Andy Russell (singer)

Capitol Records recording artist Andy Russell

While he was with Rey, Russell's bilingual vocals had caught the attention of lyricist and composer Johnny Mercer, who asked Russell to cut a record for his fledgling Capitol Records.[33][43][44][45]

Russell narrowed his choices down to three songs. He then chose the bolero "Bésame Mucho,"[46] with music and Spanish lyric by Mexican composer Consuelo Velázquez, English lyric by American composer Sunny Skylar, and backing by the Al Sack Orchestra. He sang "Bésame Mucho" bilingually, the first vocalist to offer Spanish and English treatments to popular songs,[10] often with a chorus in English followed by a chorus in Spanish,[47] and, in doing so, displaying his Latin background.[14][34]

The 1942–44 musicians' strike threatened to derail Russell's career before it had even begun. Union President James Petrillo[48] 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. Russell was able to make a test record with the George Siravo orchestra under the deadline.[49] Mercer paid him $150 for both sides of his first record.[21]

Russell's debut single "Bésame Mucho" on Capitol Records 1944.

Russell's first charted hit became the smash "Bésame Mucho" which reached #10 on the Billboard's Hot 100 Chart in the United States. It sold over one million copies.[3][44] Velázquez heaped huge praise on Russell by stating that the worldwide success of "Bésame Mucho", which would become the most recorded Mexican song in history,[50] effectively began with his rendition and recording of the song.[4] A review of this song stated that the Spanish Mexican influences were obvious, with Russell's Spanish contributing to a soft and effective crooning job.

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

Mexican composer María Grever composed the melody and Spanish lyric for both "What a Diff'rence a Day Made" and "Magic Is the Moonlight."

Russell had two more hits that year: "What a Diff'rence a Day Made", original title "Cuando vuelva a tu lado" (When I Return to Your Side), music and Spanish lyric by Mexican composer María Grever with English lyric by American lyricist Stanley Adams and backed by the Paul Weston Orchestra. It reached #15 and was paired with "Don't You Notice Anything New?" The other hit was "I Dream of You", which reached #5 and was paired with "Magic Is the Moonlight".

1944 was a banner year for Russell. Such success was unprecedented for a "kid from East Los Angeles", albeit a very talented, hard-working, and cocky kid. He was a part of the era when popular singers, or crooners, were beginning to take the spotlight away from the bands. Crooners such as himself, Bing Crosby, Frank Sinatra, Dick Haymes and Perry Como[7] each had his own unique style.

As the youngest of all the crooners in this era, Russell drew his style from those who had come before, especially Haymes. Russell was viewed as the typical crooner, in the Sinatra style, who extended and drew out the words, while adding delightful shades and nuances to the phrases in his songs. He was not considered a bolero singer in the classic sense (of Latin America singers), but his execution of romantic songs had some of the best and most sincere phrasing.[4] Russell's 4 top-ten hits on the Billboard Hot 100 Chart in 1944 sold millions of records, and opened the door later in the decade for touring around the country and appearances on radio programs, motion pictures, and television. By late 1944, he was declared by the Mutual Broadcasting System to be the "idol of the crew-cut and bobby-sox set, and one of the nation's top-ranking romantic balladeers".[51]

In 1946, his next big hit was "I Can't Begin to Tell You" which reached #7, and was from the film The Dolly Sisters. The next big hit came later in 1946: a two-sided hit with "Laughing on the Outside" which reached #4, and "They Say It's Wonderful" which reached #10, (from the Broadway show Annie Get Your Gun). His next hit, "Pretending" which reached #10 was backed with "Who Do You Love?" His final chart-toppers of the 1940s were in 1947: "Anniversary Song" which reached #4, and "I'll Close My Eyes" which reached #15.[52]

The sales of Russell's records enabled Capitol to build the "Stack o' Records" building.

Russell had twelve records break into the charts between April 1944 and September 1948, eight of them in the top ten.[45] He was not only an established star of the Era, but recognized as a unique contributor with his bilingual singing style that opened up the international market for Capitol.[21][53]

Music-store owner, Glenn E. Wallichs, a pioneer in the record industry for his attention to foreign markets, and co-founder of Capitol Records, made sure that Russell's records were distributed throughout Latin America,[47] which meant huge sales for Capitol and ever-growing popularity for Russell. The success of Russell, along with the stable of Capitol recording artists, permitted Capitol to construct the famous thirteen-story "Stack o' Records" building in 1954. The following year, Capitol was sold for $8.5 million.[54]

The Andy Russell Show on NBC radio in 1944.

By 1944, he had become a well enough regarded pop vocalist to be invited to perform on radio programs.

On November 9, he debuted on his own radio show on the "Blue" network, or NBC, called The Andy Russell Show, which broadcast out of Hollywood, California. He was the host and featured vocalist. In addition, he would invite guests to appear on his program, such as Dinah Shore and Johnny Mercer.

On Sunday nights over CBS radio, Russell was also a featured vocalist on the Old Gold Show, which was the name of the cigarette company that sponsored the program.

Next up was an invitation to appear as a vocalist on The Jackie Gleason - Les Tremayne Show on NBC radio.[55] Unlike his eponymous show which was broadcast from Los Angeles, California, it was necessary for Russell to take the train out to the East Coast, as this show originated from New York. It was reported that during the trip, he got sick because he had never been on a train before.[56]

Also, in addition to duties as a vocalist, Russell played straight man to Jackie Gleason, the legendary comic and performer who would later be the star of the classic television program The Honeymooners. He would do this later in a motion picture with Groucho Marx, too.

With regard to his participation on the show, the Billboard 1944 Music Year Book stated that "the talented, handsome ... young singer's commercial appeal [was] tremendous. Starting with one song, audience response demanded his current three singing spots."[57]

Russell and comedian Joan Davis (1945).

Later, from September 3, 1945, to May 27, 1946, Russell appeared on the CBS radio comedy show, The Joan Davis Show, which originated out of New York City. This program aired on Monday nights from 8:30 - 8:55 p.m.[58] "Popular crooner Andy Russell served as both the variety anchor for The Joan Davis Show as well as Joanie's love interest in the situation comedy series ... [He] delivered as expected to the swoons and cheers of his millions of female fans of the era."[59] In addition to singing, Russell also acted and played straight man to comedian Joan Davis. Paul Weston and his Orchestra provided the music.

Finally, and most notably, starting on April 26, 1946, Russell began to appear as featured vocalist on the pop music radio program Your Hit Parade.[60] This popular program aired on Saturdays, 9:00-9:30 pm on NBC radio and was broadcast out of New York City. He replaced Lawrence Tibbett, an opera singer, who had previously replaced Frank Sinatra.[61][62]

After five months in New York, he was so popular that Lucky Strike cigarettes, the sponsor of the show, agreed to pay for the show to be broadcast out of its Los Angeles studios in order to appease Russell who was homesick. The shows from Hollywood began on September 21, 1946.[63] He stayed on the program for 2 seasons, which led to huge popularity for the singer.[3]

It was during this time that Russell had the incredible fortune of having two records in the Top Ten, while performing as a vocalist on Your Hit Parade. As the original vocalist, he would actually be able to sing his own songs on the program, an event which very rarely happened. His screaming, teenaged fans called themselves the "Russell Sprouts", of which there were 300 fan clubs throughout the United States.[3][64]

Personal appearance, 1944.

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, at the RKO Boston Theater[65] in Newark, New Jersey, (Frank Sinatra's home town).[19] Later, he made an appearance at the Paramount theater in New York, where he signed on to perform for two weeks, and wound up staying for five weeks.[39] A review of Russell's performance stated: "His way of sliding into a husky chorus in Spanish—after going through the English version—has all the slick chicks swooning like crazy."[39] Russell hoped to perform in Mexico, although he had never been there, despite being of Mexican heritage.[66]

Publicity photo for Make Mine Music (1946) with Russell, Walt Disney and Dinah Shore.

Russell was then invited to Hollywood by Buddy DeSylva, co-founder of Capitol Records, to screen-test for motion pictures. He was contracted to appear in the film The Stork Club (1945). His movie career had an inauspicious start at Paramount Studios. The Mexican-American crooner was told by a security guard that it was a closed set and that he would have to leave. He waited outside the stage door, sitting in the sun until Hal Walker, the director, came looking for him and told him to get to work. Russell asked nervously, "Are you sure it's all right now?"[67] In his motion picture debut, he played himself in everything but name, as he [was] cast as a dance band singer and swing drummer. He sang "If I had a Dozen Hearts" in a duet with Betty Hutton and a solo on "Love Me". He also displayed his percussionist skills on a drum solo of "China Boy".[19]

In 1946, he appeared in the film Breakfast In Hollywood, where he sang "If I Had a Wishing Ring" in English and bilingual renditions of "Magic Is the Moonlight" / "Te quiero dijiste (Muñequita linda)" and "Amor".

In the same year, he sang "Without You" (based on Cuban composer Osvaldo Farrés' song "Tres Palabras") on the soundtrack of the Walt Disney animated feature Make Mine Music, the pop music version of Fantasia. The "A Ballad in Blue" section illustrated the end of a relationship using raindrops, flower petals, and a love letter.[68]

Russell and Groucho Marx in Copacabana (1947).

Russell and Carmen Miranda in Copacabana (1947)

In 1947, at the peak of his popularity, he appeared in the film Copacabana with Groucho Marx and Carmen Miranda.[69] In this film, Russell good-naturedly plays his dumb-bell nightclub singer role with a mild manner, wide-eyes, and a toothy smile. About his performance, co-star, Gloria Jean said, "[He] was very bland, wishy-washy, but he had a lovely voice."[70]

On March 13, 1947, he was a performer in the 19th Academy Awards at the Shrine Auditorium in Los Angeles, California, as he sang "You Keep Coming Back Like a Song" from the musical film Blue Skies,[71][72] one of the songs nominated for the Oscar that year.[73]

Andy and Della Russell

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.[74] "It was a brief but pleasant musical interlude, which originated live from New York [from 7:00 to 7:05] every weeknight."[75] They also had an act that they would perform together in nightclubs. A review described their act as: "delightfully light, cleverly done and wholly entertaining."[76] In addition to singing and dancing, Russell would perform impressions of celebrities. Lastly, they appeared together in the musical short, House Party (1953).

By October 1948, the big band business was at its lowest ebb in years. Tastes were changing, as the rock 'n roll age was beginning to dawn. Russell lined up a band to back him, and he hit the road to revive business with a series of one-night engagements to meet the people up front again.[77] By 1952, Russell's hits had stopped coming, as the big band era had come to a close. Capitol Records lost interest in him as a hit-making pop star and began to look on with negative feeling.

Playbill for Teatro Lírico, Mexico City, 1953.

At this point, Russell began to look elsewhere for a place to perform. On 16 October 1953, he made his debut in Mexico City at the Teatro Lírico alongside such legendary performers as Agustín Lara, Tin Tan, Toña la Negra, and others.[78] He was billed as "the Mexican star of Hollywood and the greatest exponent of romantic Mexican song in the United States".[78]

Then, in November 1953, after returning from his trip to Mexico City, he announced to his wife Della that he no longer loved her, wanted a divorce, and that he would move to Mexico City.[79] The couple was separated for a month, at which point Della initiated divorce proceedings. Russell did not contest.[80]

After that, his private life became fodder for the gossip columns as he experienced a public backlash and negative publicity due to the shocking news of the couple's pending divorce. Many were angry and upset at this turn of events, as the Russells had been viewed as the "perfect Hollywood couple".[79][81] They received hate-mail from irate fans, and Russell was pressured by the Hollywood community and Roman Catholic Church clergy not to proceed with the divorce because it would cause "a public scandal".[53][82]

After the divorce was finalized in February 1954, Russell was left virtually penniless, despondent, and out-of-work.[83] His friend Charlie Skipsey, wealthy liquor distributor and later co-owner of the popular Mexican restaurant chains, Carlos'n Charlie's and Señor Frog's, advised Russell to go to Mexico.[83]

In order to avoid the pressure of his situation in the United States,[82] Russell reluctantly agreed to move to Mexico on a temporary basis,[53] but he was hesitant because he could not speak more than a few words of Spanish, and he thought the people would not like him.[84] However, when he arrived in Mexico, he was astounded to find thousands of people greeting him at the airport.[53]

Skipsey put him up in the swanky and historic Hotel Regis (in Spanish) in Mexico City, where he found a confidante in actress Ariadne Welter, Skipsey's ex-wife and younger sister of actress Linda Christian.[85][86]

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, backed by the orchestra of legendary composer, Agustín Lara. Russell accepted. His show had a great response from the audience, and he began touring other night club venues in Mexico with similar success.[83]

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.[83] The radio show had a tremendous impact and achieved such high ratings that it produced an outpouring of good will and sympathy for Russell from the Mexican public. "The people opened their hearts for me," he said, "They treat[ed] me like a brother."[84]

Russell's "Contigo en la distancia," RCA Victor Records, Mexico, 1954.

Russell realized at this point that he was popular in Mexico, so he made Mexico City his home base, while he performed for his fans. The idea of being a Mexican singer was intriguing to him.[4]

In short order, he was offered a recording contract with RCA Victor Records of Mexico. His subsequent recording of "Contigo en la distancia" ("I'm With You Though You're Gone") by Cuban composer César Portillo de la Luz and backed by Mario Ruiz Armengol and his Orchestra was an unparalleled success and was number one on the music charts for eight months.[84] His interpretation propelled this song to international fame and was so novel and overpoweringly romantic that it was viewed as influencing the birth rate in Mexico.[87] His version of this classic Cuban composition is considered one of the best.[4]

Furthermore, he signed a deal to do seven motion pictures and began appearing on the top television programs The Colgate Comedy Hour and the Mexican Kraft Music Hall.[7] And as long as he remained a resident of Mexico for at least 10 months out of the year, he paid a very small income tax.[88]

Russell recalled this tumultuous yet rewarding phase of his life:

All of a sudden, my life--a complete turnabout from English to Spanish. I got into Mexico, got into the theater; we broke the records at the theater. I did my television show; it became the number one show; the number one radio show. I made a movie; it became the number one movie. Everything happened ... Before you know it, I'm making movies and I became a Mexican idol, all over Latin America and Argentina, Venezuela, every place. I was the number one box office in all these countries in Spanish. So I have the two lives, in English and in Spanish.

— Source, Loza, Steven. 1993.Barrio Rhythm: Mexican American Music in Los Angeles, University of Illinois Press., pg. 148

Yet, one thing that he found embarrassing was the fact that his Spanish did not match the fluency of a native speaker because, according to him, it was "east-side."[53] Moreover, by his own admission, he was "the gringo" who had a horrible American accent when he spoke Spanish.[89] Thus, in order to prepare for his film roles, he gathered with his friends, who helped him with his pronunciation and to speak properly.[53]

Although he was born of Mexican parents, he worked hard to overcome the "handicap" of having grown up in the United States in order to be accepted as an "hermano" in Mexico[84] and be "one of the family" in Latin America.[89]

Russell and bride Velia Sánchez Belmont marry in Mexico in 1954.

Soon, not only was he fully recovered from the woes which had forced him to leave the United States, but he had actually discovered his roots in Mexico. Heartened by his success, he decided to remain there.[53] On July 10, 1954, he married Velia Sánchez Belmont, the daughter of Mexico's former ambassador to the Netherlands.[90] The civil ceremony took place at the bride's parents' home, and the reception and banquet was held at the Paolo, the ballroom at the Hotel Regis.[83] Shortly thereafter, in September 1955, his wife gave birth to their son, Andy Roberto Russell Sánchez.[84][91]

During this period, he was a Latin-American star of films, television, radio, and nightclubs. He not only made personal appearances in Mexico, but he traveled abroad to perform in other countries, including Canada and the United States.[92] By November 1956, he was earning $7,000 a week (a far cry from the $2,500 a year he earned in 1940, beating the skins as a drummer in a hotel orchestra).[93] All this good fortune led Russell to exclaim that "Mexico has been wonderful to [me]"[88] and "has made me happier than I ever was in my life."[84]

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 five films. These movies were of the light-hearted, comedic, and musical-variety kind, where he had a fair amount of dialogue and singing duties to perform. Since they were being marketed not just for Mexico and Latino communities in the United States, but for all of Latin America and Spain, Russell was paired up with a diverse cast of Latin American movie stars, along with established and popular Mexican actors like Evangelina Elizondo, who appeared with him in three of his motion pictures. In these Mexican productions, Russell's roles were spoken in Spanish and peppered with some English phrases; in contrast, the roles in his American movies were spoken only in English; however, he sang bilingually in both. Russell had to learn "enough Spanish to star in film in Mexico and in Spain. His first director cast him as a Mexican reared in the United States (the case, again, of Russell playing himself), but after that his accent was convincing and he became entirely bilingual."[94]

Andy Russell's film debut in Mexico was in the motion picture "Qué bravas son las costeñas!" (1955)

His film debut in Mexico was ¡Qué bravas son las costeñas! (Coastal women are so temperamental!) (1955), directed by Roberto Rodríguez and co-starring Cuban actress María Antonieta Pons and Mexican actors Joaquín Cordero and Evangelina Elizondo. Filming began on 16 August 1954 in Churubusco Studios in Mexico City and on location in Acapulco. It premiered on 2 June 1955 at Cinema Olympia, where it played for 3 weeks.[95] Around this time, Russell and Elizondo made a live appearance at the historic Million Dollar Theater to promote the film for the United States Latino public in Los Angeles, California.[96]

In his commentary, Mexican film historian Emilio García Riera begins his film review by introducing Russell:

Andy Russell (Andrés Rábago), Chicano of Los Angeles, who made a modest career as a crooner and appeared in 4 films in Hollywood, entered the national cinema transformed into an extravagant type of 'pocho' playboy, complete with a pipe and captain's hat, owner of a yacht, with a particularly obnoxious American accent and a languid way of intoning songs, a-la-Bing Crosby. His character declares, of course, much love for Mexico, but he only manages to disrupt the typical tropical setting, where the women defend their honor against the attraction caused by their own sensuality ... Russell's character is not a threat to these heroines; one could say he only wishes to flirt with them in the style of a Hollywood B-grade musical-comedy. However, the response to frighten the 'pocho' from defiling the honor of a woman is wholly disproportionate, and he is dismissed with dishonor.[97]

The following year in 1956, Russell starred in three movies, the first being Mi canción eres tú (You Are My Song), directed again by Roberto Rodríguez and co-starring Mexican actress and singer Evangelina Elizondo. Filming began on April 1, 1955, in the Churubusco Studios, and the premiere was March 28, 1956, at Cinema Orfeón, where it played for two weeks.[98]

García Riera starts off his film review by noting that previously he, like many others, viewed Russell as the epitome of conceitedness and extremely stuck-up. In this Hermanos Rodríguez production, Russell represented a threat of hybridization. His character, called "Danny" more often than "Daniel", at 15-years-old beat it out of Mexico to go to the United States, and he returned with bilingual crooning abilities. His family members called him "bracero" (farm laborer), so as to not call him "pocho", He has future possibilities of entering the "gringo" middle-class due to his success on television, singing in high-priced cabarets, and the sale of records ...[99]

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: Russell, Freddy Fernández, and Gustavo Villacampa singing "Perfida" while shirtless in the bathroom; Russell 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, Russell singing "Quiéreme mucho" in Spanish and English, while Antonio Raxel makes the comment that if Russell sings in English, would he want his salary to be paid in dollars instead of pesos; and Russell 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 Russell, from a distance, does not appear to be so stuck-up anymore. There have been others who have been worse.[100]

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.[101]

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.[102] 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 Andy Russell, who covered his jalopy with expressions, such as 'Mercedes ven,' in the manner of American college-boys, and heard Michigan instead of Michoacán."[103] 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.[104]

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.[105]

This film was noteworthy for being the first Mexican film in color (Eastmancolor) and in Cinemascope, done in the classic Hollywood style.[106]

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.[107]

In his film review, García Riera labels Russell's character "el pocho Carlos."[107] The character's actual name is "Carlos Lata".[107] García Riera sarcastically wonders why Russell's character would be given such a last name as "Lata".[108] In Spanish and in this context, "lata" means to "pester, bug, or be a pain, a nuissance."[109] He also refers to Russell 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' Russell was famous for having."[110]

In Mexico, Russell 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 Russell 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."[10]

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.[82]

Yet, despite the resistance and conservative leanings of his Latin-American audiences, Russell 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:

You can turn the radio on today in Mexico and hear American music played by Mexican boys and it's rock. Mexico is changing. Before, everything was Mexican music. Now there are other influences being heard ... Years ago, it was a crime for a performer to change the authentic musical forms. A bolero was a bolero. I drew a lot of criticism for jazzing up 'Perfidia'. Today, the young musicians are making rock versions of standards.

— Source:, Billboard. December 16, 1967. page M-24

Thus, although Russell 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.

Publicity photo for El show de Andy Russell.

From 1956–65, Russell traveled back-and-forth from Mexico City to Buenos Aires, Argentina, where he had a television variety show called El Show de Andy Russell on channel 7. The show was produced and broadcast during the summer months over the course of 13 weeks.[111]

In 1958, the name of the show was changed to El Show de IKA (sometimes billed as Desfile de Éxitos IKA) [112] when Argentina's largest automaker, Industrias Kaiser Argentina (IKA)[113] 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,[114] it was the most expensive television show produced in that country, and the first to use cameras mounted high above the stage[113] to capture exceptional visual effects.[115]

Nélida Lobato on El show de Andy Russell.

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 Russell.[113][116]

In compensation for his hosting and singing duties, Russell, for his part, received an unspecified, but princely sum.[114] Russell 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."[112]

He toured through "every country in Latin America,"[117] and his acceptance and popularity was such that "Andy Russell" 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."[89]

Russell 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.[118]

Russell sang the theme song from the Spanish film Bahia de Palma on Belter Records 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, 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).

Russell performed frequently in Spain, and even sang for Spanish dictator Francisco Franco several times, who honored him with awards.[119]

Russell worked Cuba every six months, making personal appearances at the Dune Television and the Havana Hilton,[120] occasionally alongside Tony Curbelo.[121] 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."[119]

Although Russell was 4-F (unfit for military service) due to a broken arm that did not heal properly,[39] he helped to raise funds for the war by singing at fund raisers.

Russell 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).[132] Other stars who participated were crooners Dick Haymes, Nat King Cole,[133] and Mel Tormé; bandleader Harry James; dancer and actor Gene Kelly; and comedians Bob Hope and Mickey Rooney.[134] Actress Jane Russell[135] and Lois Andrews also participated as "Russell Sprouts" bat girls, while Virginia Mayo was a "Frank Sinatra Swooners" bat girl.[136]

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. Russell sang in a quartet with Crosby, Dick Haymes and Jack Benny on the latter's radio show.[137]

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.[138] In 1950, Russell and his wife Della were asked to be godparents to Lanza's second daughter, Ellisa.[139] In an odd twist, Lanza developed an infatuation with the blond and glamorous Della which inspired him to record his own romantic—and according to him, better—version of "Bésame Mucho" for her.[139] By 1953, after standing by Lanza through the worst of his troubles, Russell's patience wore thin, and he cooled to the friendship.[140]

Russell 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).[141][142][143] [144]

Russell was married five times:

His first wife was Evelyn Marie Morse[145] (1919-1993).[146] Date of marriage was June 30, 1940, in Los Angeles, CA.[147] Their divorce was finalized in 1945.[148]

His second wife was Della Norrell (née Adelina Naccarelli) (1921-2006),[81][149] a New York nightclub singer. They wed at the Little Church of the West, Las Vegas, Nevada, on October 23, 1945.[150] "During the ceremony, Della was crying when the minister asked, 'Do you?' So, Russell just upped and said, 'Yes, she do.'"[151] 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 Andy and Della Russell (1950-1951), and the musical short House Party (1953). They were considered the ideal, Hollywood couple, and their fans and the public at large were shocked when they divorced on February 3, 1954.[79][152][153]

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, Andy Russell, Jr. the following year. They divorced in 1961.[154][91][155]

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 Russell that same year. Russell considered himself a "real family man" and was dedicated to his six children and grandchildren. The couple divorced in 1987.[82] [156] [157] [158]

His fifth wife, with whom he was married up to the time of his death in 1992, was Doris E. Russell.[8]

• The Pioneer of Argentine Television[5][111]
• The Showman of the Americas (Argentina)[5][111]
• Citation by Pope Paul VI[82]
• Barcelonés Honorario (Spain)[119]
• Mayorquín Honorario (Spain)[119]
• Golden Microphone (1966) - An award by Capitol Records for record sales.[161]
• El Águila de América (The Eagle of the Americas) (1972[111] or 1974[5]) - an honor awarded him by Mexican journalists,[5] members of the Mexico Newspaper Writers Guild (APERM).[111]
• 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.)[162]
• Award of Appreciation (1978) - for being the American who has done the most for Mexican music.[163]
• Nosotros Golden Eagle Award (1979) (U.S.A.)[164]

Russell started a new way of singing that combined English and Spanish, plus Latin and American rhythms,[10][33] that established him as being the original crossover artist.[9] 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, Russell's repertoire also included songs in French "Je Vous Aime" and in German "Danke Schoen".[165] From his peers in the music industry, he gained not only their professional respect but their love and admiration, as well.[21] 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."[21]

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 Russell 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[166] 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—Russell 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.[12]

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 sleeve of the record jacket of Favoritos, Russell's first album for Capitol Records back in 1943:

Andy Russell, Favoritos LP, Capitol Records, 1943

Andy Russell, Favoritos LP (inside), Capitol Records, 1943

Andy Russell, Favoritos LP, (inside flap), 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!"

In his book Rock the Nation: Latin/o Identities and the Latin Rock Diaspora (2010), 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 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 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, Russell 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 Russell 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 Russell 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 Russell 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."[82]

Yet Avant-Mier rejects Russell's nuanced argument by concluding 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) 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 Russell admits to "selling out", which Avant-Mier seems to imply.

Avant-Mier overlooks Russell's talent, drive, and work ethic as essential components to his success. Plus, no credit is given to Russell 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 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) Deborah Pacini Hernández states as much on page 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 Andy Russell and Ritchie Valens, respectively born Andrés Rábago Pérez and Ricardo Valenzuela." [169]

Thus, neither seem to lend credence to Russell'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", 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" [34] 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.

Russell 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, 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 ... '" [23] Clearly, his ethnic identity was not up for negotiation.

In truth, there was not much the talented, hard-working Russell could do about his personal appearance, who just happened to be "six feet tall, weighs 170 pounds, has hazel colored eyes, and black hair."[57] Russell'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 Russell'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 identity—-but as a Mexican, not European-American.

Russell'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 "Russell" 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 Russell'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 Russell or Vikki Carr.[38] In addition, according to Guerrero, they were the only Mexican-Americans who were accepted and successful in Mexico.[38] This simple, almost naive explanation belies Guerrero's own stature as a legendary musician of some renown, known as the "Father of Chicano Music".[170]

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 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 Russell'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 Russell, 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: Russell 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 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 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, Russell'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 Russell 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, Russell 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 Russell'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, Russell 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," [82] 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 Russell'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.

Russell 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".[56]

In another newspaper article from 1944, he was described as: "... a fellow of Spanish extraction ..."[171]

In a 1945 article, he was described as a 'Los Angeles-born Mexican lad'.[67]

In a 1946 article, he was called: "an American Spaniard".[172]

On the back cover of his album "The Magic of Andy Russell" (1958), RCA described his singing style, "... which stems from his Mexican-American upbringing ..."

Among many names, he has also been labeled as: "Hispano", "Latin",[173] "Spanish-Mexican", "of Mexican parentage", "Mexican of Spanish descent", "a Californian of Mexican descent",[174] "Mexican-Spanish",[175] "mexicano-norteamericano",[176] "norteamericano" and "Chicano".[8]

Andy Russell, "More Amor!" LP, Capitol Records, 1967

Andy Russell, "More Amor!" LP (back cover), Capitol Records, 1967

After releasing the Capitol singles "Longin'" and "Enamorado" in 1966 (neither charted), Russell'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 Russell had left the United States for Mexico, and why he had returned.

Russell 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).[142] 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 Russell had once done as a crooner in the 1940s. Furthermore, and most tellingly, these younger singers were Mexican nationals, unlike Russell who was an American of Mexican ancestry.

Russell probably saw the writing on the wall. He had now become passé. All these reasons most likely played a factor in Russell 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 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 1940s and in Latin America.

Needless to say, regardless of what was written on the back cover and his situation in Mexico, Russell 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 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 1960s, 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 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.

Russell 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."[82]

In a later interview, he elaborated on the subject:

I hated the word 'Chicano' at that time, 'cause at that time it was that, 'He's nothing but a Chicano, you know?' That was a terrible word at that time. Yeah, 'Pachuco' or 'Chicano', you know? That's a horrible word. I says, 'I'm not Chicano. I'm Mexican American. First I'm Mexican because my mother and dad are Mexican and I'm Mexican, and I'm American 'cause I was born here. I'm a Mexican American, I'm not a Chicano, you know? I just didn't like that word. It stuck with me. I don't like it even today. I'm sorry, I don't like it ... Just don't like the sound.

— Source, Loza, Steven. (1993) Barrio Rhythm: Mexican American Music in Los Angeles. University of Illinois Press, page 147

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, Russell 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, Russell 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 Russell on the term "Chicano" when he stated: "Chicano music is Andrew Russell ... He personified that whole experience." [8]