask> was in New York. The cause of his death was unknown. It was at this time that she was diagnosed with Alzheimer's disease. In an interview with The Independent, her daughter, Lisa, spoke about her experience with her mother and her Alzheimer's, looking back at one experience in particular, “..it was like she had disappeared. I brought her in to be diagnosed in November and she was kicking and screaming. I remember it so well, I had taken a half day off from work, she had been riding a horse that morning and she was totally compos mentis in her jodhpurs and riding boots and she said 'You are not going to put me into a loony bin!' She actually got her hand and slapped my arm.I knew that she understood what it would be like. I read her diary two days later and it said 'Lisa brought me to the doctor. I actually was quite glad. I was very frightened. 'It was frightening stuff for everyone concerned, and very emotional.” In her last few years she became difficult, refusing any help or care. She also became very anxious and agitated in situations. A year later, she decided to retire, closing her boutique in Molesworth Place.She then sold her 62-acre farm for €4.2 million, along with her horses, and moved to Sandymount, Dublin 4. She was later moved into Highfield Healthcare nursing home in Whitehall, under the care of her son Vernon and two daughters Lisa and Fiona. Lisa also spoke in the interview of how <mask> was regressing back to her childhood. <mask> died on 16 December 2013, aged 80 and was buried in Rooske Cemetery, Dunboyne, County Meath. References

1933 births
2013 deaths
Irish fashion designers
People from County Galway
20th-century Irish people

masks:
Pat Crowley
Patricia Crowley
Crowley
Pat
Crowley
Conor Crowley
Kennedy Crowley
Crowley
Crowley
Crowley
Crowley
Crowley
Crowley
Crowley
Crowley
Crowley
Crowley
Crowley
Crowley
Crowley
Crowley
Crowley
Crowley
Crowley
Crowley
Crowley
Crowley
Conor Crowley
Conor Crowley
Crowley
Crowley
Crowley


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<mask> (2 January 1940 – 16 August 2020) was a British freelance writer and popular historian from London. His British parents were both born in India and his numerous works focus on the British Raj. Biography
<mask> was born in Kanpur, India, where six generations of his family served under the British Raj. His father was a political officer on the North East Frontier. When <mask> was four years old his father, Geoffrey St G.T. <mask> was appointed Assistant Political Officer on the Balipara Frontier Tract in Assam, India. For several years the family lived at Sadiay, on the banks of the Brahmaputra River.It was here that <mask> met the various tribesmen, mostly Abor and Mishmi warriors, that came down from the hills. Later when <mask> had returned to England he heard about the exploits of his great grandfather, Colonel St G. C. Gore, Surveyor-General of India from 1899 to 1904, who had spent a lot of time in the Himalayas. <mask> also met Professor (and Colonel) Kenneth Mason, who had been one of the last players in The Great Game, (a term that referred to the geo-political manoeuvrings between Great Britain and Russia in the late 19th and early 20th-centuries) <mask> also received inspiration for his writing from earlier authors such as Sven Hedin. When India became independent, in August 1947, the <mask> family returned to England. However, not long after this move, <mask>'s father was asked to return to India to continue his work for the government. <mask> and his brother stayed on in England to complete their education. <mask> left Canford school, Dorset, with no qualifications.His only formal education was 18 months at a college in Perugia, Italy. Between 1966 and 1967 <mask> moved to Nepal to work with Voluntary Service Overseas. In Nepal <mask> developed a fascination with Buddhism and as time passed he began to see himself as “Buddhist”. In Kathmandu he met his future wife, Liz Gould, whom he married in 1972. <mask> supported the rights of low-caste Dalits, opposing the injustices that he had seen when growing up in India. It was at this time that he became convinced that he had a future as a travel writer. Following his work with Voluntary Service Overseas, <mask> embarked on a Himalayan Trek which won him the Sunday Telegraph Traveler of the year trophy in 1967.Success as a writer, came in 1974 via his involvement with the BBC Radio 4 oral history series and subsequent book Plain Tales from the Raj. As <mask> stated in the preface to the book, "It was my good luck to attend Michael Mason, as chela to his guru, serving my apprenticeship as an oral historian by being sent out with a bulky tape-recorder to interview 'survivors' of the British Raj in their homes." In December 1975, <mask> was travelling in India when he received news that the book had reached the best seller list in the UK, vying with Edward Heath's new book Sailing. Subsequently, <mask> spent long periods of his adult life in India as a traveller and writer of history. <mask> also trekked and climbed extensively in the Himalayas, arctic Norway, the jungles of Sarawak and in 1979 was among the first foreigners for many years to reach "Cow Mouth" which is the traditional source of the Ganges River which lies at 3,962m (13,000 feet) above sea level, in the Gangotri glacier. The river emanates from a cavern called Gaumukh, meaning 'Cow's Mouth', because of its shape. <mask>'s work focuses largely on India and the Indian Subcontinent in general.<mask> was criticised for not acknowledging the subcontinent's natural and political history during the British rule by Edward Said in his book Orientalism. <mask> countered in 2015 thst “We use that word history — we bandy it about too seriously. History is a minefield. It has always been used as propaganda. We have to look at it with an open mind.”

<mask> died at his home in London, England on 16 August 2020 aged 80. He is survived by his children and his wife, Elizabeth. <mask> was awarded the Sir Percy Sykes gold medal in 2004, by the Royal Society for Asian Affairs for his services to south Asian history.At the time of his death he had just completed Aryans a book, which tells the story of ancient Aryan migration to India. The book will be published in 2021. He was an active Fellow of the Royal Geographical Society and the Royal Asiatic Society, a Council Member of the Kipling Society and a Member of the Royal Society for Asian Affairs and the Frontline Club. Among his works are Kipling Sahib: India and the making of Rudyard Kipling, a biography of Rudyard Kipling. Works

Books
 1975. Plain Tales from the Raj: Images of British India in the Twentieth Century. 1977.RAJ: A Scrapbook of British India 1877-1947. 1979. Tales from the Dark Continent: Images of British Colonial Africa in the Twentieth Century. 1982. A Mountain in Tibet: The Search for Mount Kailas and the Sources of the Great Rivers of Asia. 1983. Tales from the South China Seas: Images of the British in South-East Asia in the Twentieth Century.1984. Lives of the Indian Princes, with co-author Sharada Dwivedi. 1987. Kipling's Kingdom: His Best Indian Stories. 1986. A Glimpse of the Burning Plain: Leaves from the Journals of Charlotte Canning. 1988.A Soldier of the Company: Life of an Indian Ensign 1833-43. 1989. Architecture of the British Empire, Ed. R. Fermor-Hesketh. 1990. The Savage Wars of Peace: Soldiers' Voices 1945-1989. 1991.Thunder and Lightning: the RAF in the Gulf War. 1999. The Search for Shangri-La: a Journey into Tibetan History. 2000. India Through the Lens: Photography 1840-1911, Ed. Vidya Dehejia. 2000.Soldier Sahibs: the Men who Made the North-West Frontier. .
 2002. The Buddha and the Sahibs: the Men who Discovered India's Lost Religion. 2004. Duel in the Snows: the True Story of the Younghusband Mission to Lhasa. 2005. Maharajas: Resonance from the Past. 2006.God's Terrorists: the Wahhabi Cult and the Hidden Roots of Modern Jihad. 2007. Kipling Sahib: India and the Making of Rudyard Kipling..
 2008. The Buddha and Dr Fuhrer: an Archaeological Scandal. .
 2011. The Taj at Apollo Bunder: the History of the Taj Mahal Palace, Mumbai, with co-author Sharada Dwivedi. 2012. Ashoka: the Search for India's Lost Emperor. .
 2015.The Prisoner of Kathmandu: Brian Hodgson in Nepal 1820-43. .
 2017. Coromandel: a personal history of South India. .
 2017. Introduction to Rudyard Kipling, The Eyes of Asia. Film
 2013. Bones of the Buddha (host). References

External links

1940 births
2020 deaths
People from Kanpur
British writers
British historians
Historians of India
British people in colonial India
British expatriates in Italy
British expatriates in Nepal

masks:
Charles Robin Allen
Charles Allen
Allen
Allen
Allen
Allen
Allen
Allen
Allen
Allen
Allen
Allen
Allen
Allen
Allen
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<mask> (born 23 February 1888 in Ulm; died 26 May 1982 in Heilbronn) was a German painter and printmaker. Life

Parental home, education and World War I

<mask> was born in Ulm in 1888 as the son of the upholsterer <mask> and his wife Friederike. <mask> and his younger brother Max grew up in the immediate vicinity of Ulm Minster. After his schooling in Ulm from 1894 to 1902, at his father’s request, he followed in his footsteps and trained as a saddler and upholsterer. After passing his journeyman's examination in 1905 and working both in the family business and for a time for another employer, he followed his inclination for art and attended the arts and crafts school in Hanover from 1907 to 1909. He then transferred to Paul Heinrich’s academy in Hildburghausen for further qualification (1909 – 1910). From October 1910 to November 1911, he did his military service as a volunteer in Neu-Ulm.He then attended the arts and crafts school in Kassel where he obtained a qualification as drawing teacher for secondary schools and teacher training institutions (1911 – 1913). Following that, he attended the Academy of Fine Arts in Munich for one term as a student of Heinrich Wölfflin. In March 1914, <mask> took up his first post as trainee drawing teacher at Berlin-Lichterfelde Grammar School. However, this was interrupted due to being drafted into war service in Masuria, East Prussia in August 1914. In World War I, <mask> served as an officer. He was seriously wounded near Minsk in Russia in 1915 due to a head shot and lost his left eye. As a consequence, he underwent treatment at the Eye Hospital in Stuttgart for a period of one year.As a result of his injuries, he suffered from severe headaches and spells of dizziness as well as kidney problems for the rest of his life. In June 1917, he returned to Berlin-Lichterfelde Grammar School and qualified as drawing teacher in September. From October 1917 to September 1918, he served as district officer in Rastenburg in East Prussia. Berlin
In 1918, <mask> married Elisabeth Nestler (born 3 November 1894 in Hildburghausen; died 5 June 1977 in Heilbronn). Following their wedding, he took up the post of art teacher at Hermann von Helmholtz Grammar School in Berlin-Schönefeld. The couple had three children: <mask> (1919 – 2005), Gisela (1921 – 1928) and Vera Charlotte (born 1931). In 1920, he moved to Berlin-Friedenau Grammar School where he taught until 1940.There, until 1940, he influenced a whole generation of young people. His pupils included persons such as the resistance fighter Friedrich Justus Perels, the columnist Friedrich Luft and the politicians Egon Bahr and Peter Lorenz. Zipperer was deeply respected by his pupils and many remained in close contact with him until his death. He enjoyed a deep friendship with Helmut Ammann who became a prominent sculptor, painter and graphic artist. <mask>’s first years of teaching in Berlin also marked the beginning of his first major creative phase which lasted until 1940. During these two decades, Zipperer produced a significant body of work. He traveled extensively throughout Germany and to various European countries in order to study and produce art works.His preferred technique at the time was drypoint etching and with this technique he became known both in and outside Germany. In Berlin, Zipperer developed friendships with the artists Heinrich Zille and Max Liebermann. He was particularly close to the sculptor August Gaul, in whose house he lived for almost one year in 1917. Gaul appreciated and sponsored <mask>. Through Gaul, a member of the Executive Committee of the Berlin Secession, Zipperer came into contact with Berlin arts world. In 1931, Zipperer bought Tannenburg Castle, a castle dating back to the Staufer period, with its farm estate near the village of Bühlertann in Ellwangen District (now Schwäbisch Hall District) in north-east Württemberg. He leased the associated farm estate and continued to work in Berlin.Tannenburg and Bühlertann, Württemberg
As a disabled war veteran, <mask> retired from teaching in 1940 and moved from Berlin to Tannenburg Castle. Under extremely difficult conditions, he managed the farm estate until the return of his son <mask> from the war and captivity (1940 – 1948). In 1951, he handed over the castle and the farm estate to his son and, in 1963, left the castle to move to the home of his daughter Vera in Bühlertann. With the deterioration of his remaining eye’s sight, he had to give up his artistic work in 1972. He spent the last years of his life at the home of his daughter who had since moved to Flein near Heilbronn. <mask> <mask> died on May 26, 1982 at the age of 94 and was buried in Bühlertann. Work
The artistic work of <mask>er covers his early work until 1918, the creative phase in Berlin (1918-1940) and his late work (1950-1972).According to the current status, about 1,300 works have been documented. Early work (until 1917)
Already as a child and during his apprenticeship, <mask> showed a particular talent for drawing. During this period, many drawings and sketches evolved, but most of them are now lost. From the period of his artistic education in Hanover, Kassel and Munich, numerous studies on perspective and shadowing as well as technical drawings still exist. Under the influence of Prof. Heubach in Hanover Zipperer turned its attention to the drawing of architecture. At the same time he created landscapes, portraits, nudes, ornaments and still lifes, which he mainly executed as pencil drawings, rarely as watercolors. During his wartime deployment in Russia (1914 – 1915), his artistic talent expressed itself in a wide variety of ways.Due to a lack of photographic resources, he sketched military combats which were used in connection with strategic decisions. In the trenches, he sketched portraits of fellow soldiers and officers as a memento to be sent to their families. Two small drawings from this period are extant. His severe war injury was followed by a one-year convalescence period at the Eye Hospital in Stuttgart. After regaining the sight of his remaining eye, he produced many art works, while still in hospital. In numerous sketches and drawings, he focused on people who showed considerable signs of what they had gone through during the war. Some pictures of that time clearly show the influence of Heinrich Zille.Berlin Phase (1918 – 1940)

In 1919 <mask> discovered drypoint etching for himself. He drew and etched castles, city views, churches, landscapes, portraits, flowers and animals - mostly in small to medium format. The main topic in this phase was architecture. He found more than 40 motifs alone in his hometown of Ulm. On his numerous travels he made pencil drawings as preliminary studies for the later etchings. A total of more than 300 drypoint etchings were created, which were characterized by careful area division, well thought-out image composition and formal design ability. Added to this was the perspective effect of his pictures, which he succeeded convincingly despite one-eyed.Zipperer achieved an increase in spatiality and expression by drawing inspiration from Chiaroscuro. Also characteristic was the staffage found in many etchings, which discreetly guides the eye of the beholder. "The many moving strokes, which sometimes had an almost shimmering effect - combined with a strict mold design - that was typical Zipperer". But he was not just concerned with the reproduction of reality. "Zipperer did not represent dead objects, but things that have a destiny and therefore life." Rather, he sought the creative translation of his perception into the artistic. "He knew how to express what weaves the visible in emotional mood".That Zipperer was also "a portrait drypoint etcher of rank and depth" is shown by his portraits, which he executed as pencil drawings and etchings. During training in Kassel he had received an award for portrait drawing. In the mid-twenties, Zipperer occasionally colored etchings by hand. As towards the end of the decade increasingly colored etchings were required, he had many of his motifs in color print. Numerous etchings were commissioned by cities, companies, art dealers or private individuals. A large part of the etchings was published by various publishers as art cards and sold through the art trade. Zipperer worked for decades with the copper printing company Wilhelm Schneider in Berlin, where the copper plates were stored.A larger number of plates were lost during the Second World War and in the subsequent turmoil or got into unauthorized hands. This explains that pirate prints came into circulation as a result. With his drypoint etchings <mask> became known in Europe and America - less by exhibitions than by the very successful distribution of his pictures by some art publishers and numerous art shops in Germany and abroad. In addition to pencil drawings and etchings, Zipperer began working with pastels in this phase, sometimes in larger formats. Also some sketches in different techniques, which served for demonstration purposes in the classroom, are preserved from this time. <mask>’s wife Elisabeth contributed considerably to his work since she kept him free from the burden of day-to-day activities. She handled business correspondence with the copperplate printers, art dealers and prospective buyers.Likewise, she helped to organize the countless visits of art lovers. Creative break (1941 – 1949)
During World War II and the immediately succeeding years, <mask>’s artistic activities almost came to a complete stop. The difficult conditions of everyday life at the castle left no scope for art. Late work (1950 – 1972)
After the turmoil of the war and the handover of Tannenburg to his son, <mask> was able to devote himself entirely to his art. He left the era of drypoint behind him and entered a new intense phase of artistic creation. The late work of the artist is characterized by experimentation and

masks:
Ernst Gustav Zipperer
Ernst Gustav Zipperer
Ernst Hermann Zipperer
Zipperer
Ernst Zipperer
Ernst Zipperer
Ernst Zipperer
Ernst Wilhelm
Ernst Zipperer
Ernst Zipperer
Ernst Zipperer
Ernst Wilhelm
Ernst Gustav
Zipperer
Ernst Zipper
Ernst Zipperer
Ernst Zipperer
Ernst Zipperer
Ernst Zipperer
Ernst Zipperer
Ernst Zipperer


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 new ideas. For Zipperer, the movement runs along the art-historical development of his time from realistic-naturalistic to abstract-reductionist representation.At the same time, the realistic and abstract modes of expression do not stand for a closed stage of artistic recognition. Rather, both exist side by side. Abstract depictions are again followed by a landscape or a bouquet of flowers. He is always looking for "ground under his feet," as he called it. It is a further thematic arc that spans the "complexity of its meaningful images". In many cases, these are already well-known motifs that recur again and again - often in a reduced form - trees in the landscape, a ravine and clouds above; especially the clouds occupied him throughout his life. In addition, there are themes such as peace and quiet, but also division and destruction, which he translates abstractly."Everything you can think of, you can also draw", the artist described his own spectrum in later years. Increasingly employed <mask>, who was influenced Protestant in the parental home, but in his old age increasingly took up Catholic thought, religious and biblical themes: The Psalms, the story of creation, Job and the Gospel of John. He also transformed the music of Bach, Mozart and Tchaikovsky into colors and forms. <mask>er found in pastel and oil pastels, but also in tempera and oil paint adequate materials to express his imagination and his mystical inwardness - sometimes cautious-mindful, then again powerful-dynamic. In the gravure printing of the heliogravure Zipperer did in 1955 in cooperation with his Berlin printing on new ways on how he could spread some of his large-sized pastel paintings in large numbers. It is a fine-printing process that transfers the original to a copper plate in a complex photo-chemical process. The heliogravure makes a very differentiated reproduction of halftones possible and thus creates a wealth of color power.The prints, also known as hand copper, met with great interest in the art trade and in the personal environment of the artist. They were affordable, allowing a wider audience access to this art. There is not a single self-portrait by <mask>. However, he draws a picture especially in his late works: In it he shows how he sees the visible and invisible world with his inner eye. In addition to some extensive, there are many smaller private collections with works by <mask>er. Individual works are held in German museums or municipal archives. <mask>’s artistic estate is managed by his daughter Vera Prior and grandson Lothar <mask>.Berlin State Archives, A Rep. 041-08, Berlin-Schöneberg District Office, serial no. 894, [220 pages]. Kunstverlag Carl Büchle. Berlin-Tempelhof. 1925 [publisher’s catalog]. Original-Graphik. Berlin: Verlag Hanfstaengel’s Nachfolger.June 1925 [publisher’s catalog]. Kunsthandel. Fachblatt für die Interessen des gesamten Kunsthandels und verwandter Berufszweige. Frankfurt/Oder: Kunstverlag Trowitsch & Sohn. Vol. 22 (1930), No. 18, 2 September issue, p. 202.<mask>’s personnel file. Berlin State Archives, A Rep. 243-04, Reich Chamber of Fine Arts – Berlin State Administration (approx. 1933 – 1945), serial no. 10132, [19 pages]. Enrilo Kalender 1936. Issued by Enrilo GmbH Berlin. Leipzig: Richard Hummel-Verlag.1936 [calendar]. Original-Graphik. Berlin: Verlag Hanfstaengel’s Nachfolger. December 1942 [publisher’s catalog]. Zipperer, <mask>: [autobiographical notes]. Bühlertann-Tannenburg. May 1953.[These hand-written notes in a notebook are supplemented with some ink drawings. They comprise more than 150 pages and are privately held.]. Kunstverlag A. Wolpers & Co. Katalog-Nachtrag 1961. Bad Salzuflen [publisher’s catalog]. Kunstverlag J. C. Blumenberg. Farbige Radierungen. Lübeck.1963 [publisher’s catalog]. Kunstverlag Kupferdruckerei Wilhelm Schneider & Co. Berlin. 1963 [publisher’s catalog]. Kunstverlag Carl Lorenz. Berlin-Tempelhof. No year specified [publisher’s catalog]. Literature

Entries in dictionaries and biographical reference works - chronological
Zipperer, <mask>.In: Nagel, Gert K.: Schwäbisches Künstlerlexikon: Vom Barock bis zur Gegenwart. Munich: Kunst & Antiquitäten. 1986, p. 131. <mask>, <mask>. In: Allgemeines Künstlerlexikon. Die Bildenden Künstler aller Zeiten und Völker. Bio-bibliographical index, Vol.10. Edited by Günther Meißner. Munich, Leipzig: K. G. Saur. 2000, p. 751. Self-published writings
Klein, Erwin / Staudacher, Bernhard: Die Geschichte der Tannenburg und ihrer Besitzer. Summary of a lecture held in Bühlertannhalle, Bühlertann, on Friday November 13, 2009. Bühlertann: Heimatverein.2010. Non-self-published writings (in chronological sequence)
Ziegler, Theo: Radierkunst einst und jetzt. In: The Illustrated Weekly, Deutsch-Amerika. New York: The States-Herold Corporation. (1924) No. 10, p. 12 f.

Markl, Franz: Der Radierer Ernst Zipperer. In: Steglitzer Anzeiger.Heimatzeitung für den Südwesten Groß-Berlins. Berlin: Fischer. Vol 56 (1929), No. 101, May 1, 1929. Massenberg, Norbert: Die Friedenauer Bajuwaren erstürmten die Tannenburg, den Herrschaftssitz von Herrn Zipperer. In: Mitteilungen. Vereinigung ehemaliger Schüler des Friedenauer Gymnasiums.Berlin: Westkreuz-Druckerei. No. 10, November 1959. Kalinke, Dieter: Ein Stiller im Lande. In: Haller Tagblatt. Schwäbisch Hall. April 22, 1972, p. 20.Rieber, Albrecht: Heute führen die Wege ins Unendliche. In: Heilbronner Stimme. Heilbronn. March 3, 1973, p. 21. Resch, Simon: Liebenswürdiges altes Ulm. Radierungen von <mask>er im Kunsthaus Frey. In: Südwestpresse Ulm.Schwäbische Donauzeitung. Ulm. Vol. 34 (1978), No. 43, February 21, 1978, p. 14. Martens, Jürgen: Erinnerungen an <mask>er. In: Mitteilungen.Vereinigung ehemaliger Schüler des Friedenauer Gymnasiums. Berlin: Westkreuz-Druckerei Berlin. Vol. 58, December 1982. Zetzmann, Hans-Joachim: <mask> – aus seinem Leben. In: Mitteilungen, Vereinigung ehemaliger Schüler des Friedenauer Gymnasiums. Berlin: Westkreuz-Druckerei Berlin.Vol 58, December 1982. Pagel, Jutta: Haben Sie auch einen Zipperer? In: Haller Tagblatt. Schwäbisch Hall. June 28, 2002, p. 26. Klaus, Torsten. In: Leipziger Volkszeitung.Ausgabe: Dresdner Neueste Nachrichten. Dresden. April 24, 2006, p. 13. Grupp, Anselm: Schloss Tannenburg. In: Ellwanger Jahrbuch. Band 41, 2006 - 2007. Edited by Geschichts- und Altertumsverein Ellwangen, 2008, p. 336–345.Staudacher, Bernhard: Die Tannenburg. In: Ellwanger Jahrbuch. Band 42, 2008 - 2009. Edited by Geschichts- und Altertumsverein Ellwangen, 2010, p. 493–523. Christ, Michaela: Einäugiger Blick auf die Heimat. In: Hohenloher Tagblatt. Crailsheim.June 28, 2013. Schweikert, Elisabeth: Zipperer-Werke im Rathaus. In: Haller Tagblatt. Schwäbisch Hall. Vol. 143, June 23, 2016, p. 22. Richter, Rainer: Heimatverein Bühlertann zeigt Bilder von <mask>.In: Haller Tagblatt. Schwäbisch Hall. June 29, 2016, p. 29. Christ, Michaela: Auf Spurensuche. In: Haller Tagblatt. Schwäbisch Hall. February 9, 2017, p. 21.Oklmann, Verena: Künstlerenkel sucht nach Bildern. In: Schwäbische Zeitung. Ravensburg. June 27, 2018, p. 18. Snurawa, Ralf: Von der Natur zur Reduktion. In: Haller Tagblatt. Schwäbisch Hall.July 17, 2018, p. 13. Weber, Werner: Meisterliches altes Rothenburg. Sonderausstellung im Hällisch-Fränkischen Museum mit Zipperer-Kaltnadelradierungen. In: Fränkischer Anzeiger. Rothenburg o. d. Tauber. Vol. 204, September 4, 2018.Lober, Bettina: Andenken an den Malersopa. In: Haller Tagblatt: Schwäbisch Hall. September 13, 2018, p. 11. Unauthorized, non-autographed writings - chronological
Bilder aus Heimat und Welt. In: Sonntagsbeiträge der Weser-Zeitung. Bremen. November 27, 1927.Untitled. In: Braunschweigische Landeszeitung. Braunschweig. December 21, 1927. Zur Ausstellung von Radierungen Ernst Zipperers. In: Ipf- und Jagst-zeitung / Ellwanger Tagblatt. Ellwangen.Vol 115 115 (1933), No. 237, October 28, 1933, p. 5. Die Kunstausstellung im Bürgersaal. In: Offenburger Zeitung. Offenburg. No. 237, October 15, 1927, p. 4.Untitled. In: Vaterstädtische Blätter. Lübeck. (1927/28) No. 3, October 30, 1927, p. 3f. Untitled. In: Hamburger Illustrierte.Hamburg: Verlag Biroschek (1928), No. 31. Der Radierer <mask>er. In: Soldiner Zeitung. Soldin. Vol. 83 (1929) No.232, October 3, 1929, p. 2. Kunstausstellung im Kunsthaus Göbel. In: Ulmer Tagblatt. Ulm. No. 87, April 16, 1931. Der Maler auf der Tannenburg.In: Haller Tagblatt. Schwäbisch Hall. No. 226, September 30, 1961. <mask> von der Tannenburg stellt aus. In: Aalener Volkszeitung / Ipf- und Jagstzeitung. Aalen.No. 153, July 6, 1963, p. 11. Die Tannenburg – eine Trutzveste aus der Stauferzeit. In: Haller Tagblatt. Schwäbisch Hall. May 14, 1966, p. 8f. Jedes Bild ist ein Wettlauf mit der Sonne.In: Haller Tagblatt. Schwäbisch Hall. October 29, 1966, p. 8f. ‚Der Weg‘ - Vision und Auftrag, <mask>er zum 80. Geburtstag. In: Haller Tagblatt. Schwäbisch Hall.February 23, 1968, p. 9. Sparkasse wird zur Gemäldegalerie. In: Aalener Volkszeitung / Ipf- und Jagstzeitung. Aalen. No. 92, April 21, 1972, p. 21. Der Maler und Kunsterzieher Ernst Zipperer wird 85.In: Haller Tagblatt. Schwäbisch Hall. February 23, 1973, p. 26. Das Schloß zeichnerisch verewigt. In: Heilbronner Stimme. Heilbronn. March 3, 1973.Ulmer Motive – ins Künstlerische übersetzt. In: Südwestpresse Ulm. Schwäbische Donauzeitung. Ulm. Vol. 34 (1978) No. 35, February 11, 1978, p. 15.Ausstellung im Kunsthaus Frey in Ulm zum 90. Geburtstag. In: Ulmer Zeitung. Ulm. February 11, 1978. <mask>er zum 90. Geburtstag.In: Haller Tagblatt. Schwäbisch Hall. No. 45, February 23, 1978. <mask> in Flein gestorben. In: Haller Tagblatt. Schwäbisch Hall.No. 121, May 28, 1982, p. 24. Blick über die Dächer. In: Südwestpresse Ulm. Schwäbische Donauzeitung. Vol. 38 (1982) No.124, June 2, 1982, p. 20. <mask> in Schwäbisch Hall. In: Südwestpresse Ulm, Ulm, August 7, 2018, p. 21. Note

References

1888 births
1982 deaths
German printmakers
German painters
German male

masks:
Ernst Zipperer
Ernst Zipper
Ernst Zipperer
Ernst Zipper
Ernst Zipperer
Zipperer
Ernst Zipperer
Ernst
Ernst
Zipperer
Ernst
Ernst Zipper
Ernst Zipper
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<mask> (; born 3 April 1990) is a Greek professional footballer who plays as an attacking midfielder or a right winger for Super League club Volos. <mask> was formerly a member of the Greek national team. His FIFA profile claims he "possesses a dizzying range of skills to go with sublime vision, an electrifying change of pace and fearsome long-range shooting skills". He normally plays centrally as a creative midfielder, but can also play on the right. Background
<mask> was born in Himara, Albania to ethnic Greek parents. Club career

Panathinaikos
Ninis began his career in 2004 as a youngster in Panathinaikos' football academies, joining from the academy of Apollon Smyrnis. On 22 December 2006, the club directors offered him a five-year contract and just two weeks after that day, on 7 January 2007, Panathinaikos coach Víctor Muñoz selected him in the main squad for the match against Egaleo at the Olympic Stadium.His outstanding performance earned him the title of the Superleague Matchday MVP. He became the second youngest player ever to wear the club's shirt in a league match, at the age of sixteen (the first was Kostas Antoniou − 15-years old - in 1978). In February 2007, he officially rejected a call to play for the Albanian Under-21 national team. On 15 February 2007, <mask> became the youngest player to participate with a Greek football team in a European cup match, against RC Lens in France. On 18 February, <mask> lead Panathinaikos in a 4–1 win over rivals AEK Athens in the Olympic Stadium. <mask> scored one goal and assisted two others. On 6 July, <mask> signed a professional contract with Panathinaikos.The 2007–08 season was marred by injuries and non-selection. After coming on as a substitute against Olympiacos in the first game of the season, <mask> was hit by several injuries, a hamstring injury followed by stomach muscle injuries ruled him out of action for three months. It is thought that these injuries arose due to burnout from playing too many games at a young age. He eventually returned in December, but was not part of the Panathinaikos first team for the remainder of the 2007–2008 season. This decision by Panathinaikos coach Jose Peseiro was heavily criticised by all Panathinaikos fans. Despite this, in December 2007, <mask> won the HFF Young Player of the Year, as voted by fellow players and managers. <mask> is the youngest player to have won this award.The 2008–09 season began well for <mask>. New manager Henk ten Cate featured <mask> regularly in Panathinaikos' pre-season training. He repaid this faith through his performances against teams such as R. Charleroi S.C. Having entered the pitch at half-time, <mask> assisted three goals and scored one, aiding Panathiniakos to a 5–1 victory against the Belgian club. On 11 August 2008, it was revealed that ten Cate had selected Ninis to be one of the new captains of Panathinaikos, along with fellow players Dimitris Salpingidis and Gilberto Silva. <mask> is the youngest ever player to be chosen as captain of Panathinaikos, at the age of 18 years and 125 days. On 23 September 2008, <mask> extended his contract with Panathiniakos for an additional four years to 2012, with a €10m buy-out clause into the agreement for any foreign team wanting to buy him, rising to €17m for a Greek side. In February 2010, <mask> made his best appearances with Panathinaikos and generally in his personal career so far in the knockout stage of the UEFA Europa League against AS Roma.That days, Roma was in great form and was second in Serie A. Having played well in the first match, in OAKA, he helped his team win 3–2. However, in Stadio Olimpico in Roma, he did better, than any other time before. He won a penalty, which Djibril Cissé converted to equalizer for Panathinaikos, then the Greek young attacking midfielder scored from 28 meters and in the stoppage time of the first half he made a great pass to Djibril Cissé, who didn't have a problem to score. In September 2011, <mask> suffered an injury and did not make his return until March. On 20 May 2012, he played his last match with Panathinaikos in the 2011–12 Superleague Greece playoffs final against AEK and was replaced by substitute Giorgos Karagounis in the 70th minute. In total, <mask> made 137 appearances for Panathinaikos, scoring 15 goals.Parma
In March 2012, Parma president Tommaso Ghirardi announced he had signed the Greek midfielder for the summer. After a disappointing 2012–13 season in which he only made 14 appearances for Parma, <mask> returned to his homeland on-loan to PAOK Salonika. His contract was terminated by mutual consent in August 2014. Return to Panathinaikos
On 6 November 2014, <mask> signed a new contract with Panathinaikos for two-and-a-half years. Maccabi Petah Tikva
On 10 September 2017, <mask> signed for one year at Maccabi Petah Tikva of the Israeli Premier League as a free agent, after being released from KV Mechelen a week earlier. In October 2018, <mask> joined Liga Leumit side Hapoel Ashkelon. On 8 October 2018, he scored on his debut after coming on as a substitute in a 2–1 win over Hapoel Kfar Saba.International career

Greece U21
<mask> played with Greece national under-19 football team in the UEFA European Under-19 Football Championship in Austria, where he scored the equaliser against Germany, assisted two others and helped his team to progress to the final. <mask> was eventually selected by UEFA in the "U19 names to note", containing the best eleven players of the 2007 UEFA European Under-19 Football Championship. He was selected as the right midfielder in a 4–4–2 formation. Also he was selected by Uefa as the MVP of this tournament. <mask> returned to duty for the Under-19 Elite qualifying round of the European Championships, after making his senior international debut. He was a key player in games against Moldova and the Netherlands, particularly impressing in the latter game. He assisted one goal, and scored the match winner from 12 yards as he kept Greece's hopes of qualification alive.On 8 September 2009, <mask> scored the equaliser against the England U21 team in a match that finished 1–1. Greece
<mask> was officially called up by Greece coach Otto Rehhagel on 16 May 2008 for the game against Cyprus on 19 May. This was <mask>' first ever senior call-up and offers him a chance to stake a claim for the Euro 2008 squad. <mask>, who impressed as Greece reached the final of last year's UEFA European Under-19 Championship, expressed his delight at the news, saying: "It's a dream come true and an extra motivation to work even harder and improve myself. I'm very happy." On his debut <mask> scored the opening goal of the games versus Cyprus in the fifth minute, after a solid pass by Dimitris Salpingidis, <mask> slotted the ball underneath Antonis Georgallides and into the back of the net making the perfect debut and start for his country and becoming the youngest ever scorer for Greece with 18 years and 46 days, breaking Kostas Eleftherakis' old record by 244 days. <mask> also won the Man of the Match award for his performance.He was, however, omitted from Greece's provisional Euro 2008 squad by coach Otto Rehhagel on 20 May. On 1 June 2010, Otto Rehhagel named his official 23-man squad for the 2010 FIFA World Cup in South Africa. <mask> made the cut despite limited appearances for Greece. He was used twice, as a substitution in the matches against Nigeria and Argentina. He is also the youngest player to have been selected by Rehhagel, at just 20 years of age. On 2 September 2011, <mask> scored the winning goal in a qualifying match for the UEFA Euro 2012 against Israel, in Tel Aviv. Career statistics
As of 21 May 2016

(* includes Europa League, Champions League)

International goals

Honours

Club
Panathinaikos
Superleague: 2009–10
Greek Cup: 2009–10

Individual
Greek Young Footballer of the year: 2007, 2010
Named in UEFA U-19 European Championships 2007 "Names to Note"; the best 11 players of the tournament.UEFA U-19 European Championships Silver medal (Greece). UEFA U-19 European Championships MVP
Youngest scorer in history of Greek national team
Youngest scorer of Panathinaikos

References

External links
PAOK FC

1990 births
Living people
Greek footballers
Greece international footballers
Greece youth international footballers
Greece under-21 international footballers
Greek expatriate footballers
Apollon Smyrnis F.C. players
Panathinaikos F.C. players
Parma Calcio 1913 players
PAOK FC players
R. Charleroi S.C. players
K.V. Mechelen players
Maccabi Petah Tikva F.C. players
Hapoel Ashkelon F.C. players
Volos N.F.C.players
Association football midfielders
Albanian people of Greek descent
Northern Epirotes
Super League Greece players
Serie A players
Belgian First Division A players
Israeli Premier League players
Expatriate footballers in Italy
Expatriate footballers in Belgium
Expatriate footballers in Israel
2010 FIFA World Cup players
UEFA Euro 2012 players
People from Himara

masks:
Sotiris Ninis
Ninis
Ninis
Ninis
Ninis
Ninis
Ninis
Ninis
Ninis
Ninis
Ninis
Ninis
Ninis
Ninis
Ninis
Ninis
Ninis
Ninis
Ninis
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Ninis
Ninis
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<mask> (born 1960 in Duisburg) is a German sociologist. He is professor of Social Innovation and Work at the Faculty of Social Science, TU Dortmund University. and director of Social Research Centre Dortmund, TU Dortmund University. <mask> is mainly known for his conceptual work on social innovation. Education
In 1982, <mask> began his studies of sociology at Bielefeld University and concluded them in Duisburg (Social Sciences) in 1989. Having successfully graduated in Social Sciences at Gerhard-Mercator-University of Duisburg, he completed his PhD on the role of sociology in processes of organisational development at the Faculty of Social Sciences and Economics, TU Dortmund University in 1996. In 2005, he successfully defended his habilitation at the faculty of human and health sciences of the University Bremen.In his habilitation thesis, Howaldt focussed on new forms of knowledge production from a sociological perspective

Academic career
After his studies in Social Sciences, Howaldt became a researcher at the Social Research Centre Dortmund (Sozialforschungsstelle Dortmund) in 1990. In 1993, he became the coordinator of the research unit “organisational development, -consulting, and industrial relations” and in 2002, he was appointed as managing director. He was adjunct professor at the faculty of human and health sciences at University Bremen from 2003 to 2005. In 2005, he became honorary professor at the faculty of social sciences and economics at TU Dortmund University. After the integration of the Social Research Centre into the TU Dortmund University, in 2007, <mask> <mask> was appointed as professor of organisational sociology and work, in 2009. Since 2020, he is professor of social innovation and work at the newly established faculty of social sciences

Research focus and academic activities
As sociologist, <mask> <mask> is mainly known for his conceptual work on social innovation. Together with Michael Schwarz, he developed a concept of social innovation based on social theory, which describes social innovation as a new combination and/or new configuration of social practices with the goal of better satisfying needs and answering problems than is possible on the basis of established practices.He refined this perspective, which regards social innovation as part of a new innovation paradigm, in a series of national and international research projects. From 2014-2017, he was scientific coordinator of the international research project SI-DRIVE. He has been chair of the European School of Social Innovation, since 2017, and represents the TU Dortmund University at the EU-SPRI-Forum since 2019. He has been member of the expert group “Transfer and Cooperation“ of the German Rector’s Conference since 2017 and has been member of the advisory board of the Project “WISIH: Paths and indicators of social innovations driven by higher education institutions in the field of Nursing Science and Occupational, Organisational and Business Psychology“. Since 2021 he is member of the Advisory Board of the Social Innovation-Hub ERA-Chair, Nova School of Business and Economics and member of the Programme Jury “Society of Ideas”, German Ministry of Research and Education. <mask> <mask> is co-editor of the Atlas of Social Innovation. Selected publications

Monographies

 with Ralf Kopp & Michael Schwarz: On the theory of social innovations: Tarde's neglected contribution to the development of a sociological innovation theory.Beltz Juventa, Weinheim, 2015. (PDF)
 Dmitri Domanski, <mask> <mask>, Pablo Villalobos, Carlos Huenchuleo: Social Innovation in Latin America: The Chilean Case. CIEPLAN, Santiago de Chile, 2015. (PDF)
 with Michael Schwarz: Social Innovation: Concepts, Research Fields and International Trends. In: Klaus Henning, Frank Hees (eds. ): Studies for Innovation in a Modern Working Environment - International Monitoring, Volume 5. IMA/ZLW & IfU, Aachen 2010 (PDF)
 (in German) Neue Formen sozialwissenschaftlicher Wissensproduktion in der Wissensgesellschaft.Forschung und Beratung in betrieblichen und regionalen Innovationsprozessen, LIT-Verlag, Münster, 2004,
 (in German) Industriesoziologie und 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; 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 births
Living people

masks:
Jürgen Howaldt
Jürgen Howaldt
Jürgen Howaldt
Jürgen
Howaldt
Jürgen
Howaldt
Jürgen
Howaldt
Jürgen
Howaldt
Jürgen
Howaldt
Howaldt
Jürgen
Jürgen
Howaldt
Jürgen
Howaldt
Jürgen
Howaldt
Jürgen
Howaldt
Jürgen
Howaldt


text_chunks:
<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 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 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 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 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 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 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 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: "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 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

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 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 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 (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 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 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 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 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 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 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 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

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 "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 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 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 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 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 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 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 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, 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 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

masks:
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Jane Russell
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