title: Andy Russell (singer)

texts:
 "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

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title: Andy Russell (singer)

type: original

texts:
 Della Russell (1950–1951), and the musical short House Party (1953). They were considered the ideal, Hollywood couple, and their fans and the public at large were shocked when they divorced on February 3, 1954.His third wife was Velia Sánchez Belmont (1929–2002), the daughter of Eduardo Sánchez Torres, former Mexican ambassador to Netherlands. They wed in Mexico City on July 10, 1954, and had a son, <mask>, Jr. the following year. They divorced in 1961. His fourth wife was Virginia "Ginny" Pace, a talk-show hostess and former Mrs. Houston. According to a 1962 newspaper article, Pace was married with 5 children. In 1967, she divorced her husband and married <mask> that same year. <mask> considered himself a "real family man" and was dedicated to his six children and grandchildren.The couple divorced in 1987. His fifth wife, with whom he was married up to the time of his death in 1992, was Doris E<mask>. Death

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

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

<mask> started a new way of singing that combined English and Spanish, plus Latin and American rhythms, that established him as being the original crossover artist. With his romantic, baritone voice; professional, polished demeanor; and energetic showmanship, he introduced American audiences to Latin-American musical compositions with Spanish lyrics, while influencing later Latino and non-Latino recording artists to be open to the idea of singing bilingually, due to his previous success with the concept.To further illustrate this point, <mask>'s repertoire also included songs in French "Je Vous Aime" and in German "Danke Schoen". From his peers in the music industry, he gained not only their professional respect but their love and admiration, as well. Ultimately, he embodied North American, South American, and European musical styles and invited people from around the world to enjoy his unique and entertaining musical stylings. And it must be noted that <mask> "with his interest in contemporary American music combined with his strong Mexican culture ... always considered himself a mixture of both Mexican and American heritages." Today it is peculiar that his name is not remembered for being the first American Latino performer to sing in English and Spanish and to further blend North and South American musical styles. Although he received awards and recognition in his day, his name and accomplishments appear not to have been passed down to later generations, nor was it seen fit to include his name in museums or have some type of monument or memorial in his hometown of Boyle Heights. No movie was ever made about his life, nor does he have a star on the Hollywood Walk of Fame.Some academics (with the exception of Loza, Tumpak, et al.) outright dismiss <mask> simply because he was light-skinned, had European features, and Anglicized his name, instead of pouring over his myriad accomplishments as a Mexican-American, multilingual entertainer who performed in radio, television, motion pictures, and in venues all over the United States, Mexico, Latin America and Europe. Furthermore, later successful bilingual recording artists do not appear to know – much less credit <mask> for being one of the grand patriarchs of the Latin sound that is so prevalent today. And yet, although he remains under-appreciated, his legacy is unquestionable. His enormous popularity from the early 1940s to the early 1960s influenced artists across three continents to be open to different musical influences and to the creation of hybrid musical forms that led to new perspectives, international understanding, and ultimately, whole new categories of music, like Rock en Español and World Music. Singing ambassador
The best way to sum up <mask>'s life is to come around full circle and look at how he envisioned his life at the dawn of his career ... as a "Singing Ambassador". These lines are from the inside sleeve of the record jacket of Favoritos, <mask>'s first album for Capitol Records back in 1943:

"Singing Ambassador ... <mask> is more than a singer ... blessed with a voice, a personality, and a sense of showmanship, which, combined, attract the envy of less-gifted performers.He has spectacularly catapulted into the foremost ranks of entertainers since 1943 and accomplished Herculean results in furthering the friendship of the North American peoples with those of Central and South America to the south. "<mask> is a handsome, young American, born and reared in Los Angeles, with a deep insight into the music of Latin America and with a flair for singing songs in both English and Spanish that has won him the plaudits of millions. "<mask>'s selections for this collection of 'favoritos' include Just Friends, Let's Fall in Love, I'll See You in My Dreams, Imagination, María Elena, La Borrachita, Cielito Lindo, and the plaintive Adios, Muchachos. All eight selections are beloved the world over. 'They're my favorites, too,' <mask> confesses. "Capitol is privileged to present <mask> and this smart package of unforgettable music. His songs serve to establish him as a friendly ambassador without portfolio.Good neighbors of the south ... Good neighbors of the north ... are brought together by his virile, baritone voice. Saludos, amigos!" In popular culture
<mask> is mentioned in the Chicano seminal work The Autobiography of a Brown Buffalo (1972) by Oscar Zeta Acosta on p. 73:

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

What's in a name? In his book Rock the Nation: Latin/o Identities and the Latin Rock Diaspora (2010), Professor Roberto Avant-Mier points out on pp. 58–59 that <mask> did not embrace his Mexican heritage and Spanish language as a youngster. He also indicates that at the urging of bandleader Gus Arnheim, <mask> accepted to change his original name of "Andrés Rábago" to the anglicized "<mask>".He seems to imply, then, that <mask> simply gave up his name and cultural identity in exchange for musical and economic opportunities otherwise reserved for Anglo-American musicians. Furthermore, Avant-Mier contends, <mask> acquiesced because, from an early age, he seemed to be more comfortable with his American rather than Mexican culture. However, Avant-Mier does not take into consideration (as explained earlier) the context of the place and period that <mask> had been born and reared in the United States during the first half of the 20th century and its influence on one's self-identity. The country experienced two World Wars, a Great Depression, and a wave of nationalism and patriotism that fostered a common and united national identity, rather than ethnic pride. Yet, although <mask> spoke and understood more English than Spanish, and was exposed more to American than Mexican culture during the initial stage of his career, however, in no way did this signify a rejection of his Mexican culture. It was solely a temporary accommodation, as <mask> stated: "Part of the reason I changed my name – as did many Jewish entertainers – was that I did not want to be stereotyped [as just a Latin singer]. But now I'm hard to sell in my own country – except to those who already know me."Yet Avant-Mier rejects <mask>'s nuanced argument by concluding that "<mask> eventually attributed his phenomenal success to the fact that his light skin and European features allowed him to pass as Anglo- or European-American." (Avant-Mier, 59) To support his conclusion, Avant-Mier simply references all nine pages (142–150) of Loza's Barrio Rhythm: Mexican-American Music in Los Angeles without specifying exactly where <mask> admits to "selling out", which Avant-Mier seems to imply. Avant-Mier overlooks <mask>'s talent, drive, and work ethic as essential components to his success. Plus, no credit is given to <mask> for having the flexibility to manage his identity in order to capitalize on the few opportunities available for a Mexican-American in a racist society, while being faithful to aspects of both his Mexican and American identities. While some may call this "selling out", others might view it as "when life gives you lemons, make lemonade",

Avant-Mier continues: "The case of <mask> also reminds us of social structures that often required Latino/as to perform whiteness in order to have any chance of success in the mainstream music business." (Avant-Mier, 59) Deborah Pacini Hernández states as much on p. 10 of her book Oye Como Va! : Hybridity and Identity in Latino Popular Music when she makes the same casual argument: "Latinos who could 'pass' as white could access the mainstream market, although only if they hid their ethnicity by changing their names, as did <mask> and Ritchie Valens, respectively born Andrés Rábago Pérez and Ricardo Valenzuela."Thus, neither seem to lend credence to <mask>'s claim that his Mexican-American ethnicity was clearly evidenced by his singing in Spanish and his continual affirmation of being of Mexican descent. Specifically, once he had a huge hit with "Bésame Mucho", <mask>'s trademark was his bilingual singing ability, which would not only be a feature of many of his songs, but a reflection of his cultural upbringing. As Loza states: "Because he was singing bilingually, <mask> felt that the public would know his background by the Spanish songs in his repertoire"  and realize he was a Mexican who had simply adopted a stage name, as was the norm for many performers of all ethnicities in that era. <mask> has also stated that he was always upfront about his Mexican heritage: "You know, I would tell everybody, I'd say, 'I'm Mexican ... ' and they'd say, 'No, <mask>, you must be Spanish.' I'd say, 'No, I'm Mexican ... ' and they'd say, 'No, <mask>, but you're so light.' And I'd say, 'No, no, I'm Mexican. My father's Mexican.My mother's Mexican ... '"  Clearly, his ethnic identity was not up for negotiation. In truth, there was not much the talented, hard-working <mask> could do about his personal appearance, who just happened to be "six feet tall, weighs 170 pounds, has hazel colored eyes, and black hair." <mask>'s distinct racial characteristics apparently were classified as being "Anglo", although they fall within the diversity of Mexican racial identity with its three main components being Spanish, Indian, and Negro ancestry (in varying degrees). In <mask>'s case, his preponderance of European stock was a reaffirmation, and an extension, of his Mexican identity. There was no need for him to "perform whiteness" or "pass as white", as it was already a part of his racial heritage and identitybut as a Mexican, not European-American. <mask>'s nationality was American, but, at the same time, he never denied his Mexican ethnicity. The name change was simply a means to an end.The explanation could be as simple as Arnheim did not like the sound, wanted something easier to pronounce, and chose "<mask>" because it reminded him of Russ Columbo (a vocalist and violin player associated with Arnheim and his Orchestra who had already gained popularity before his untimely death). "Russ Columbo" was a stage name, as his birth name was "Ruggiero Eugenio di Rodolpho Colombo". Another adherent who claimed that <mask>'s success was due to his "whiteness" was Lalo Guerrero, Mexican-American composer, singer, and musician. He stated that he might have had mainstream success, if he, too, were "güero" (light-skinned), like <mask> or Vikki Carr. In addition, according to Guerrero, they were the only Mexican-Americans who were accepted and successful in Mexico. This simple, almost naive explanation belies Guerrero's own stature as a legendary musician of some renown, known as the "Father of Chicano Music". As stated previously, one must take note that there were also examples of other Mexican-Americans and Mexicans who were successful and who did not anglicize their names: actors Anthony Quinn, Ricardo Montalbán, Katy Jurado, Pedro Gonzalez Gonzalez, etc.Other dark-complexioned recording artists who were known during the period were Mexican singer Toña la Negra and Cuban singers Celia Cruz and Benny Moré and musician Pérez Prado. In addition, Germán Valdés, Tin Tan, a Mexican comic, actor, and singer who grew up in the border area of Ciudad Juárez, Chihuahua, south of El Paso, Texas, was exposed to Mexican-American

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title: Andy Russell (singer)

texts:
 pachucos and caló. He used this knowledge to create his comical version of a pachuco, using bilingual dialogue to hilarious effect and enormous popularity. Surely, Guerrero must have appreciated and understood the fact that, despite the shade of a Mexican's skin tone, starting and maintaining a successful career in the entertainment industry mainly took a lot of hard work, dedication, talent, networking, and luck. But, the assessment of Avant-Mier that <mask>'s success was mainly due to the fact that he "Anglicized" his name and used his "European" features to bypass American society racist structure and perform "whiteness" is short-sighted. In contrast, for <mask>, the "name-change" was not that important in the big picture, since he would always claim, sometimes emphatically so, that he was ethnically Mexican. Some newspaper articles, books, and liner notes support this statement (see section What's in a Name?II). As such, this whole construct needs to be reframed:  <mask> as a Mexican was involved in a give-and-take, push-and-pull dynamic where, at times, he was on the forefront singing bilingually and declaring his Mexican ethnicity; and, at other times, conforming to American society's stereotypical notions of Mexicans performers in order to have the opportunity to perform and earn a living. Furthermore, to describe <mask> as performing "whiteness" brings up images of performing "blackface" which would be a misnomer, as this term is applied within the context of the racial discrimination exhibited by Anglo-Americans against African-Americans, so it seems out of place when referring to Mexicans or Mexican-Americans who not only have a distinct racial, ethnic, and cultural heritage, but a different history in the United States, as well. Moreover, <mask>'s ability to sing in Spanish would prove to be a double-edged sword: it gave him popularity and acceptance at the onset, but it also typecast him as a Latin singer, leaving him out of work when the popular wave of Latin music passed. But what bothered <mask> the most was that his identity as an American singer could be called into question. This same ability to sing in Spanish, however, then opened up a whole new market for him in Mexico, Latin America and Europe, where his brand of music was not only accepted but celebrated. Unfortunately, here, <mask> was subject to the Mexican brand of discrimination which tended to label him a "pocho".(see "Mexican Films" section above)

One must question if Guerrero's assertion regarding skin color and success in the music industry (and validation of this by later Latino scholars) is correct and universal: that light-skin and European features allowed for upward mobility, while tan or dark-skinned performers were penalized. One cannot deny the preponderance of light-skinned musical stars, but the dark-complexioned stars were also present in United States (and Mexico). Most important, the expression of Chicano artistic and musical creations were finding an outlet within and outside of the mainstream, for reasons that go beyond just skin color and discrimination. In <mask>'s case, he was gifted with an incredible voice, had a flair for showmanship, along with charisma and good looks. On a personal level, just like in the United States, his need to sing and perform were validated in Mexico and Latin America; moreover, he must have surely felt more ethnically Mexican than ever before, when in 1956, he married the daughter of a Mexican diplomat, who gave birth to his only son ... But after 11 years of living and performing in Mexico and Latin America, <mask> once again felt the blade of the double-edged sword when he said he "felt that he was losing his professional identity and also being subtly pressured into becoming a citizen of Mexico,"  which precipitated his return to the United States in the mid-1960s, and, again, having to resort to a temporary accommodation in terms of his Mexican-American identity. The pendulum now swung the other way, as he sang mainly in English and married a blue-eyed, blond former Mrs. Houston.In conclusion, questions regarding <mask>'s identity, appearance, acceptance, success, and influence over a career spanning 50 years and several continents is much more complex and layered than what Avant-Mier, Pacini Hernandez, and Guerrero have presented. What's in a name? II
<mask> had been emphatic about his Mexican ethnicity, over the course of his career from 1942 to 1989, which spanned almost 50 years. Notwithstanding, his racial ethnicity was described using different terms in newspapers, magazines, and on albums. On the inside flap of his debut album "Favoritos" (1943), Capitol described him as: "a handsome young American, born and reared in Los Angeles..."

In a 1944 newspaper article, he was called: a "talented, 23-year-old Mexican". In another newspaper article from 1944, he was described as: "...a fellow of Spanish extraction..."

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

Among many names, he has also been labeled as: "Hispano", "Latin", "Spanish-Mexican", "of Mexican parentage", "Mexican of Spanish descent", "a Californian of Mexican descent", "Mexican-Spanish", "mexicano-norteamericano", "norteamericano" and "Chicano". The prodigal son returns ... ? After releasing the Capitol singles "Longin'" and "Enamorado" in 1966 (neither charted), <mask>'s comeback album in the United States was "More Amor!" (Capitol Records, 1967). On the back cover, there is a certain awkwardness and palpable confusion in the explanation about why <mask> had left the United States for Mexico, and why he had returned. <mask> apparently divorced his third wife, Velia Sánchez Belmont, sometime in the early 1960s (a September 7, 1963, newspaper article states that his new romance was the Countess Joaquina de Navas of Madrid). His television show in Argentina ended in 1964.His waning popularity was also evidenced by the popularity of a new wave of younger singers in Mexico, such as César Costa, Enrique Guzmán, and Alberto Vásquez, who in many ways, were his musical heirs. They took up the mantle that he had initially carried into Mexico, and these young singers performed Spanish covers of American and British Invasion hit songs of the 1960s to an enthusiastic, young female fan base, as <mask> had once done as a crooner in the 1940s. Furthermore, and most tellingly, these younger singers were Mexican nationals, unlike <mask> who was an American of Mexican ancestry. <mask> probably saw the writing on the wall. He had now become passé. All these reasons most likely played a factor in <mask> looking toward the United States for a fresh start. In any case, this time around, the visions of grandeur turned out to be a mirage, as none of the songs on "More Amor!"charted on Billboard. The album followed the same <mask> formula: a nice balance of songs, some in English and some in his "bilingual style", which had proven so successful in the decade of the 1940s and in Latin America. Needless to say, regardless of what was written on the back cover and his situation in Mexico, <mask> did not have the same success in 1967 in the United States as he had had in 1944 for a plethora of reasons, many dealing with issues other than identityhe was older, musical tastes had changed, he had been effectively gone for 11 years, the milieu was certainly different, as the country was caught up in the social and political turmoil of the 1960s, etc. Yet, the notes on the back cover are a fascinating testament to where <mask> believed he was in terms of his public persona in 1967, after having been out of the country for 11 years. Notwithstanding, <mask> continued working. His comeback appearance at the Chauteau Madrid nightclub in New York was a phenomenal success. He also performed in Las Vegas, at other nightclubs, and was a frequent guest on television programs.Plus, he continued to make periodic trips to perform in Mexico and Latin America. Apparently, he continued being a captivating and charismatic performer during his live appearances. That same year another album followed: "...Such a Pretty World Today" (Capitol, 1967), this time with all songs sung in English, except for "Lady", the last chorus of which he sings in his "flawless Spanish". This was followed by a single, "I'm Not Through Missing You". (Capitol 45 rpm, 1967). This approach seemed to work better as both songs charted in the top ten of Billboard's Easy Listening Chart. At this point, it may seem that <mask> was nudging towards being the American singer who sang in English, while not totally abandoning the Latin singer persona, in order to gain a modicum of success in the American recording industry.Less was being said about his name change at this point, as many people already knew that he was the Latin or Mexican singer with the American-sounding name. <mask> considered his nationality to be, first and foremost, American but ethnically he was Mexican-American. He corrected people who said he was Spanish based on his appearance (tall, light-skinned, and hazel eyes) by stating that he was Mexican. He found the term Mexican-American to be acceptable, but he had a difficult time accepting the term "Chicano". He stated: "My parents were born in Mexico, but I hate the word 'Chicano'. I am an American." In a later interview, he elaborated on the subject:

In the late 19th and early 20th century, the term "Chicano" was an insulting, disparaging term used by upper class Mexicans who lived in the United States to refer to indigent Mexican immigrants who had just crossed the border.Thus, <mask> is not using the term as it was reclaimed and redefined as a source of pride and political power in the 1960s, although he does agree with the principal. In spite of this, <mask> meant no offense or disrespect to those people who embraced the term Chicano; he just stated that it was not for him. Steven Loza, director of Ethnic Musicology at the University of California, Los Angeles, and author of Barrio Rhythm:  Mexican-American Music in Los Angeles may have had a different take than <mask> on the term "Chicano" when he stated: "Chicano music is <mask> ... He personified that whole experience." Charted hits
The following tables list records by <mask> that were sold and charted in the United States. He also made recordings in Mexico, however these "received little exposure in the U.S. but were hits all over Latin America and in Spain." One would have to consult each country's record charts to see how <mask>'s records rated in each individual country for a complete overview.Filmography

Discography
Album Titles:
  Favoritos (LP, Capitol, 1943)
  This is the Night (LP, Capitol, 1946)
  Without you / Tres palabras : from Walt Disney production "Make mine music" (LP, Capitol, 1946)
  The First Noël (La primera Navidad) (LP, Capitol, 1947)
  I'll Close my Eyes (LP, Capitol, 1947)
  Love notes from <mask> (LP, Capitol, 1948)
  The Magic of <mask> (LP, RCA Victor, 1958)
  Inolvidables del Cine Americano (Orfeón, 1959)
  Los Discos del Millón, Colección de Oro, The Golden Collection (LP, Mexico:  Orfeon, 1960)
  La Hora del Romance, The Time for Romance (Dimsa, 1961)
  Canciones de Aquí y Allá (LP, RCA Victor Argentina, 1962)
  More Amor! (LP, Capitol, 1967)
  ... Such a Pretty World Today (LP, Capitol, 1967)
  <mask> (Barcelona Madrid : Belter, D.L. 1967)
  <mask> (Original radio series produced by AFRTS – Armed Forces Radio and Television Service. Duration:  30:00. Performer(s):  <mask>, host; various performers. Description:  23 sound discs)
  Internacional/ International (LP, Discos Latin International, 1973)
  <mask> (Madrid : edita y distribuye Gramusic, D.L.1973)
  Yesterday, Now ... and Forever / Ayer, Hoy ... y Siempre (LP, Kim Records, 1982)
  Spotlight on – <mask> (compilation) (CD, Capitol, 1995)
  El Crooner Latino de Hollywood, <mask>, Soy un Extraño (compilation) (CD, Alma Records, 2003)
  <mask> con Accento Español (compilation, remastered) (CD, Rama Lama Music, 2011)
  <mask> 15 Grandes Éxitos en Español (Imex Media, Codex 2014)

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

Radio appearances

Citations

References
 Avant-Mier, Roberto (2010). Rock the Nation:  Latin/o Identities and the Latin Rock Diaspora. Continuum International Publishing Group. Carlos Ulanovsky, Silvia Itkin, Pablo Sirvén (2006). Estamos en el aire: una historia de la televisión en la Argentina (in Spanish). Emecé Editores. Hernández, Deborah Pacini (2010).Oye Como Va! :  Hybridity and Identity in Latino Popular Music. Temple University Press. Horn, David (2012). Shepherd, John, ed. Continuum Encyclopedia of Popular Music of the World Volume 8: Genres: North America. The Continuum International Publishing Group.Lamparski, Richard (1985). Whatever Became of ... Ninth Series. Crown Publishers, Inc.
  Loza, Steven (1993). Barrio Rhythm: Mexican American Music in Los Angeles. University of Illinois Press. Macías, Anthony (2008). Mexican American Mojo: Popular Music, Dance, and Urban Culture in Los Angeles, 1935–1968 (Refiguring American Music).Duke University Press Books. Nielsen, Jorge (2004). La Magia de La Television Argentina:  1951–1960, Cierta historia documentada (in Spanish). Ediciones del Jilguero. Restrepo Duque, Hernán (1992). Lo que cuentan los boleros [The Meaning Behind the Boleros] (in Spanish). Centro Editorial de Estudios Musicales, Ltda.(Latinoamerican Musical Center). Sheinin, M.K. David (2006). Argentina and the United States: An Alliance Contained (United States and the Americas). University of Georgia Press.  .
  Tumpak, John R. (2008). When Swing was the Thing:  Personality Profiles of the Big Band Era. Marquette University Press.External links

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

American baritones
American crooners
American male actors of Mexican descent
American male radio actors
American male television actors
American musicians of Mexican descent
American television personalities of Mexican descent
Spanish-language singers of the United States
Swing singers
Traditional pop music singers
1919 births
1992 deaths
People from Boyle Heights, Los Angeles
Singers from Los Angeles
American radio comedy
Capitol Records artists
Chicano
Golden Age of Mexican cinema
Hispanic and Latino American people
Mexican-American culture
RCA Victor artists
20th-century American male actors
20th-century American singers
Articles containing video clips
People from Sun City, Arizona
Catholics from Arizona
20th-century American male singers
Male jazz musicians
Hispanic and Latino American

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Andy Russell
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Andrew Russell
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Andy Russell


title: Gordie Howe

texts:
<mask>  (March 31, 1928 – June 10, 2016) was a Canadian professional ice hockey player. From 1946 to 1980, he played 26 seasons in the National Hockey League (NHL) and six seasons in the World Hockey Association (WHA); his first 25 seasons were spent with the Detroit Red Wings. Nicknamed "Mr. Hockey", <mask> is often considered the most complete player to ever play the game and one of the greatest of all time. At his retirement, his 801 goals, 1049 assists, and 1850 total points were all NHL records that stood until they were broken by Wayne Gretzky, who himself has been a major champion of <mask>'s legacy. A 23-time NHL All-Star, he still holds the NHL record for seasons played, and his all-time NHL games played record of 1,767 was only surpassed in 2021 by Patrick Marleau. In 2017, <mask> was named one of the "100 Greatest NHL Players". <mask> made his NHL debut with the Red Wings in 1946.He won the Art Ross Trophy for leading the league in points each year from 1950–51 to 1953–54, then again in 1956–57 and 1962–63, for a total of six times, which is the second most in NHL history. He led the NHL in goal scoring four times. He ranked among the top ten in NHL scoring for 21 consecutive years and set an NHL record for points in a season (95) in 1953, a record which was broken six years later. He won the Stanley Cup with the Red Wings four times and won six Hart Trophies as the NHL's most valuable player. He also led the NHL in playoff points six times. <mask> retired for the first time in 1971 and was immediately inducted into the Saskatchewan Sports Hall of Fame that same year. He was then inducted into the Hockey Hall of Fame the next year, but came back two years later to join his sons Mark and Marty on the Houston Aeros of the WHA.Although in his mid-40s, he scored over 100 points twice in six years, won two straight Avco World Trophies (1974 and 1975) and was named most valuable player in 1974. He made a brief return to the NHL in 1979–80, playing one season with the Hartford Whalers, then retired at age 52. His involvement with the WHA was central to their brief pre-NHL merger success, forcing the NHL to recruit European talent and expand to new markets. <mask> was most famous for his scoring prowess, physical strength and career longevity, and redefined the ideal qualities of a forward. He is the only player to have competed in the NHL in five different decades (1940s through 1980s); he also played a shift in a 1997 game for the Detroit Vipers of the IHL, playing professional hockey for a sixth decade. He became the namesake of the "<mask> <mask> hat trick": a goal, an assist and a fight in the same game, though he only recorded two such games in his career. He was the inaugural recipient of the NHL Lifetime Achievement Award in 2008.Early life
<mask> was born in a farmhouse in Floral, Saskatchewan, the son of Katherine (Schultz) and <mask>. He was one of nine siblings. When Gordie was nine days old, the <mask>s moved to Saskatoon, where his father worked as a labourer during the Depression. In the summers, <mask> would work construction with his father. <mask> was mildly dyslexic growing up, but was physically beyond his years at an early age. Already six feet tall in his mid-teens, doctors feared a calcium deficiency and encouraged him to strengthen his spine with chin-ups. He began playing organized hockey at age eight.<mask> quit school during the Depression to work in construction, then left Saskatoon at 16 to pursue his hockey career. Playing careers
<mask> was an ambidextrous player, one of just a few skaters able to use the straight sticks of his era to shoot either left- or right-handed. As a young teen, he played bantam hockey with the King George Athletic Club in Saskatoon, winning his first championship with them in the 1942 Saskatchewan Provincial Bantam Hockey Finals. He received his first taste of professional hockey at age 15 in 1943 when he was invited by the New York Rangers to their training camp held at "The Amphitheatre" in Winnipeg, Manitoba. He played well enough there that the Rangers wanted <mask> to sign a "C" form which would have given that club his National Hockey League rights and to play that year at Notre Dame, a Catholic school in Wilcox, Saskatchewan, that was known for producing good hockey players. However, <mask> did not feel that was a good fit for him and wanted to go back home to play hockey with his friends; he declined the Rangers' offer and returned to Saskatoon. In 1944, <mask> was noticed by Detroit Red Wings scout Fred Pinkney and was invited to their camp in Windsor, Ontario.He was signed by the Red Wings to a "C" form and assigned to their junior team, the Galt Red Wings. However, due to a maximum number of Western players allowed by the league and the Red Wings' preference to develop older players, <mask>'s playing time with the team was initially limited. However, in 1945, he was promoted to the Omaha Knights of the minor professional United States Hockey League (USHL), where he scored 48 points in 51 games as a 17-year-old. While playing in Omaha, Frank Selke of the Toronto Maple Leafs noticed <mask>'s rights were not properly listed as Red Wings property. Having a good relationship with Detroit head coach Jack Adams, he notified Adams of the clerical error and <mask> was quickly put on the team's protected list. In the midst of his playing career, <mask> appeared as himself on the March 27, 1967 episode of the CBS game show To Tell the Truth. He received two of four possible votes.Although hockey was not as popular as other sports in America in 1967, panellist Peggy Cass was a hockey fan and recognized <mask>. She disqualified herself from voting. Detroit Red Wings
<mask> made his NHL debut on October 16, 1946, playing right wing for the Detroit Red Wings, scoring in his first game, at age 18. He wore #17 as a rookie. However, when Roy Conacher joined the Chicago Black Hawks after the 1946–47 season, <mask> was offered Conacher's #9, which he would wear for the rest of his career. Although he had not requested the change, <mask> accepted it when he was informed "9" would entitle him to a lower Pullman berth on road trips. He quickly established himself as a great goalscorer and a gifted playmaker with a willingness to fight.<mask> fought so often in his rookie season that head coach Jack Adams told him, "I know you can fight. Now can you show me you can play hockey?" The term "<mask> <mask> hat trick" (consisting of a goal, an assist, and a fight) was coined in reference to his penchant for fighting; however, <mask> himself only recorded two such hat tricks in his career, on October 10, 1953, and March 21, 1954. Using his great physical strength, he was able to dominate the opposition in a career that spanned six decades (including one game with the Detroit Vipers of the IHL in 1997). In a feat unsurpassed by any hockey player, he finished in the top five in scoring for 20-straight seasons. <mask> also scored 20 or more goals in 22 consecutive seasons between 1949 and 1971, an NHL record. <mask> led Detroit to four Stanley Cup championships and to first place in regular-season play for seven consecutive years (1948–49 to 1954–55), a feat never equalled in NHL history.During this time, <mask> and his linemates—Sid Abel and Ted Lindsay—were known collectively as "The Production Line", both for their scoring and as an allusion to Detroit auto factories. The trio dominated the NHL in such a fashion that in 1949–50, they finished one-two-three in NHL scoring. This was despite the fact <mask>'s career prime was during a defensive era, when scoring was difficult and checking was tight. However, as he was emerging as one of the top players in the league, <mask> sustained the worst injury of his career - his skull was fractured and his cheekbone and nose were broken after his attempt to check the Toronto Maple Leafs captain Ted Kennedy into the boards went awry during the 1950 playoffs. The severity of the fracture was such that he was taken to the hospital for emergency surgery in order to relieve the pressure on his brain. He missed the rest of the playoffs, but his dominant teammates were still able to win the Stanley Cup. The next season, 1950–51, <mask> came back, responding to his severe injuries by playing in every game, by leading the NHL in goals, assists, and total points (86), and by winning the scoring title by 20 points.This was the first year of a four-year period of dominance by <mask> which the NHL had never seen before. He won four straight scoring titles and in two of the years (1950–51 and 1952–53) he led the NHL in both goals and assists, which has only been done by five other players in history (a total of 10 times aside from <mask>). In three of those years, he led the NHL in goals. In 1952–53, <mask> became the first NHL player to score 90 points, finishing the season with 95 points and a career-best 49 goals  which just missed tying the league record of 50 goals held by Rocket Richard (albeit in a 50-game season). Prior to <mask>, no NHLer had led the NHL in points more than two times in a row. Only three other players have ever matched the feat of winning four straight scoring titles since—Phil Esposito, Jaromír Jágr and Wayne Gretzky (who won seven in a row). As <mask> emerged as one of the game's superstars, he was frequently compared to the Montreal Canadiens' Maurice "Rocket" Richard.Both were right wingers who wore #9, were regular challengers for the league scoring title, and could also play roughly if needed. Their first NHL match-up was in 1946, where Richard hit <mask> with a hard check and an elbow to the chin, then <mask> knocked Richard out with a single punch. <mask> recalled "They always thought there was bad blood because I hit [Richard] once coming across the line and he spun like a rocket and fell down. He wasn’t hurt that much and I started to laugh. But the laughter stopped when there were eight guys on me". <mask> also had a rivalry with the Canadiens' centre Jean Béliveau, who wrote in his autobiography that "trying to strong-arm Gordie off the puck in a corner was akin to wrestling with a telephone pole". The Red Wings and Canadiens faced off in four Stanley Cup finals during the 1950s, and again in the 1966 final; Detroit prevailed in 1952, 1954 and 1955, but Montreal triumphed in 1956 and 1966.The Red Wings also had a fierce rivalry with the Chicago Blackhawks who defeated them in the 1961 Stanley Cup Finals. Chicago's Stan Mikita recalled one time as a rookie when he slashed <mask> saying "he was an old man who didn’t belong on the ice"; later in the season <mask> exacted revenge with a check that gave Mikita a concussion. Bobby Hull recalled the times he and <mask> played against each other saying 'I enjoyed every high-sticking minute of it', describing <mask> as "strong as a bull and tougher than a night in jail”. In the 1968 All-Star Game where Hull and <mask> were teammates for the first time, Hull said "it was nice finally having Gordie on my side. He was no fun playing against". Hull and <mask> would also be rivals in the World Hockey Association (WHA), as members of the Winnipeg Jets and Houston Aeros, respectively, and would be reunited as teammates on the Hartford Whalers where they finished off their playing careers. After being consistent contenders through the 1950s and early 1960s, the Red Wings began to slump in the late 1960s.When <mask> turned 40 in 1967–68, the NHL expanded from 6 to 12 teams and the number of scoring opportunities grew as the game schedule increased. <mask> played the 1968–69 season on a line with Alex Delvecchio and Frank Mahovlich. Mahovlich was a scorer, and Delvecchio was a gifted playmaker. The three were dubbed "The Production Line 3", and at age 40, <mask> scored 103 points, surpassing 100 points for the only time in his NHL career by scoring 44 goals and a career-high 59 assists. However, following his personal best 103-point season, conflict arose with the Red Wings after <mask> discovered he was just the third-highest paid player on the team with a $45,000 salary. While team owner Bruce Norris increased <mask>'s salary to $100,000, he blamed <mask>'s wife, Colleen, for the demand. <mask> remained with the club for two more seasons, but after 25 years, a chronic wrist problem forced him to retire after the 1970–71 season and he took a job in the Red Wings front office.At the beginning of 1972, he was offered the job as first head coach of the New York Islanders, but declined it. By the end of his NHL career, <mask> had won the Hart Memorial Trophy as the NHL's most valuable player six times: 1952, 1953, 1957, 1958, 1960 and 1963 – at that time the most of any player, and as of 2019 second only to Gretzky's nine. He also finished second or third in the voting for the Hart a further six times. <mask> was named to the NHL's First All-Star Team 12 times and to the Second All-Star Team eight times. <mask> was named an Officer of the Order of Canada in 1971. His number 9 jersey was retired by the Red Wings on March 12, 1972. World Hockey Association
One year later, <mask> was offered a contract to play with the Houston Aeros of the newly formed World Hockey Association (WHA), which had also signed his sons Mark and Marty to contracts.Dissatisfied with not having any meaningful influence in the Red Wings' office, he underwent wrist surgery to make a return to hockey possible, and he led his new team to consecutive league championships in 1974 and 1975. In 1974, at age 46, <mask> won the Gary L. Davidson Trophy, awarded to the WHA's Most Valuable Player (the trophy was renamed the Gordie Howe Trophy the following year). <mask> played with the Aeros until 1977, when he and his sons joined the New England Whalers. After Marty's cheekbone was broken by Robbie Ftorek, in the next game <mask> used his stick to cross-check Ftorek in the face. Writer Michael Farber recounted “Mark told Gordie, ‘Dad, he’s [Robbie] my friend, he’s an old teammate on Team Canada, he has been a mentor to me,’ But none of that mattered. Robbie had mussed up a <mask>. <mask> <mask> grew up on the prairie.He believed in prairie justice.”

1974 Summit Series

<mask> was named with sons Mark and Marty to the WHA version of Team Canada for an eight-game series against the Soviet Union. Playing on a line with son Mark and Ralph Backstrom, Gordie contributed seven points in seven games at age 46. The Soviets won the series four wins to Canada's one, and with three ties. In the final season of the WHA, Gordie had the opportunity to play with Wayne Gretzky in the 1979 WHA All-Star Game. The format of the game was a three-game series between the WHA All-Stars against Dynamo Moscow. The WHA All-Stars were coached by Jacques Demers, and Demers asked <mask> if it was okay to put him on a line with Gretzky and his son Mark. In game one, the line scored seven points, as the WHA All-Stars won by a score of 4–2.In game two, Gretzky and <mask> each scored a goal and <mask> <mask> picked up an assist as the WHA won 4–2. WHA also won Game Three to ensure a clean sweep. Hartford Whalers
When the WHA

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Gordon Howe
Howe
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Gordie
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Albert Howe
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Gordie
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title: Gordie Howe

texts:
 folded in 1979, the renamed Hartford Whalers joined the NHL. While the Red Wings still held <mask>'s NHL rights even though he had retired eight years earlier, the Whalers and Red Wings reached a gentleman's agreement in which Detroit agreed not to reclaim him. <mask> had experienced dizzy spells in the latter part of the 1978–79 WHA season, and underwent an "extensive battery of tests" before deciding to play the 1979–80 NHL season. <mask> played one final season, appearing in all 80 games of the schedule and helping his team to make the playoffs by scoring 41 points (15 goals and 26 assists). At 52 years and 10 days, <mask> became the oldest man to play an NHL game where his Whalers lost 4–3 to the Canadiens.Late in the season, the Whalers signed Bobby Hull and put <mask>, Hull and Dave Keon on the same line. One particular honour came when Wales Conference head coach Scotty Bowman selected <mask>, Phil Esposito and Jean Ratelle to the mid-season All-Star Game—which was to take place in Detroit—as a nod to their storied careers before they retired. <mask> had played in five decades of All-Star Games and he would skate alongside the second-youngest to ever play in an All-Star Game, 19-year-old Wayne Gretzky. The Joe Louis Arena crowd gave him a standing ovation twice, lasting so long he had to skate to the bench to stop people from cheering. He had one assist in the Wales Conference's 6–3 win. Retirement

<mask> was named to Canada's Sports Hall of Fame in 1975. In 1998, The Hockey News released their List of Top 100 NHL Players of All Time and listed <mask> third overall, behind Wayne Gretzky and Bobby Orr.Of the list, Gretzky and Orr were quoted as regarding <mask> as the greatest player. In 2000, <mask> was inducted into Canada's Walk of Fame. On April 10, 2007, <mask> was honoured with the unveiling of a new bronze statue in Joe Louis Arena, where the West Entrance is named the "Gordie Howe Entrance" in his honour. The statue is  tall and weighs about . The statue contains all of <mask>'s stats and history. Another statue of <mask> was erected in downtown Saskatoon, Saskatchewan, on the corner of 20th Street and 1st Ave. He is depicted wearing a Detroit Red Wings sweater.The statue has since been relocated to the SaskTel Centre. In February 2011, various groups proposed naming the New International Trade Crossing bridge, a proposed bridge that will connect Detroit and Windsor by linking Highway 401 in Ontario with Interstate 75 and Interstate 94 in Michigan, in honour of <mask>. On May 14, 2015, during an event attended by Canadian Prime Minister Stephen Harper, it was officially announced that the bridge would be known as the Gordie Howe International Bridge. Canadian actor Michael Shanks portrayed <mask> in the television film Mr. Hockey: The Gordie Howe Story. The film aired April 28, 2013 on CBC Television in Canada, and on the Hallmark Channel in the US on May 5. After the death of his wife Colleen <mask> in 2009, <mask> turned his charitable activity towards degenerative diseases such as dementia and Alzheimer's, and founded the Gordie and Colleen Howe Fund for Alzheimer's, in partnership with the University of Toronto's aging and brain health facility at Baycrest Health Sciences. Personal life and death
<mask> met his wife, Colleen, at a bowling alley when she was 17 years old, and they were married four years later on April 15, 1953.A middle school in Abbotsford, British Columbia, is named after <mask> and Colleen <mask>, and a traffic bridge, campground, and football stadium are named after <mask> <mask> in his hometown of Saskatoon, Saskatchewan. A hockey arena in Traverse City, Michigan is named after the onetime resident. Two of their sons, Marty and Mark, were his teammates on the WHA Houston Aeros and the New England (WHA)/Hartford (NHL) Whalers. Mark had a long NHL career, playing 16 seasons for the Hartford Whalers, the Philadelphia Flyers, and the Red Wings, and was one of the dominant two-way defencemen of the 1980s. He followed his father by being elected to the Hockey Hall of Fame in 2011. Their third son, Murray, is a radiologist in Toledo, Ohio, and only daughter, Cathy, lives in Lubbock, Texas. Colleen <mask> was one of the founders of the Detroit Junior Red Wings and represented both <mask> and Mark financially during their careers.She died in 2009 at age 76 after a long battle with Pick's disease. <mask>'s younger brother, <mask>, also played in the NHL appearing in 33 games with the New York Rangers between 1950 and 1955. He died at age 85 in Moncton, New Brunswick on January 31, 2015. Due to dementia, <mask> spent most of his time after his wife's death residing with all four of his children on a rotating basis. While staying at his daughter's home, he suffered a major stroke on October 26, 2014. He died on June 10, 2016 at his son Murray's house in the Toledo suburb of Sylvania, Ohio at the age of 88. No cause was given.<mask>'s casket was brought to Joe Louis Arena, the then-home of the Detroit Red Wings, for a public visitation on June 14, 2016 that lasted from 9 a.m. to 9 p.m. in honour of the #9 that <mask> wore on his jersey. Wayne Gretzky, Scotty Bowman, and Detroit Tigers great Al Kaline acted as pallbearers. <mask>'s funeral, which was also opened to the public, was held on June 15, 2016 at Detroit's Cathedral of the Most Blessed Sacrament. <mask>'s cremated remains, along with those of his wife Colleen, were returned to Canada for the last time and interred in Saskatoon in September 2016, at the base of his statue outside of SaskTel Centre. <mask>'s name and nickname, "Mr. Hockey", as well as his late wife's nickname as "Mrs. Hockey", are registered trademarks. <mask> was also referred to during his career as Power, Mr. Everything, Mr. All-Star, The Most, The Great Gordie, The King of Hockey, The Legend, The Man, No. 9, and "Mr. Elbows" (for his tough physical play).<mask> is widely considered the most complete player in all of hockey history. Once <mask> began dominating the NHL, NHL scouts were given new directives to discover players that played the way he did. <mask>'s strength, scoring ability, and speed exemplified the perfect example of the modern-day role of a power forward and someone who can play the 200-foot game. <mask>e <mask> hat-trick"—a goal, an assist and a fight—which is now a standard part of hockey's vocabulary. Ironically, <mask> himself only achieved his namesake hat-trick twice in his long career, both in the early 1950s, because few players dared to fight him after <mask> soundly defeated New York Rangers enforcer Lou Fontinato at Madison Square Garden in 1959. (For comparison, the current leader in <mask> <mask> hat-tricks, Rick Tocchet, achieved the feat 18 times in his career.) <mask> was known for being a well-mannered and trusting person off the ice who never questioned the salary the Detroit Red Wings owners paid him.When it became public knowledge <mask> had scored more than 600 goals for the organization before it reluctantly offered to pay him over $40,000, his linemate, Ted Lindsay, began a campaign to establish a player's association to unite for fair wages against the NHL owners. This would be the nucleus of the movement that became the National Hockey League Players' Association. <mask>'s time playing with the WHA with his sons allowed the fledgling professional league to gain much-needed legitimacy and the ability to fill stadiums. The increased competition for hockey talent forced the insular NHL to seek players beyond its traditional North American sources and recruit professional European players and to expand into new cities to gain new fans. Wayne Gretzky was one of the players who elected to join the WHA instead of the NHL. Over the years, <mask> became good friends with Gretzky, who had idolized him as a young player and who would later break many of <mask>'s scoring records and milestones. While Gretzky surpassed <mask> statistically, it was <mask> who had first set the standard for consistent, high-level play.<mask>'s number 9 has been worn as a tribute to him—Gretzky wore number 99 as a direct tribute to <mask> since 9 was taken during the early parts of his career. Another milestone was reached in 1997 when <mask> played professional hockey in a sixth decade. He was signed to a one-game contract by the Detroit Vipers of the International Hockey League and at age 69, made a return to the ice for one shift. In so doing, he became the only player in hockey history to compete in six different decades at the professional level, having played in the USHL, NHL, WHA and IHL from the 1940s to 1990s. <mask>'s first 20 seasons came during an era when the schedule was only 70 games, scoring was difficult, and checking was tight; he never scored 50 goals in a single season. <mask> is currently fourth on the NHL's all-time points list with 1850 total points (801 goals and 1,049 assists) after Wayne Gretzky, Mark Messier and Jaromír Jágr. <mask> is still second on the all-time goals list, with only Gretzky ahead of him.When career regular season goals from both the NHL and the WHA are combined, he ranks first in goals with 975, ahead of Gretzky's 940. At the time of his retirement, <mask>'s professional totals, including playoffs, for the NHL and WHA combined, were first. He finished with 2,421 games played, 1,071 goals, 1,518 assists, and 2,589 points. However, Gretzky would later pass him in goals (1,072), assists (2,297) and points (3,369), but not in games played or games played with one team. After <mask>'s death, Gretzky called <mask> "the greatest hockey player ever", and said that if it were up to him <mask>'s No. 9 would be retired for all NHL teams the same as his own No. 99.<mask>'s record of 1,767 NHL games played was only surpassed in April 2021 by Patrick Marleau. <mask> played internationally on one occasion, at the 1974 Summit Series. In the 1986 film Ferris Bueller's Day Off, the character Cameron Frye wears <mask>'s Red Wings jersey throughout most of the film, even though it is set in Chicago. <mask> had provided one to the filmmakers personally. <mask> was featured in The Simpsons episode "Bart the Lover". In it, a photograph of <mask> is used by Bart Simpson to fool his teacher into thinking he is a grown man who has answered her personal ad. At the end of the episode, <mask>'s career statistics are shown.In Season 3 of the NBC television crime drama series Good Girls, in an episode entitled "The Eye in Survivor", the character of Ruby (Retta) steals an autographed Stanley Cup Final game-worn <mask> <mask> jersey from a sports bar only to have it appraised and learn that it is counterfeit. In 1993, a statue created by Michael Martin of Eston, Saskatchewan was installed across from Midtown Plaza and then moved to what is now SaskTel Centre in 2005. Following his death, <mask>'s ashes along with wife Colleen were interred below the statue. On June 27, 2016, it was announced that a bridge in his hometown of Saskatoon would be named after <mask>. He was awarded the Order of Canada by the Governor General of Canada, Queen Elizabeth II's representative in the country. Gordie Howe International Bridge
In May 2015, Canadian Prime Minister Stephen Harper and Michigan Governor Rick Snyder announced that a new international bridge spanning the Detroit River would be named in honour of <mask>. The Gordie Howe International Bridge is set to open in 2024.Honours
 <mask> was appointed as an Officer of the Order of Canada on June 25, 1971. This gave him the post-nominal letters "OC" for life. He was awarded the Canadian version of the Queen Elizabeth II Silver Jubilee Medal in 1977. He was the recipient of the Golden Plate Award of the American Academy of Achievement in 1978. He was awarded the 125th Anniversary of the Confederation of Canada Medal in 1992. The <mask> family received the Wayne Gretzky International Award major contributions to the growth and advancement of hockey in the United States in 2000. He was awarded the Canadian version of the Queen Elizabeth II Golden Jubilee Medal in 2002.He was awarded the Canadian version of the Queen Elizabeth II Diamond Jubilee Medal in 2012. He was awarded the honorary degree of Doctor of Laws from the University of Regina in spring 1997. He was awarded the honorary degree of Doctor of Laws from the University of Saskatchewan on June 3, 2010. <mask> <mask> was specifically honoured by then US President Barack Obama in his speech in the House of Commons Chamber in the Parliament of Canada on June 29, 2016 when Obama stated that "as Americans, we, too, celebrate the life of Mr. Hockey himself, the late, great <mask> <mask>." Career statistics

Regular season and playoffs
Bolded indicates league leader

Awards

NHL

WHA

Records
 Most NHL regular season games played with a single team: 1,687
 Most NHL and WHA regular season games played: 2,186
 Most NHL and WHA regular season and playoff games played: 2,421
 Most NHL and WHA goals regular season 975
 Most NHL seasons played: 26 (tied with Chris Chelios)
 Most NHL and WHA seasons played: 32
 Most NHL regular season goals by a right winger: 801
 Most NHL regular season points by a father/son combo (with son Mark): 2,592
 Most consecutive NHL 20-goal seasons: 22 (1949–1971)
 First player to score over 1000 goals (WHA and NHL, regular season and playoff combined)
 First player to reach 1,500 games played in NHL history. Most times leading NHL playoffs in scoring (six times)
 Oldest player to play in NHL: 52 years, 11 days (no other player has played past the age of 48)
 First in Red Wings history in points, goals and games played, second in assists
 Most NHL All-Star Game appearances: 23
 From 1961 until being surpassed by Patrick Marleau in April 2021, <mask> held the record for most NHL regular season games played. See also

 List of Detroit Red Wings award winners
 List of family relations in the NHL
 List of ice hockey line nicknames
 List of members of the Hockey Hall of Fame
 List of NHL players with 1000 games played
 List of NHL players with 1000 points
 List of NHL players with 500 goals
 List of NHL statistical leaders
 Power forward (ice hockey)
List of Canadian sports personalities

References

External links

 Gordie Howe Biography
 Red Wings Legends
 CBC Digital Archives – Gordie Howe: Mr. Hockey

1928 births
2016 deaths
Art Ross Trophy winners
Canadian emigrants to the United States
Canadian expatriate ice hockey players in the United States
Canadian ice hockey right wingers
Canadian philanthropists
Detroit Red Wings captains
Detroit Red Wings players
Detroit Vipers players
Hart Memorial Trophy winners
Hartford Whalers players
Hockey Hall of Fame inductees
Houston Aeros (WHA) players
Ice hockey people from Saskatchewan
Ice hockey players from Detroit
Lester Patrick Trophy recipients
National Hockey League All-Stars
National Hockey League players with retired numbers
New England Whalers players
Officers of the Order of Canada
Order of Hockey in Canada recipients
Omaha Knights (USHL) players
People from Sylvania, Ohio
Sportspeople from Saskatoon
Sportspeople from Traverse City, Michigan
Stanley Cup

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title: S. Parkes Cadman

texts:
<mask> (December 18, 1864 – July 12, 1936) was an English-born American liberal Protestant clergyman, newspaper writer, and pioneer Christian radio broadcaster of the 1920s and 1930s. He was an early advocate of ecumenism and an outspoken opponent of anti-Semitism and racial intolerance. By the time of his death in 1936, he was called "the foremost minister of Congregational faith" by the New York Times. Early life
<mask> was born in Ketley, Shropshire, England, where he worked in a coal mine for ten years, beginning at age 11. A voracious reader, he read books while working in the mine, in between hauling loads of coal. He became interested in theology and began speaking at age 18 as a lay preacher in local Methodist churches. He studied at Richmond College of the University of London and at the Wesleyan Methodist College seminary.While a seminarian in 1888, he heard Catherine Booth of The Salvation Army speak in London, recalling years later, "I have not heard since anything which moved me more deeply than that remarkable address . . . delivered in the purest English, with faultless diction, in a voice like the pealing of a silver bell across a still lake." Ministry

New York churches
After graduating from seminary, Cadman moved to the United States, to pastor a local Methodist church in Millbrook, New York. In 1895, he started the Metropolitan Methodist Church (now The United Methodist Church of the Village) on Seventh Avenue between Thirteenth and Fourteenth Streets, in New York City, where his preaching attracted large crowds. In 1901, he left the Metropolitan Methodist Church to lead the Central Congregational Church of Brooklyn, New York, where he would minister for 35 years until his death in 1936. The church grew to become one of the largest U.S. Congregationalist assemblies during his pastorate. Radio broadcasting
In 1923, he pioneered the use of the then-new medium of radio to broadcast his sermons, becoming "the first of the 'radio pastors', his sermons reach[ing] the ears of millions", said the New York Times.In 1928, he began a weekly Sunday afternoon radio broadcast on the NBC radio network, his powerful oratory reaching a nationwide audience of five million persons. He was also a frequent speaker from 1928 to 1936 on NBC's Sunday morning program, The National Radio Pulpit, sharing the long-running series' microphone with Ralph W<mask>. His writings

Newspaper column
<mask> began writing a daily newspaper column for the New York Herald Tribune in 1926. It was soon syndicated nationwide as Dr. <mask>'s Daily Column, giving advice, answering readers' questions, and providing commentary on current events from a Christian perspective. On December 2, 1934, he wrote an article condemning the Nazi German government for the firing of theologian Karl Barth from a German university post as a result of the professor's outspoken opposition to the Nazi regime and adamant refusal to sign an oath of allegiance to Adolf Hitler. Cadman praised Barth's courage, comparing him to Christian leaders of the past such as John Calvin and John Knox. Cadman later called for the U.S. to boycott the 1936 Summer Olympics in Berlin, Germany, because of the Nazis' anti-Semitic policies.Books
Among the many books authored by Cadman are:
 The Victory of Christmas (1909)
 Charles Darwin and other English thinkers (1911)
 The War and its issues (1914)
 Kaiser or Christ? (1916)
 The Three Religious Leaders of Oxford and their Movements — John Wycliffe, John Wesley, and John Henry Newman (1916), reprinted by Kessinger in 2007 ()
 Ambassadors of God (1920)
 Christianity and the State (1924)
 Imagination and religion (1926)
 The plain man's use of the Bible (1927)
 The Christ of God (1929)
 Peace (1929)
 Everyday Questions and Answers (1930)
 The Parables of Jesus (1931), reprinted by Random House in 1999 ()
 Prophets of Israel (1933)

Quotations
During the course of his church ministry and extensive writings spanning a forty-year period, Cadman became widely quoted. Among his better-known statements are:
 "A little experience often upsets a lot of theory." "Nobody dreams of music in hell, and nobody conceives of heaven without it." "Beyond domestic animals and our response to their fealty and affection, we have a peculiar charge concerning the wild animals which supply our clothes, food and adornments." "Personally, I would not give a fig for any man's religion whose horse, cat and dog do not feel its benefits. Life in any form is our perpetual responsibility.""There can be no great people without a great religion and all your talk about character is so much playing down the wind, unless the regenerating and creative forces make a man obedient and the highest law reigns in his heart." He also was a strong supporter of Scouting, writing:

National church and community leader
Rev. <mask> was one of the founders of the Federal Council of the Churches of Christ in America, an association of several Protestant denominations and the forerunner of today's National Council of Churches, and served as president of the council between 1924-1928. He was also named the second Honorary Moderator of the Congregational Christian Churches, succeeding former U.S. President Calvin Coolidge. He was one of the co-founders in 1927 of the National Conference on Christians and Jews, now known as the National Conference for Community and Justice (NCCJ), along with Charles Evans Hughes and others, to oppose the Ku Klux Klan, anti-Catholicism, and anti-Semitism in the 1920s and 1930s. He was appointed chairman of the National Committee for Chinese Famine Relief in 1928 to provide assistance for nine million Chinese facing starvation. Death
On Sunday, July 5, 1936, S<mask> <mask> was preaching at an interfaith service in upstate Westport, New York, when he suddenly collapsed from acute appendicitis.He died a week later, on July 12, at a Plattsburgh, New York, hospital of peritonitis. After his death, he was lauded by NBC president Lenox R. Lohr, who said, "As the first minister of the air, he was identified with radio beginning in 1923. Since that time more than 500 sermons reflecting the inspiring thought of Dr. Cadman have been broadcast." New York City's Episcopal Bishop William T. Manning said Cadman had "a noble record of service as a citizen and as a Christian minister." Rev. Cadman was buried in Brooklyn, New York, where he is memorialized in Cadman Plaza, named in his honor by New York City in 1939. The Central Congregational Church in Brooklyn was renamed Cadman Memorial Church in 1942 in his memory.In a high irony, however, Cadman Church was a prime player in opposition to an ecumenical movement that witnessed the Congregational Christian Churches merge with the Evangelical and Reformed Church to form the United Church of Christ. In 1949, the church sued the Congregational Christian moderator in order to forestall merger talks; the case stayed in the courts for several years before being dismissed and the merger taking place in 1957. Today, Cadman Church is a member of the National Association of Congregational Christian Churches, a group of congregations that opposed the UCC merger. References

External links
 "Christ and Cæsar", by S. <mask> <mask> (sermon text)

American Congregationalist ministers
American Methodist clergy
American radio personalities
American sermon writers
Deaths from peritonitis
English Methodist ministers
English writers
People from Wellington, Shropshire
1864 births
1936 deaths
Alumni of the University of London
Radio evangelists

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