Andy Russell (singer)

Andy Russell
Andy Russell in 1966
Background information
Birth name	Andrés Rábago Pérez
Also known as	Andrew El mago de los sueños (The Dream Wizard)
Born	(1919-09-16)September 16, 1919 Boyle Heights, Los Angeles, California
Died	April 16, 1992(1992-04-16) (aged 72) Sun City, Arizona
Genres	Traditional pop, Latin music
Occupation(s)	Vocalist, Actor, Television Host
Instrument(s)	Vocals, Drums
Years active	1934–1990
Labels	Capitol, RCA Victor, Orfeon, Belter/Divusca

Andy Russell (born Andrés Rábago Pérez; September 16, 1919 – April 16, 1992) was an American popular vocalist, specializing in traditional pop and Latin music. He sold 8 million records in the 1940s to early 1950s singing in a romantic, baritone voice in his trademark bilingual English and Spanish style. He had chart-busters, such as "Bésame Mucho," “Amor, Amor, Amor,” “Magic is the Moonlight,” “What a Difference a Day Makes,” “I Can’t Begin to Tell You,” “Laughing on the Outside (Crying on the Inside),” “Without You,” and "The Anniversary Waltz." He also performed on many radio programs, most notably Your Hit Parade, in several movies, and on television. Later, he traveled to Mexico where he performed almost exclusively in Spanish and was the star of movies and television. He also toured extensively throughout Latin America, Cuba, Portugual, and Spain and was the host of the television variety program El Show de Andy Russell in Buenos Aires, Argentina from 1956 to 1965, thus achieving international popularity and tremendous success during this period. Upon returning to the United States, he continued to record music, at which point his 1967 album "It's Such a Pretty World Today" was number one for 9 weeks on Billboard Magazine's Easy Listening Chart. He continued to perform during the 1970s and 1980s with occasional appearances on television. Throughout his career, Russell received many international accolades and awards, the most notable of which was being recognized as a trailblazer who not only introduced U.S. audiences to an English and Spanish singing style that blended North and South American musical formats, but he also opened the door for later Latino and/or Hispanic performers to do the same, as well.

Early life

Russell was born on September 16, 1919 (on Mexican Independence Day) in Boyle Heights, at the time, an ethnically integrated, middle-class neighborhood in the eastern section of Los Angeles. He was the second youngest of ten children (eight boys, two girls) born to Mexican immigrant parents. His father was from Durango and his mother from Chihuahua. His father was employed as an extra by Hollywood studios, where he earned a substantial income, while his mother was a housewife, who tended to the children.

As a child, he loved listening to American popular music and Big Band, such as Benny Goodman, Glenn Miller, and Tommy Dorsey. One of his earliest memories was hiding behind the family radio and pretending to be his favorite singer, Dick Powell. He also idolized crooners Bing Crosby and Frank Sinatra. His enthusiasm was summed up in this article from 1945: "As a kid on Los Angeles' east side, Andy went wild over popular music. He knew all the hit tunes and was the neighborhood authority on the style and record of every name band leader in the country."

He grew up in a bilingual home, hearing and talking Spanish with his parents, while talking in English with his brothers and sisters, and with people outside of the home. In addition, as is the case with most families, there appeared to have been a generational and cultural gap between the American-born Russell and his Mexican-born parents. One way in which this dynamic manifested itself was along the intersection of language and music: While he and his brothers and sisters enjoyed listening to American music, his parents enjoyed listening to Mexican music, in particular, mariachi. At this young and impressionable age, Russell did not musically understand the music of Mexico and preferred to listen to Big Band, which was the all the rage among his friends. Also, since his parents never learned practical English, they spoke to him only in Spanish, which made it difficult for them to explain the significance of Mexican music to him.

For his part, Russell felt that his command of the Spanish language, at the time, was "very bad" and felt ashamed about speaking Spanish, to the point of asking his parents to speak to him in English. Thus, since language is the conduit through which culture is often transmitted, one could say that this situation was frustrating for both Russell and his parents, as each language was transmitting a different set of cultural values and musical aesthetics. In truth, Russell's experience is quite understandable, since he was born and educated in Los Angeles. He was taught English in school, his peer groups spoke to him in English, and the big band music he loved to listen to was in English. Since Russell had neither been born nor raised in Mexico, and had never formally studied Spanish, one can sympathize with his awkward situation at such a young age. However, despite these growing pains, Russell tenaciously maintained his Spanish language and "pride in his 100% Mexican ethnicity," even as he would later live, perform, and move among the diverse peoples and cultures in countries all over the world.

At any rate, Russell was determined to follow in the footsteps of his idols. In 1935, 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, which 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. In 1992, Russell recalled wistfully how he dealt with this curious dilemma:

They said to me one night and broke my heart, they says, "Andy, we can't afford to have you as just a singer. You've got to play some instrument." I said, "But, gee, I'm a singer." And they said, "Yeah, we're paying you two dollars, two-fifty a night and it's too much. You know, the guys wanna split the rest of the money." So I said, "What can I learn in a hurry so I can join the band?...Drums would be the easiest thing." So I got a bunch of the old records and started to learn to play drums. Down in the cellar I'd learn to play drums and keep good time. This was when I was in junior high and I was learning to play drums. Later on I got a teacher to teach me how to read, and before you knew it, I took drums seriously and I became one of the top drummers on the east side of L.A.--swing drummers. And I was playing drums with all these bands and then I'd sing.

— Source, Loza, Steven. 1993.Barrio Rhythm: Mexican American Music in Los Angeles, University of Illinois Press., p.144

As a result, Russell started to take drum lessons for 50 cents a lesson at Phillips Music Store 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. In the evenings, Russell would also practice in the basement of his house, and "after only three weeks of practice...he became a proficient, self-taught drummer." Then, Russell 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 played 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.

In 1992, Russell 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." Thus, it came as no surprise that when in 1939 Russell 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 in Los Angeles since the late 1920s, and had employed such singers as Bing Crosby, Russ Columbo, and Woody Herman. Russell auditioned for Arnheim and got the job not only as a drummer but as a 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 Russell sing bilingually in English and Spanish. Russell 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." Russell agreed.

Now, it is important to note that Arnheim would not have asked Russell to sing in Spanish if he knew the young man was not capable of doing so; he just lacked confidence and needed some encouragement. As a matter of fact, "Russell indeed had a rare talent for his time. He had the ability to speak impeccable English and Spanish...[which would allow him] to distinguish himself as a vocalist." It would have done little good for his career if Russell were not fluent in English, not a talented singer and percussionist, not industrious and dedicated to his craft, or not completely in love with the sound of big band music. Speaking Spanish, although a key component of his cultural heritage, was also another tool in his arsenal that he employed in his climb up the ladder of success. To achieve the spectacular success that he did, Russell had to be, in short, the complete package.

Now on tour with the band, Russell 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 singer who was singing in a different language. As audiences, primarily composed of Anglo-Americans, started to acknowledge and accept him, Russell must have felt validation in his Mexican-American identity, as Russell must have realized that his success was based on his ability to develop and draw upon elements of both cultures. Thus, it was at a show at the Peabody Hotel in Memphis, Tennessee that Arnheim saw that he was getting extremely popular. But in order for him to be even more successful, Arnheim realized that it would be necessary for Russell to change his name.

In 1990, Russell recalled the conversation that Arnheim had with him after the show:

"Andy, I've got to tell you something. The name Rábago has got to go. [laughs] Rábago's gotta go." I says, "What do you mean?" He says, "I've gotta change your name. Rábago hasn't got that ring to it, you know?" I says, "But that's my name." He says, "Look, we'll keep Andy, all right?" I says, "Okay. So what would you call me then?" He says, "I used to have a singer, a famous singer, a fella that took Bing Crosby's place years ago. His name was Russell Columbo, one of the famous singers of that era. I'm gonna call you Russell--Andy Russell."

— Source, Loza, Steven. 1993.Barrio Rhythm: Mexican American Music in Los Angeles, University of Illinois Press., p.146

Russell has noted that during that era many performers of all colors and creeds changed their original names and adopted stage names in order to enter the entertainment industry. The case has often been made that Russell's European features were the determining factor in opening doors to the recording industry that otherwise shut out Latinos who had darker, Indian features, like Lalo Guerrero, for instance. Although racism was a blatant factor (both in the United States and Mexico), there were also examples of dark-skinned Mexican-Americans who were successful and did not anglicize their names, like actors Anthony Quinn and Pedro Gónzalez Gónzalez in the U.S. and, in the case of Mexico, there is singer Toña la Negra and actor Miguel Inclán. It is a grey area to be sure, but a lot can be said, at the risk of sounding like sour grapes and without disparaging either side, about the merits of talent, hard work, perseverance, and luck.

So, after the change in singing style and name, Russell continued to perform as vocalist and drummer with such bands as Vido Musso, Johnny Richards, Sonny Dunham, and 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 St., the Santa Monica Pier and at Joe Zucca's Show Case in Hermosa Beach, CA.

Career Begins

1944 was a banner year for Russell. Such success was unprecedented for a "kid from East Los Angeles," albeit a very talented, hard-working, and cocky kid. His 4 top-ten hits on the Billboard Hot 100 Chart in 1944 sold millions of records, and opened the door for touring around the country and appearances on radio programs, motion pictures, and television.

Records

Andy Russell Capitol Records 1946

Lyricist and composer Johnny Mercer asked Russell to cut a record for his fledgling Capitol Records. Russell narrowed his choices down to 3 songs. He then chose the bolero "Bésame Mucho," music and Spanish lyric by Mexican female composer Consuelo Velázquez. American composer Sunny Skylar wrote the English lyric. Russell sang the song bilingually, "the first vocalist to offer Spanish and English treatments to popular songs."

Unfortunately, the 1942–44 musicians' strike threatened to wreck Russell'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. Luckily, Russell was able to do without any problems. Mercer paid him "$150 for both sides of his first record."

Thus, Russell's first charted hit became the smash "Bésame Mucho" (Capitol #149, 1944) 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 Russell by stating that the worldwide success of "Bésame Mucho," which would become one of the most recorded songs in history, effectively began with his rendition and recording of the song. "Its huge success prompted legendary manager George "Bullets" Durgom to urge [Russell] to give up the drums and concentrate on a solo singing career."

That same year he also had his biggest hit, which became another signature tune "Amor, Amor, Amor" (Capitol #156, 1944), music by Mexican composer Gabriel Ruíz and Spanish lyric by Mexican lyricist Ricardo López Méndez with English lyric by Sunny Skylar. It reached #2 and was taken from the musical film Broadway Rhythm. The flip side of this record was "The Day After Forever."

Russell had two more hits that year: "What a Diff'rence a Day Made" (Capitol #167, 1944), originally titled "Cuando vuelva a tu lado" (When I Return to Your Side), music and Spanish lyric by Mexican female composer María Grever with English lyric by American lyricist Stanley Adams. It reached #15 and was paired with "Don't You Notice Anything New?" The other hit was "I Dream of You" (Capitol #175, 1944) which reached #5 and was paired with "Magic is the Moonlight," original music and Spanish lyric by María Grever with English lyric by Charles Pasquale, taken from the Esther Williams musical film Bathing Beauties.

Then, in 1946, he had another big hit with "I Can't Begin to Tell You" (Capitol #221, 1945) 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) (Capitol #252, 1946). His next hit, "Pretending" (Capitol #271, 1946) which reached #10 was backed with "Who Do You Love?" His final chart-toppers of the 1940s were in 1947: "Anniversary Song" (Capitol #368, 1947) which reached #4, and "I'll Close My Eyes" (Capitol #342, 1947) which reached #15.

All in all, Russell had "an impressive twelve records breaking into the charts between April 1944 and September 1948, a phenomenal eight of them in the top ten. He was not only an established star of the Era, but recognized as a unique contributor as well with his bilingual singing style that opened up the international market for Capitol."

Radio

By 1944, he had become a well enough regarded pop vocalist to be invited to perform on radio programs. He had his own network show on ABC called Songs by Andy Russell, and he was a vocalist on the Old Gold Show, a radio program broadcast on Sunday nights over CBS. From August to October of the same year, he was also a vocalist on The Jackie Gleason - Les Treymane Show , appearing with the legendary comic and performer who would later be known as the star of the classic television program The Honeymooners. Also, from September 3, 1945 to May 27, 1946, Russell performed on the drums and was a vocalist on the CBS radio show The Joan Davis Show (click to listen on YouTube) also known as Joanie's Tea Room with comedienne Joan Davis.

In 1946, the pop music radio program Your Hit Parade asked him to take the place of Lawrence Tibbett, an opera singer, who had previously replaced Frank Sinatra. He stayed on the program for 2 seasons, which led to increased popularity for the singer. It was during this time that Russell had the incredible fortune of having 2 records in the Top Ten, while performing as a vocalist on Your Hit Parade. This meant that the original vocalist would actually be able to sing his or her own songs on the program, an event which very rarely happened. His screaming, teenaged fans called themselves the "Russell Sprouts," of which there were 300 fan clubs throughout the United States.

Personal Appearances

As he became more popular, Russell began making personal appearances in different venues in the country. His first personal appearance was on June 28, 1945, in Newark, New Jersey. Later, he appeared at the Paramount theater in New York, where he signed to perform for 2 weeks, and wound up staying for 5 weeks. A review of Russell's performance was described like this: "His way of sliding into a husky chorus in Spanish--after going through the English version--has all the slick chicks swooning like crazy."

Hollywood

Russell was then invited to Hollywood to screen-test for motion pictures. In 1945, he appeared in the film The Stork Club. In 1946, he appeared in the film Breakfast In Hollywood and sang "Without You"/"Tres Palabras" on the Walt Disney animated feature Make Mine Music. He appeared in the film Copacabana with Groucho Marx and Carmen Miranda the next year in 1947.

On March 13, 1947, he was a performer in the 19th Academy Awards at the Shrine Auditorium in Los Angeles, CA, as he sang one of the songs nominated for the Oscar that year.

Television

Later, Russell 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 Andy and Della Russell. (click to watch on YouTube) "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.

End of Big Band Era

By 1952, Russell's hits had stopped coming, as the big band era was coming to a close. Capitol Records lost interest in him as a hit-making pop star, especially, as the rock 'n roll age was beginning to dawn, Capitol (like the other major labels) began to look on with negative feeling.

Also, in November, 1953, after returning from a trip to Mexico City, Russell announced to his wife Della that he no longer loved her, wanted a divorce, and that he would go live in Mexico City without her. The couple was separated for a month. At that point, Russell's private life became newspaper fodder as he experienced a public backlash and negative publicity due to the shocking news of the couple's pending divorce. Many were upset and angry at this turn of events, as the Russells had been viewed as the "perfect Hollywood couple." They received hate-mail, and Russell was pressured by Roman Catholic Church clergy not to proceed with the divorce because he would be setting a bad example.

Mexico and Latin America

Mexico

After the divorce was finalized in February, 1954, Russell was left virtually penniless, despondent, and out-of-work. His friend Charlie Skypsy, wealthy liquor distributor and later co-owner of the popular Mexican restaurant chain, Carlos' n Charlie's and Señor Frog's, advised Russell to return to Mexico. Skypsy put him up in the swanky and historic Hotel RegisTemplate:Link language in Mexico City. There, Russell found a confidante in actress Ariadne Welter, Skypsy's ex-wife and sister of actress Linda Christian.

In due time, Russell 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. Russell 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 high ratings, so much so, that it produced an outpouring of good will and sympathy for Russell from the Mexican public. Russell realized at this point in time that he was still quite popular in Mexico, so he made Mexico City his home base, while he performed for his fans. He occasionally recorded for RCA Victor Records. Soon, he was fully recovered from the woes he had suffered which had forced him to leave the United States.

On July 12, 1954, he married Velia Sánchez Belmont, the daughter of Mexico's former ambassador to Holland. The reception and banquet was held at the Paolo, the ballroom at the Hotel Regis. That year, Russell also signed a deal to do 7 motion pictures, while appearing on the top TV program The Colgate Comedy Hour. Furthermore, 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.

Mexican Films

Unlike the American movies he participated in, Russell was the bona fide star of the pictures he made in Mexico. He wound up making only 5 films. These movies were of 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, Russell was paired up with a diverse cast of Latin American movie stars, like Cuban actress María Antonieta Pons, Argentinian actor Jorge Reyes, Venezuelan actress Rosita Arenas, Brazilian actress Irasema Dilián, and Spanish actor Enrique Rambal, along with established and popular Mexican actors like Evangelina Fernández, Joaquín Cordero, Freddy Fernández, Yolanda Varela, María Victoria, and Adalberto Martínez, "Resortes."

In these Mexican productions, Russell's roles were spoken in Spanish and peppered with some English phrases; in contrast, the roles in his American movies were spoken primarily in English; however, he sang bilingually in both.

An interesting side-note is that although Russell may have sounded fluent in Spanish when he sang to American audiences, to Mexicans, however, he spoke Spanish with a peculiar accent which was not that of a native speaker (as noted previously, Russell was born in Los Angeles). To accentuate this "foreigness", in many of the motion pictures, his characters exhibit baffling stereotypical American behavior and mannerisms (despite Russell being Mexican-American). He is invariably labeled a "pocho," an insulting and derogatory term for a person of Mexican heritage who is born in United States and takes on American customs and speaks English but does not know his Mexican culture and speaks Spanish poorly, or mixes it with English (Spanglish).

In the Mexican mind-set, the pocho is an offensive caricature who is deserving of scorn and mockery because, despite having Mexican blood, he seems to prefer American culture over Mexican. Also, even though he seems to have not made the effort to learn about his own language and culture, he still covets acceptance by Mexicans, which is even more repugnant. Finally, by appearing to prefer American culture and English, the pocho seems to be aligning himself with American hegemony and imperialism, slighting Mexican culture and implying that it is inferior. So, he is viewed as an ineffectual buffoon, who seems to cater to both sides without much success, "ni de aquí, ni de allá," Spanish for "neither from here, nor there." (What "pocho" means to a Mexican-American is salient but not pertinent at this juncture.)

Following that line of Mexican stereotypical reasoning, thus, it is no wonder Russell would be labeled as a "pocho," especially in the insular, closed, nationalistic society which was Mexico in the 1950's. This defense of country would sometimes be triggered, for example, in the form of criticism if Russell modified the tempo or melody of a traditional Latin American song. Also, if he sang in English during his personal appearances in nightclubs, he would receive a negative reaction from the audience. In general, Mexicans, and Latin Americans, preferred that Russell sing to them in Spanish in order to apparently feel that he was truly one of them and on their side, and to, subconsciously, perhaps, put one over on the United States. Of course, this treatment was not always uniform, nor was it the case in all of the Latin American countries.

Despite these cultural faux pas, by November, 1956, he was making $7,000 a week. He was a Latin-American star of films, had his own TV show, a radio program, and would make trips abroad to perform in other countries, including the United States. Also, this year his son Andy Roberto Russell Sánchez was born.

In 1958, he signed with RCA Victor of Mexico to produce some records.

Spain

Andy Russell Bahia de Palma (Elke Sommer) by Belter 1962

In 1962, Russell 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 in Spanish, which were primarily ballads and up-tempo swing numbers backed up by a full orchestra band conducted by Chico O'Farrell.

He also recorded two songs taken from popular Spanish movies of the time: "Bahía de Palma" (1962) and "Sol de Verano" (1963). The former feautured sex symbol Elke Sommer wearing a bikini, the first time a woman was shown wearing a bikini in a Spanish movie.

Argentina

Russell also traveled back-and-forth to Buenos Aires, Argentina, where he had a successful television variety show that ran for 9 years (1956 - 1965) called at first El Show de Andy Russell and then El Show de IKA which was sponsored by the nation's largest automaker, Industrias Kaiser Argentina (IKA). A Jeep was driven on the stage during every performance with dancers as well as a 50-piece orchestra and choir accompanying Russell. It was the most expensive TV show produced in that country and the first to use cameras mounted high above the stage.

Other Latin American Countries

He also made appearances in other Latin American countries, for instance, in Caracas, Venezuela on the show Renny Presenta with Renny Ottolina (1964). (Click here to watch on YouTube)

Return to the United States

After being based in Mexico City for the past 11 years and performing in Latin America, Russell "felt that he was losing his professional identity and also being subtly pressured into becoming a citizen of Mexico.". He moved back to the United States in 1966 and went back to Capitol, recording the singles "Longin'" and "Enamorado" ("In Love"), but, unfortunately, neither single charted on Billboard.

Russell's comeback album in the U.S. was "More Amor!" (Capitol Records, 1967), a collection of English and bilingual English/Spanish songs. Again, no song from this album entered the Billboard charts.

His next album in 1967 for Capitol called "...Such a Pretty World Today" did produce a #2 single called "It's Such a Pretty World Today." His next single from the same year "I'm Still Not Through Missing You" also cracked the Top Ten on Billboard's Easy Listening chart. He also made some LP's for the Argentine market that were well received. That year, he also married his fourth wife, Ginny Pace, a talk show hostess and former Mrs. Houston.

In 1974, he did a popular cover version in Spanish of Albert Hammond's "It Never Rains in Southern California" called "Nunca llueve en el Sur de California".

He also was a frequent guest on television programs. In 1983, he could be seen on "Family Feud" with Richard Dawson. He was also interviewed on Spanish radio programs and heard on radio commercials in the Los Angeles area.

Up until the 1980's, Russell continued to appear and perform 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, and in concerts before nostalgic swing audiences. As the years passed, Russell kept busy performing for his fans doing what he loved to do best: sing and entertain.

In 1990, he retired to live in Sun City, Arizona with his fifth wife Dora. He died in 1992.

Personal life

Charities

Russell came up with the idea for the different vocalists and big band musicians to form teams and play softball games for charity. Frank Sinatra usually participated. (Softball Charity Game at 1:37 on YouTube)

Russell also sang in concerts which were broadcast over PBS that raised money for public broadcasting. (Andy Russell PBS Fundraising Special at YouTube)

Friendships

One of the greatest thrills in Russell's life was to not only sing with his idol Bing Crosby, but to actually consider him a close friend.

He was also close friends with the tenor Mario Lanza and his family. In 1950, Russell and his wife Della were asked to be godparents to Lanza's second daughter, Ellisa.

Russell also performed with fellow Mexican-American actress, singer, and dancer Emily Cranz on this early 1960's Mexican televison show (click here to watch on YouTube).

Marriages

Russell was married 5 times.

His first wife was Evelyn Evenwood (née 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 Russell (née Adelina Naccarelli ) (1921-2006), a New York nightclub singer, who became his singing partner. They wed in Las Vegas, Nevada in 1945, and performed their act together in nightclubs. They also appeared together on the Andy and Della Russell TV Show in 1950-1951 for ABC. Disagreements about whether or not to have a family was probably one of the reasons that led to their divorce on February 3, 1954.

His third wife was Velia Sánchez Belmont (1929-2002), the daughter of Eduardo Sánchez Torres, former Mexican ambassador to Holland. They wed in Mexico City on July 12, 1954 and had a son, Andy Russell, Jr. Divorce date is not known.

His fourth wife was Ginny Pace, a talk-show hostess and former Mrs. Houston. They married in 1967. Divorce date is not known.

His fifth wife, with whom he was married up to the time of his death in 1992, was Doris Russell. Marriage date is not known.

Death

Andy Russell Grave Marker - Loma Vista Memorial Park - Fullerton, CA

After suffering a paralyzing stroke in February 1992 followed by another stroke on April 12, 1992, Russell 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.

Russell was survived by his wife Doris; brothers Eddie and Tommy Russell; a sister, Vera Personett; a son Andy, Jr.; five stepchildren, Kay, Richard, Robin, Craig and Regan; and several grandchildren.

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)

• The Eagle of the Americas (1974) - an honor awarded him by Mexican journalists.

• 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 Russell was born). (U.S.A.)

• Award of Appreciation (1978) - for being the American who has done the most for Mexican music.

• Nosotros Golden Eagle Award (U.S.A.)

Legacy

Russell started a new way of singing that combined English and Spanish, plus Latin and American rhythms. He was the original cross-over artist. With his romantic, baritone voice and professional, polished demeanor, he introduced American audiences to Latin-American musical compositions with Spanish lyrics, while influencing later Latino and/or Hispanic recording artists to be open to the idea of singing bilingually due to his previous success with the concept. But he did not just stop there. In his later years, Russell also sang songs in French and German. 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 Russell "with his interest in contemporary American music combined with his strong Mexican culture... always considered himself a mixture of both Mexican and American heritages."

Singing Ambassador

The best way to sum up Andy Russell'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 cover of "Favoritos," Russell's first album for Capitol Records back in 1943:

Andy Russell LP Favoritos (cover) by Capitol Records, 1943

Andy Russell LP Favoritos by Capitol Records, 1943

Andy Russell LP Favoritos (Singing Ambassador sleeve) by Capitol Records, 1943

"Singing Ambassador... Andy Russell 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.

"Andy 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.

"Andy'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,' Russell confesses.

"Capitol is privileged to present Andy Russell 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!"

Controversy about Racial and Ethnic Identity

What's in a Name?

In his 2010 book Rock the Nation: Latin/o Identities and the Latin Rock Diaspora, Professor Roberto Avant-Mier points out on pages 58–59 that Russell did not embrace his Mexican heritage and Spanish language as a youngster. He also indicates that at the urging of a bandleader [ Gus Arnheim ], Russell accepted to change his original name of "Andrés Rábago" to the anglicized "Andy Russell." He seems to imply, then, that Russell was, at best, negotiating his cultural identity, giving up his name in order to be afforded musical and economic opportunities in a racist society that were otherwise reserved for Anglo-American musicians. He seems to say that Russell acquiesced because, at that time, he felt more comfortable with his American than Mexican culture, which was understandable as he had been born and reared in Los Angeles, spoke and understood more English than Spanish, and was exposed more to American than Mexican culture; however, in no way, did this signify a rejection of his Mexican culture; it was solely a temporary accommodation. Russell hinted at this necessary accommodation when he commented: "Part of the reason I changed my name--as did many Jewish entertainers--was that I did not want to be stereotyped. But now I'm hard to sell in my own country--except to those who already know me."

However, Avant-Mier seems to go too far when he makes the controversial statement that: "Russell 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) There seems to be little evidence in pages 142-150 of Loza's Barrio Rhythm: Mexican-American Music in Los Angeles to support such a conclusion. Avant-Mier also apparently overlooks Russell's talent, drive, and work ethic as essential components to his success. Plus, the flexibility that Russell used to manage his identity in order to capitalize on opportunities in his career might just be considered as important as his looks. Some may call this "selling out"; others might say, "When life gives you lemons, make lemonade."

Avant-Mier also contends that: "The case of Andy Russell 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) Thus, he seems not to consider that Russell was just being himself: a talented, hard-working Mexican-American who was "six feet tall, weighs 170 pounds, has hazel colored eyes, and black hair." Avant-Mier seems to not acknowledge that "whiteness" could have been a viable aspect of Russell's Mexican-American identity and used for his benefit.

In fact, the majority of Mexicans are racially Indian, Spanish, and black (or any combination thereof) and have an ethnic mestizaje (mix). Although some may have preferences for one ethnicity over the others, this does not necessarily negate the others, which may be present in the background, have an influence, and/or can be returned to over time. In the case of Russell, his nationality was American, but, at the same time, he never denied his Mexican ethnicity, although the name change was simply a means to an end and not that important in the big picture, since he was still emphatically ethnically Mexican. Russell has stated: "You know, I would tell everybody, I'd say, 'I'm Mexican...' and they'd say, 'No, Andy, you must be Spanish.' I'd say, 'No, I'm Mexican...' and they'd say, 'No, Andy, 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.

Furthermore, to describe Russell 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 on 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, once he had a huge hit with "Bésame Mucho," Russell'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, Andy felt that the public would know his background by the Spanish songs in his repertoire" and realize he was Mexican who had simply adopted a stage name, as was the norm for many performers of all ethnicities in that era. Yet, his 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 Russell the most was that his identity as an American singer could be placed 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. On a personal level, Russell's need to sing and perform was validated in this context; moreover, he must have surely felt more ethnically proud as a Mexican than ever before, when in 1956, he married the daughter of a Mexican diplomat and had his only son. But after 11 years of living and performing in Mexico and Latin America, Russell once again felt the edge of the blade 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-1960's.

The Prodigal Son Returns...?

Andy Russell - "More Amor" Album (Front)

Andy Russell - More Amor Album Cover (Back) - Capitol Records (1967)

After releasing the Capitol singles "Longin'" and "Enamorado" in 1966 (neither charted), Russell's comeback album in the U.S. was "More Amor!" (Capitol Records, 1967). On the back cover, there is a certain awkwardness and palpable confusion in the explanation about why Russell had left the United States for Mexico, and why he had returned.

Joe X. Price, a writer for Daily Variety, with tongue firmly in cheek, described Russell as being frozen "for 10 years," on "a decade's 'trip,'" as a "man who incredibly had the intestinal fortitude to walk away from a string of Capitol clicks that would pop the eyes of the Beach Boys," as someone who "fled his native L.A. like a man might flee a 9-5 job that gave him little pleasure and less pay," as an "enigmatic young Russell [who] packed his gear and went to Mexico," as "a case of temporary insanity" on a "soul-searching mission to find his ancestral roots." Of course these descriptions just circled the wagons without revealing the truth about why Russell had left the United States: marital problems, end of the big band era, falling sales, waning popularity, and the allure of performing in a huge Spanish market where Russell's brand of music was well known.

But now the other shoe was about to drop. Could it be that the same push-and-pull factors that impelled Russell to leave the U.S. for the verdant pastures in Mexico were now urging him to return to the U.S.? Could he have outstayed his welcome?

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 Russell 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 1940's, but different from his Spanish-only approach in Latin America. Needless to say, regardless of what was written on the back cover, Russell did not have the same success in 1967 as he had had in 1944 for a plethora of reasons, many dealing with issues other than identity--he 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 1960's, etc. Yet, the notes on the back cover are a fascinating testament to where Russell believed he was in terms of his public persona in 1967, after having been out of the country for 11 years.

Notwithstanding, Russell 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 Russell 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 U.S. recording industry. It is interesting to note that 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...

Returning to the issue of identity: the truth of the matter is that self-identity is a very personal and malleable facet of human nature which has as much to do with inner as outer forces. As such, Russell considered his nationality to be, first and foremost, American but ethnically he was Mexican-American. He would correct people who said he was Spanish by judging him based on his appearance (tall, light-skinned, and hazel eyes) by replying tersely 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." It is interesting to note that 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 U.S. to refer to indigent Mexican immigrants who had just crossed the border. In spite of this, Russell meant no offense or disrespect to those people who embraced the term Chicano; he just stated that it was not for him.

Ironically, 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 Russell on the term "Chicano" when he stated: "Chicano music is Andrew Russell... He personified that whole experience."

Charted Hits

Song	Date recorded	Date entered Billboard magazine best-selling record chart	Highest position	Weeks on chart	Catalog number	Notes
"Bésame mucho" / "Kiss Me Much"	December 17, 1943	April 13, 1944	10	2	Capitol 149	with Al Sack orchestra, composed by Consuelo Velázquez and Sunny Skylar
"Amor, Amor, Amor"	March 10, 1944	May 15, 1944	5	8	Capitol 156	with Al Sack orchestra,
"What a Diff'rence a Day Made" / "Cuando vuelva a tu lado"	? 1944	October, 1944	15	8	Capitol 167	? Orchestra composed by María Grever and Stanley Adams
"I Dream of You"		December 21, 1944	5	3	Capitol 175
"I Can't Begin to Tell You"		December 27, 1945	8	2	Capitol 221	? Orchestra, composed by James V. Monaco and Mack Gordon
"Laughing on the Outside (Crying on the Inside)"	February 28, 1946	May 2, 1946	4	7	Capitol 252	with Paul Weston orchestra, composed by Bernie Wayne and Ben Raleigh
"Pretending"	May 17, 1946	October 4, 1946	10	1	Capitol 271	with Paul Weston orchestra, composed by Al Sherman and Marty Symes
"Anniversary Song"	November 15, 1946	March 14, 1947	5	2	Capitol 368	with Paul Weston orchestra, composed by Ion Ivanovici (as Iosif Ivanovici), Al Jolson & Saul Chaplin
"Underneath the Arches"		October 1, 1948	21	5	Capitol 15183

Filmography

Year	Title	Role	Notes
1945	The Stork Club	Jimmy "Jim" Jones	Film debut, performs drum solo, sings "If I had a Dozen Hearts" (duet with Betty Hutton) and "Love Me."
1946	Breakfast in Hollywood	Singer	Sings "If I Had a Wishing Ring," "Magic is the Moonlight / "Te Quiero, Dijiste" (Muñequita Linda)," and "Amor" Andy Russell - If I Had a Wishing Ring 1946 Andy Russell - Magic Is the Moonlight 1946 from Breakfast in Hollywood
	Walt Disney's Make Mine Music (Animation)	Voice	Sings "Without You" / "Tres Palabras"
1947	Copacabana	Singer	Sings "My Heart Was Doing a Bolero" and "Stranger Things Have Happened."
1953	House Party (Short)	Singer
1955	¡Qué bravas son las costeñas!... (Coastal women are so temperamental!...	Tony López	Mexican production, directed by Roberto Rodríguez. Russell sings: "¡Viva el amor!" ("Hurrah for Love!"), "Bienvenida" ("Welcome"), "La Bamba," "Adiós, linda morena" ("Goodbye, Beautiful Brown-Skinned Girl"), and "Contigo en la distancia" "With You in the Distance").
1956	Mi Canción Eres Tú	Daniel Pérez	Mexican production, directed by Roberto Rodríguez. Russell sings: "Yo sabía" ("I knew"), "Muchachita" ("Little girl"), "Destino" ("Destiny"), "Imprescindible" ("Beloved")
	¡Viva La Juventud!	Pancho Andreú	Mexican production
	Primavera en el Corazón	Andrés Valdés	Mexican production
1959	Vístete, Cristina		Mexican production
1966	El Mago de los Sueños (The Dream Wizard) (Animation)	Voice	Spanish production, sings "Soñarás" and "Soy el mago de los sueños"

Discography

• Favoritos (LP, Capitol, 1943)
• This is the night (LP, Capitol, 1946)
• The first Noël (La primera Navidad) (LP, Capitol, 1947)
• Love notes from Andy Russell (LP, Capitol, 1948)
• The magic of Andy Russell (LP, RCA Victor, 1958)
• More Amor! (LP, Capitol, 1967)
• ...Such a Pretty World Today (LP, Capitol, 1967)
• Andy Russell (Barcelona Madrid : Belter, D.L. 1967)
• Andy Russell con las orquestas de Bebu Silvetti y Chico O'Farrill (Madrid : edita y distribuye Gramusic, D.L. 1973)
• Yesterday, now and forever (LP, Kim Records, 1982)
• Spotlight on—Andy Russell (compilation) (CD, Capitol, 1995)

Further reading

• Lamparski, Richard (1985). Whatever Became of... Ninth Series Crown Publishers, Inc. ISBN 0-517-55540-9

• 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).

• Loza, Steven (1993). Barrio Rhythm: Mexican American Music in Los Angeles. University of Illinois Press. ISBN 0-252-01902-4.

• Macías, Anthony (2008). Mexican American Mojo: Popular Music, Dance, and Urban Culture in Los Angeles, 1935-1968 (Refiguring American Music). Duke University Press Books. ISBN 978-0822343226

• Tumpak, John R. (2008). When Swing was the Thing: Personality Profiles of the Big Band Era. Marquette University Press. ISBN 978-0-87462-024-5

• Avant-Mier, Roberto (2010). Rock the Nation: Latin/o Identities and the Latin Rock Diaspora. Continuum International Publishing Group. ISBN 978-1-4411-6897-9

External links

• Andy Russell at IMDB
• Andy Russell at Find A Grave

Watch

• Andy Russell in The Stork Club (1945) at YouTube
• Andy Russell in Breakfast in Hollywood (1946) at YouTube
• Andy Russell in Walt Disney's Make Mine Music (1946) at YouTube
• Andy Russell in Copacabana (1947) at YouTube