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Eva Bartok was both a beautiful lady and a talented actor whose roots were in classical theater. Her first and only film in Hungary, Mezei próféta (1947) ("Prophet of the Fields"), was banned by communist censorship. Actually her life up to that point had been marked by confusion and tragedy. Her father,a Jew who had married a Catholic lady, disappeared without a trace during the rise of Nazism in Europe and Eva, herself, was forced to marry a Nazi officer at age 15 in order to avoid being sent to a concentration camp.

Having survived the horrors of Nazism and World War II, she found her vocation in acting but was soon threatened and persecuted by the new Communist regime. Hollywood-based producer Alexander Paal helped her escape from Hungary by marrying her and taking her to England, where she made her screen debut in Paal's production of A Tale of Five Women (1951), filmed in 1948 but shelved for several years due to financial difficulties. After divorcing Paal, Eva received valuable support from film mogul and fellow Hungarian expatriate,Alexander Korda, who was then president of MGM-England. He placed her under contract to London Films which provided a small salary, an English language coach and the opportunity to audition for developing film projects at the studio.

In spite of this, Eva spent months without finding real work and was becoming quite desperate. William Wordsworth, a public relations man who became her third husband, suggested that she attend as many premieres and theater opening nights as possible in order to bring attention to herself. Unable to buy the proper wardrobe and accessories to make a decent showing at these social events, Eva began designing and making her own gowns and hats from pieces of cheap materials. Soon the media took notice of this beautiful brunette dressed in weird costumes and Eva Bartok became a local celebrity most notable for her hats.

The publicity caught the eye of an Italian promoter who offered Eva a contract to perform in a vaudeville show. With Korda's permission, Eva flew to Italy and had great success reciting monologues on the stages of Milan, Florence and Rome. Meanwhile, in England, the film, A Tale of Five Women (1951) had finally reached movie houses and was seen by producer-actor Burt Lancaster, who was looking for a leading lady for his next film, The Crimson Pirate (1952). Impressed by Eva's beauty and talent, he wired her in Italy and she accepted promptly, sensing the importance of the project.

Thanks to the publicity and worldwide distribution of this film, Eva was perceived as a real movie queen but her next vehicles were not what you would expect from a rising superstar. It is understandable that Eva was a young woman marked by the horrendous experiences of her early years which might explain that, over time, she would become more concerned with spirituality than with the quality of the projects she took on all over Europe. Somehow, she became more famous for her off-camera antics than for her screen work. Eva's long lasting affair with David Michael Mountbatten, 3rd Marquess of Milford Haven and related to the Royal Family, made headlines everywhere especially when David's wife, the Machioness, filed for divorce and named Eva Bartok as the culprit in her failed marriage. For a long time, the actress seemed to be divided between her image as a glamorous carefree playgirl among the European rich and a real human in desperate need to find the meaning of her own existence.

Her filmography in the 1950s is prolific both in England and in West Germany but it includes lots of low-budget turkeys (now "cult classics"), some decent vehicles and a few top productions. She also made a series of films that paired her with popular actor-director, Curd Jürgens, who became her fourth husband. Besides her work in movies, she appeared on London stages and on television in the UK and in the US. After turning down a Hollywood contract in 1956, Miss Bartok faced a serious health crisis when she was diagnosed with an ovarian tumor and was found pregnant at the same time. An Indonesian mystic helped her out of this predicament with a new spirituality called Subud. Eva reported later that she had been healed and was successful in giving birth to a "miraculous" baby girl in 1957. (see 'Deana Jürgens').

From then on, she was totally committed to Subud although she made half a dozen more films before retiring from movies altogether in 1967 at age 40. In later years, she revealed that daughter Deana had been fathered by Frank Sinatra but the claim went ignored by Sinatra and family. She continued her Subud activities during residencies in Indonesia, Hawaii, San Francisco, Los Angeles and London where she died quietly in 1998.

Cuban character actress and comedienne who started her career at age eight as a dancer in tent shows owned by her uncle. By the time she was fourteen, Norma was good enough to join the famed Enrique Arredondo theatrical troupe touring the island's stages with great success. As a young adult she performed as a featured dancer at the popular Palette Club in Havana and was soon seen in theaters and television where she developed a great talent for parody and comedy.

She performed in countless plays and television sitcoms turning into one of Cuba's most popular young stars. However in 1959, with the arrival of the Cuban revolution, things turned sour for Norma and in 1960 she followed hundreds of thousands of her compatriots into exile in Miami, Florida. She knew it would not be easy to relaunch her career in a land where nobody knew her, but also knew she could not stay in her homeland under a communist dictatorship. She persevered in exile and after a while she was able to demonstrate her versatility on Spanish radio and theaters in Miami and New York City.

In 1962, as well as much later in her career, she participated in Sábado Gigante (1962-2015), which was an eclectic entertainment show that was not only Univision's longest-running TV series, but also the longest-running television variety series in world TV history. Another big break for Norma came in 1965 when she was given the part of Nananina in the television sitcom "La tremenda corte" (The tremendous court) based on the iconic comedy that had been broadcast on Cuban and Latin American radio from 1942 to 1961. She also costarred in the PBS hit Qué pasa, U.S.A.? playing two characters, the "santera" Asunción and Mrs. Suarez (1977-1979). Other triumphs followed both on stages and on television when Norma became a huge commodity as a character actress in popular, highly rated telenovelas (soap operas) such as Ángel rebelde (2004), Sacrificio de mujer (2011), and Cosita Linda (2014) among many others. Norma Zúñiga is without a doubt a talent for all seasons.

Antonio Prieto was an award-winning stage actor who also appeared in many Spanish and European films in character roles. He is best remembered as Don Miguel Benito Rojo in Sergio Leone's classic spaghetti western "A fistful of dollars" (1964) He was born Antonio Prieto Puerto on February 2, 1905 in the municipality of Aspe, Alicante, Comunidad Valenciana, Spain. His beginnings as a professional actor are obscure but there are records indicating that by 1926 he was established enough to play a major role in Jose Zorilla's Don Juan Tenorio at the Principal Theater in Alicante receiving great reviews for his performance. In 1928 he became a contract player for the Teresa Barrachina theater ensemble starring successfully in all dramas and comedies in the group's repertoire including " The Lady of the Camellias" by Alexander Dumas Jr. and "Marianela" by Benito Pérez Galdós. Soon Prieto became co-owner of the company with Miss Barrachina and together played in countless stage productions through the 1930s and early 1940s. By 1943 the partnership had been dissolved and he started an even more successful career in other theater companies with national standing. Among the plays in which he acted in the 1940s and 1950s were Robert Anderson's "Tea and Sympathy", Lillian Hellmann's "The Little Foxes" and Anton Chekhov's "Uncle Vanya", a testimonial of his versatility. In 1954 he was lulled by the film industry and proved that he was as effective in movies as in the theater. He never stopped acting on stage but combined it with spaced out appearances on the big screen. Mr. Prieto died quietly of heart failure in Madrid, Spain, at age 60, on April 2, 1965.

Virile Mexican actor In great demand as a leading man during the "golden era of Mexican films" and also featured in Hollywood and European films.

According to a story that has been repeated through the years, young Victor Manuel left his home in order to study at the National Autonomous University of Mexico (UNAM) in Mexico City, and was supporting himself as a door to door vacuum cleaner salesman. That part of the tale is probably true, but what is told next has all the characteristics of an urban legend. On one occasion, Victor Manuel was peddling his wares to a most attentive housewife who was more impressed by his personality than by his vacuum cleaner. The housewife was none other than actress Lina Boytler, who proceeded to refer the twenty-four year old traveling salesman to her husband Arcady Boytler, the noted Russian film producer and director.

Not much is known about the initial meeting of the student with the movie technician, but it must have been quite positive since that same year, Victor Manuel Mendoza made his screen debut in the cast of "Almas rebeldes" (1937). In spite of his inexperience, the film industry saw in him the unmistakably gifts of a born actor, and in 1938 he was featured in five movies that confirmed his photogenic good looks and his ability to play different characters. After this auspicious beginning, Victor Manuel fell in love with acting, and worked hard to polish his craft. His efforts payed off and he became a favorite of film-goers, casting directors, and the media. He went on to receive every major acting award in the film industry, including the much coveted Ariel (Mexico's equivalent to the Hollywood Oscar) as best supporting actor for "Cuando lloran los valientes" (1945), and best actor for "Talpa" (1956).

As he grew older, Victor Manuel continued working non-stop making a successful transition from leading man to character roles. However in 1990 he could no longer ignore a deteriorating health that forced him to turn down several film offers. He retired that same year to his beautiful estate in Cuautla, Morelos, and initially the change of pace proved helpful. However in 1995, the beloved actor contracted a serious cold which developed into pneumonia, and was interned at a hospital in Mexico City. He passed away at that medical facility on July 19th, leaving for posterity his unforgettable performances in over sixty films.

The greatest girl group ever had its origins in the late 1950s in Detroit's Brewster Projects. At the beginning the girls formed a quartet and named themselves "The Primettes", achieving mild success locally and recording a single for the Lupine record label. They ended up being a trio in 1960 shortly after they were signed by Detroit-based Motown, a record company founded by Berry Gordy. At Gordy's request, the trio formed by Florence Ballard, Mary Wilson and Diana Ross became The Supremes.

In spite of the support of Motown writers and producers such as 'Smokey Robinson' and Gordy himself, the group spent a few years recording songs that disappeared into oblivion as soon as they were released. During those early years it was generally accepted that "Flo" Ballard had the strongest, more soulful voice to lead the group, but Gordy decided that Diane Ross had a more "commercial sound" and she became the lead singer in most of their recordings. However, his enthusiasm was not initially shared by other producers and musicians who found Ross' voice too high-pitched and nasal. In late 1963 The Supremes were turned over to the in-house production team formed by Lamont Dozier and brothers Brian Holland and Eddie Holland. From the very beginning the collaboration worked like magic when their first release, "When The Lovelight Starts Shining Through His Eyes" became a top 40 hit nationwide providing the first hint of the girls potential.

For the next release, Holland-Dozier-Holland picked "Where Did Our Love Go," a song that nobody thought much of. First they tried recording it with The Marvelettes but the group rejected it. Then they switched to The Supremes with Mary Wilson in mind to sing the leads but Mary didn't like the song either. Finally the song was cut with Ross singing in Wilson's lower mezzo-soprano register resulting in a sound that was sexy, romantic and extremely commercial. By pure chance they had stumbled into the right key for Diane Ross and a unique sound for The Supremes. "Where Did Our Love Go" was up and running as soon as it was released, an instant million seller for the group. But this was only the beginning of a Cinderella-like story that would make the girls from Detroit a legendary institution. As The Supremes kept topping the charts ("Baby Love," "Come See About Me," "Stop! In The Name Of Love," "Back In My Arms Again," "Nothing But Heartaches") their presence was requested on national television,live concerts and even films. Here another miracle happened when audiences - of all races, social and economic backgrounds - fell in love with these charming black princesses, impeccably groomed, made up and dressed in gowns that in time became more and more extravagant. Their individual personalities so endearing, their harmonies so unique, their movements so graceful, the public just couldn't get enough of The Supremes and by 1965 they were the undisputed No. 1 female group in the country competing with The Beatles for most #1 hits in the charts. Their contribution to the civil rights movement should not be underestimated; suddenly, they were "the face" of Black America and it was a face of beauty, of glamour and of unity, an image everyone could identify with.

About this time Diane decided to use the name in her birth certificate which, by a spelling error, had been entered as "Diana". This is the year also in which her relationship with 'Berry Gordy Jr'. becomes a full fledged love affair although the details are kept away from the press and the fans. The Supremes continued turning out hits such as "I Hear A Symphony," "My World Is Empty Without You," "You Can't Hurry Love," "Love Is Like An Itching In My Heart" and they were clearly "the sound of young America" but Gordy had a broader vision for them. Now that he had the kids listening to the group, the next step was to conquer the adults. The Supremes were the first R & B group to perform at the famed "Copacabana Night Club" in New York, enchanting audiences with their rendition of old American standards, songs from Broadway and Hollywood productions and their Motown hits. This was surely a well calculated gamble which paid off immediately. Diana Ross, Mary Wilson and Florence Ballard were now perceived as much more than a rock group. Actually they had become the embodiment of the American dream and as performers they were now in the same league as Sammy Davis Jr., Frank Sinatra, Barbra Streisand or Judy Garland. They constantly appeared on television with the greatest names in show business from Bobby Darin to Ethel Merman, Bob Hope or Bing Crosby. Looking at their seasoned performances on "The Ed Sullivan Show" (the new title of The Ed Sullivan Show (1948) and other TV shows it is easy to forget that these ladies were barely 20 years old.

By 1966 the first rumors of dissension within the group leaks out. 'Berry Gordy Jr.', had made the decision that Diana Ross would become a solo artist and The Supremes just a showcase for her talents, sort of a launching pad. This turn of events was not received well by Mary and "Flo" as their own talents became relegated to background singers for a super star. It should be remembered that The Supremes owed their sound in recordings to Diana Ross and the lady deserved the extra credit for being an exceptional talent, but on TV or in concerts, audiences were fascinated by all three Supremes, by their performances and by their individual personalities. Gordy knew the dangers of this situation so he pursued the strategy of minimizing The Supremes impact in favor of asserting the name and appeal of Diana Ross. A disgruntled 'Florence Ballard' began drinking and her behavior became erratic both on and off stage. The hits kept coming ("You Keep Me Hangin' On," "Love Is Here But Now You're Gone," "The Happening") but there was internal turmoil and tensions. In 1967, two major changes were instituted: "Flo" was dismissed and replaced with Cindy Birdsong (of Patti LaBelle and The Bluebelles) and the group became officially known as "Diana Ross and The Supremes".

As with the Ross-Gordy relationship, the details of Ballard's departure were kept under wraps. The group went on to higher success, becoming more sophisticated than ever and performing in the best venues not only in America but all over the world. Beautiful Cindy Birdsong had her own charismatic presence and was accepted by audiences everywhere. However the departure from Motown of Holland-Dozier-Holland dealt a blow to the girls recording career. Their last hits with H-D-H were "Reflections" and "In And Out of Love" but from there on their presence on the charts became hit and miss. They bounced back with "Love Child", "I'm Living In Shame" and "I'm Gonna Make You Love Me" a "duet" with The Temptations with whom the ladies also appeared in two highly rated television specials: TCB (1968) and G.I.T. on Broadway (1969). Their recordings of "The Composer" and "No Matter What Sign You Are" didn't do what expected but by the end of 1969 the ladies released another million seller, "Someday We'll Be Together" as it was announced that Diana would no longer be with the group. Their last concert together was in January 1970, an emotional farewell performance at the Frontier Hotel in Las Vegas.

The career of Diana Ross as a solo artist struggled at the beginning but with Gordy's guidance and Motown resources solidly behind her she became the star of the 70s with such unforgettable recordings as "Ain't No Mountain High Enough" and "Touch Me In The Morning" becoming one of the world's highest paid performers. Ross demonstrated her unique talents both as a singer and as an actress in the 1972 film Lady Sings the Blues (1972) based on the life of Billie Holiday, which won her an Oscar nomination. About this time it was expected that Ross and Gordy would make their relationship public but Diana surprised everybody by marrying Robert Ellis Silberstein on 20 January 1971. It was obvious that Ross was beginning to question Gordy's leadership both in her career and her private life. As far as The Supremes were concerned both Diana and Berry tried to convince the public that the group no longer mattered. The pitch went out that The Supremes had been great because Diana was great and now it was no longer important. At Motown there was room for only one diva act and the name was Diana Ross, a gross miscalculation that would eventually backfire.

In spite of Motown's lack of support, The Supremes continued their successful recording career well into the 70s with Chicago born singer Jean Terrell replacing Diana. Top 10 hits such as "Up The Ladder To The Roof", "Stoned Love", "Nathan Jones" and half a dozen of excellent albums, including collaborations with The Four Tops, kept the name alive and had the potential to go on into new heights. The girls continued to be a big draw in concerts and television and it seemed the group was destined to live forever. This threw a wrench in the Motown machinery since they couldn't afford having a newcomer like Terrell with Wilson and Birdsong at her side compete with Ross for number one spots on the charts. Something had to be done fast to send The Supremes into oblivion. Most of the fans stood solidly behind The Supremes while Motown quietly pulled the plug off the most successful female trio in the business. The lack of company support eventually created dissension within the group. By 1973 Jean Terrell quit and was replaced by Scherrie Payne; Cindy Birdsong left the group not once but twice, being replaced in each instance by Lynda Laurence and Susaye Greene. Surprisingly, during these confusing times, The Supremes recorded excellent material that kept the fans interested but the group was doomed.

The real shocker came in 1976 when original Supreme Florence Ballard died of heart failure in Detroit. After leaving the group she had tried to launch a solo career and landed a recording contract with ABC Records. However her first two singles didn't do well and ABC lost interest. Among rumors of industry blacklisting, "Flo" ended up destitute and on welfare in order to feed her three daughters. For The Supremes (Mary, Scherrie and Susaye) the final performance came in 1977 at the Drury Lane Theater in London but it was not the end of the legend... Diana Ross, whose career was grossly over-managed at Motown, signed with RCA and enjoyed recording success through the mid 1980s when, suddenly, the hits just stopped coming. She maintained her super star status on the concert circuit but her career decisions and choice of material began to be questioned. In 1983 Motown produced a TV special to celebrate their 25th Anniversary which was planned as a reunion of the old Detroit gang. The Supremes were invited to reunite for the occasion but during their performance it was obvious that Diana was not comfortable singing with her old partners. The audience gasped when it saw Ross pushing Wilson but this was edited out of the TV special and the home video release. Mary Wilson tried to launch a solo career but record companies were just not interested and rumors of blacklisting resurfaced. She managed to continue singing all over the world and in 1986 surprised everyone with a candid autobiography titled "Dreamgirl: My Life as a Supreme" which became a best seller, actually the biggest rock and roll autobiography in history. There was a sequel titled "Supreme Faith: Someday We'll Be Together" which was also well received by the public. In Mary's books, The Supremes are presented both as an American dream and an American tragedy.

Far from dying, The Supremes became cult figures with their recordings constantly on release, lots of air play, the subject of hundreds of articles, dozens of books, documentaries and TV specials. They are the inspiration behind the Broadway hit and film Dreamgirls (2006) and the film Sparkle (1976), their music heard in dozens of film soundtracks. The 80s and the 90s witnessed several ex-Supremes revivals in the concert circuits including the "Mary Wilson Supremes Revue" and reunions by Jean Terrell with Lynda Laurence and Scherrie Payne. In the late 80s and well into the 90s, The Supremes received important recognition such as a "star" in Hollywood's Walk of Fame and the induction into the Rock and Roll Hall of Fame, which were attended by Mary Wilson with the daughters of 'Florence Ballard'.

In 2000, Diana Ross herself tried to invigorate her career by planning a "Millennium Supreme reunion" with Mary Wilson and Cindy Birdsong but both ladies declined the invitation, alleging being denied input in the shows. Also there was quite a difference between the salaries of Diana and those of Mary and Cindy. Undaunted, and making the same mistake all over again, Miss Ross deludes herself into thinking that the important part of this "Supreme reunion" is HER participation and substitutes her former partners with Scherrie Payne and Lynda Laurence to serve as background singers in a monumental tour of the United States. Mary counterattacked publicly about this "fake reunion" and the tour was canceled after playing a few dates to half filled venues.

Meanwhile, The Supremes recordings keep getting reissues and continue to sell very well. Lately, scores of previously unreleased Supremes recordings are being issued for the first time, while songs like "Baby Love," "I Hear a Symphony," "You Can't Hurry Love" and "Someday We'll Be Together" remain perennial favorites worldwide. As for the ladies themselves, Diana continues touring in spite of many personal problems which have even brought her in confrontation with the law. She has been known to check herself into "rehab clinics" in at least two occasions. Mary also continues touring both as a singer and a lecturer and was named by the Bush administration (2002) "United States ambassador of good will." She has also appeared in the film "Only The Strong Survive" while Cindy Birdsong leads a quite life in Los Angeles as a Christian minister helping out disadvantaged young people. In 2004 Mary and Cindy reunited for the Motown 45 (2004) TV special where they sang a medley of Supremes hits with Kelly Rowland, of Destiny's Child substituting the elusive Diana Ross. Whatever happens in the future for these ladies it is clear that The Supremes legend has stood the test of time and will continue. At their prime they touched so many lives and excelled in so many ways that their impact seems destined to live forever. Where did our love go? Nowhere. It's still here baby, baby...

Deana was born in London on October 7, 1957, the daughter of film actress Eva Bartok and, at the time, an unknown father. Her birth received great publicity for several reasons. For starters, it was unheard of that a major movie star like Eva Bartok would admit to a pregnancy out of wedlock. She was divorced from her fourth husband, actor Curd Jürgens, and denied that he had any involvement in this pregnancy. It was also known that Mr. Jürgens could not have children due to a surgery performed on him to fix lesions suffered in an accident when he was young. Things got more complicated when Bartok was diagnosed in Los Angeles with an ovarian tumor that, according to doctors, must be urgently removed in order to save her life but there was no hope for the baby she was carrying.

Instead of submitting to doctors in L.A., the actress flew to London for a second opinion but was told basically the same thing. Her baby was doomed and her own life was at stake. An avid student of Subud, an Indonesian philosophy, Miss Bartok decided to postpone the surgery and immersed herself in Subud's spiritual exercises in spite of the risks. When everybody thought she was dying, Eva gave birth to a healthy baby girl whom she named Deana Grazia and shortly afterwards she, herself, was back working in a film. The tumor had miraculously disappeared and she and her baby were in perfect health. These remarkable events changed Miss Bartok forever as well as her commitment to acting. She moved with her mother and baby to the Subud compound in Cilandak, Indonesia where Deana was raised and educated.

In 1970, Bartok left her family behind and settled in Los Angeles where she wrote articles and gave lectures on Subud. Later on, Deana joined her mother in California and attended school at Marymount Junior High graduating in 1972. Deana returned to the public eye when she launched a short-lived career as a film actress in the early 1980's. Several years later, she became the center of media attention again when her mother revealed that Deana was fathered by Frank Sinatra. It is truly mystifying why Miss Bartok kept this a secret for so long nor what she expected to achieve with this revelation. By all accounts, she was a deeply spiritual individual who never cared much about financial gain so it is very unlikely that she would come up with such a story in order to con money out of "old blue eyes". On the other hand, there was never any formal rebuttal to Bartok's claim from Sinatra or his family, which leaves the subject of Deana's paternity an open question. Among so many mysteries, it is also strange that Deana decided to use "Jürgens" as her last name in films. She presently resides in Sydney, Australia, "an attractive divorcée with two children" according to confirmed reports. Eva Bartok died in London in 1998.

Lilián de Celis had a very uneven career both as an actress and as a singer. However, at one point she was immensely popular in Spain on the strength of a few recordings, one film and several stage musicals.

Lilián Ángela de Celis Collia was born in Fíos, Parres, province of Asturias, in Spain, on January 31, 1935. Very little is known of her family or her early years, but by the mid 50s she was a voice and music student at Madrid's Conservatory.

In those days, Maestro Indalecio Cisneros was the musical director for a successful radio show titled "Aquellos Tiempos del Cuplé" (Those Times of the Cuplé) which took a nostalgic look at the songs that were popular during "la belle époque." The show had a basic format: in each edition it featured different vocalists who would sing the required songs or "cuplés" while a couple of sentimental senior citizens remembered the good old days.

On a visit to the Conservatory, Maestro Cisneros heard Lilián and invited her to sing in the show. The young woman made a favorable impression on the listeners and was asked back to perform becoming part of the regular cast. As her popularity increased, Miss de Celis was signed by Discos Columbia and recorded some of the songs she performed on the radio show. Shortly after that, she married Columbia's musical director Maestro Manuel Monreal. However, after these auspicious beginnings, the broadcast was canceled and the singer's future became uncertain. But not for long.

In 1956, film producer and director Juan de Orduña was having trouble launching his own "cuplé" project. It has not been proven if Mr. de Orduña was influenced by the nostalgic radio show featuring Lilián, but the fact remains that he was working on a film which exploited the nostalgia for "la belle époque" and the "cuplés" in much the same way. The musical was titled El último cuplé (1957) and its filming was plagued by financial woes since no investor wanted to touch it. That in spite of the fact that the film star was beautiful Hollywood starlet Sara Montiel, the Spanish actress-singer who had by then secured a promising career in the US (Vera Cruz (1954), Serenade (1956), Run of the Arrow (1957).)

"El Último Cuplé" was finished somehow and by the end of 1957 it was the highest grossing film in the history of Spanish cinema creating a veritable "Saritamania" in Europe and Latin America. The soundtrack from the film was a huge success and the songs by Montiel were dominating the hit parades everywhere. Sarita Montiel had become a national treasure for Spain and in 1958 she was brought back from Hollywood to star in La violetera (1958), a high budget production which exploited the same elements as "El Último Cuplé" with a nostalgic "belle époque" setting and lots of songs from that era.

Actually, Spanish cinema turned exclusively to nostalgia musicals and the producers were looking desperately for singers who could produce the same results on the screen as Miss Montiel. It was natural that someone would remember Lilián de Celis' radio show and the singer was hired immediately to star in Aquellos tiempos del cuplé (1958). The publicity launched her as "Sarita Montiel's rival" and a national debate over who was the better singer of "cuplés" made headlines. It was true that Lilián possessed a better trained voice and that she was a good looking lady but she could not compete with Sarita, who substituted vocal prowess with a fresh eroticism that made history by defying the strict censorship of the Franco regime. Writer Terenci Moix stated: "Montiel brought eroticism to Spanish cinema and for that she deserves a monument."

It must also be taken into consideration that Sarita's photogenic beauty and charisma hypnotized moviegoers like no one else before or after her, so while "La Violetera" was stopping traffic at a theater on La Gran Vía Avenue, Miss de Celis' film ran quietly at another nearby theater. The same thing happened with their recordings. Montiel's sold like hot cakes while de Celis were purchased by the curious or "the purists" who sustained their preference for Lilián's more traditional and conservative sounds. The controversy has lasted through the years.

However, it was obvious to the industry that Lilián de Celis could not compete, less surpass the cinema appeal of her sexually charged "competitor" so the singer turned to the stage where she had a mild hit with a musical revue aptly titled "Aquellos Tiempos del Cuplé." Other revues followed which kept her busy in Spain between 1959 and 1960 when she was called again to star in the film Los claveles (1960), a spruced-up version of the zarzuela (operetta) which did not produced satisfactory results. The same can be said of her following three films Alma aragonesa (1961), Las estrellas (1961) and the movie filmed in 1963 Júrame (1964). We would have to hire a private investigator in Spain to find somebody who saw those films or even heard of them. None of her movies after "Aquellos Tiempos del Cuplé" were released in America.

In 1963 Lilián decided to try her luck in Mexico (as Montiel had done some years before), but again there's not much information about her activities there. She probably worked on the stage for a while and then took fourth billing in a low budget musical film called Los apuros de dos gallos (1963). Later in 1965 she appears in the weird transsexual-themed film Me ha gustado un hombre (1965) (she was given third billing on this one), a movie considered "one of the worst ever since Ed Wood's Glen or Glenda (1953)". She disappears from film credits for 10 years and makes a much-touted comeback in Spain with Yo fui el rey (1975), which did not impress anybody and is her last film to date. Her filmography also boasts another title, Canciones de nuestra vida (1975), an anthological film made of film clips from other movies.

From then on, Miss de Celis turns fully to stage and night club work in Spain. She also shows up occasionally on television singing one of her nostalgic "cuplés" or on gossip columns trying to revive the old controversy of who is a better singer, Miss Montiel or her... It was ironic that Lilián accepted in 1992 an one-time invitation to sing one song on Sara Montiel's television show "Ven al Paralelo." In order to dispel any notion of rivalry, Montiel introduced de Celis as "the original cuplé singer ... she really knows how to sing." Observers could not help but notice that on this show Lilián's one song was preceded and followed by Montiel's four songs, comedy sketches and numerous appearances in different gowns as if to say "do not forget who is boss here..." In 2005 Lilián de Celis made the headlines again due to the showing of her films at a Festival in her homeland of Asturias. One can only hope that in the near future her filmography becomes available on DVD to give everybody the chance to judge her entire body of work.

Rock group formed in 1965 in Madrid, Spain, inspired by the Liverpool beat bands of the early 1960' s most especially The Beatles. Los Bravos became an international sensation with their 1966 recording of "Black is black" a top 10 hit in England, The United States and all over the world selling over a million copies of the single.

Founding members were: Michael Volker Kogel, aka Mike Kennedy, vocals; Antonio Martínez Salas, lead guitar; Manuel Fernández Aparicio, organ; Miguel Vicens Danus, bass guitar; Pablo Sanllehí Gómez, drums.

They were all born in Spain except for Mike Kennedy who was born in Berlin, Germany. In 1968, founding member Manuel Fernández Aparicio committed suicide and was replaced by Jesús Glück Sarasibar on organ. Although they never matched the success of "Black is black", their recordings continued to do well in Europe and the band itself became legendary. There have been reunions of Los Bravos alumni in 2004, 2015, and 2019 although sometimes these "reunions" included new members.

Highly successful Mexican trio formed in Mexico City In October1948 by Enrique Quezada (lead singer), Gustavo Prado (guitar and second voice), and Saulo Sedano, (requinto guitar and third voice).

Considered one of the most enduring musical institutions in show business history, Los Tres Diamantes performed for over 50 years without any changes in its original line up, and recorded exclusively for RCA Victor for 35 years (1949-1984). Well into the Twenty First century they continued recording at Orfeon and other record labels. Their sound was quite unique and recognizable thanks to tight harmonies, virtuoso requinto playing, and Quezada's almost ethereal high lyric tenor voice.

They had hit after hit which endeared them to fans not only in Latin America but also in the United States, Europe, and Japan making them a most requested performing act. Their well documented concert tours turned them into world travelers for decades and they were also featured in several movies. Los Tres Diamantes made their last public appearance in 2001 but their music seems to live on forever in the reissues of their recordings and In film soundtracks.

Mexican actor and comedian who started performing as a child in the late 1940's and 1950's during what is known as the "golden age of Mexican cinema." Growing up in show business, as time passed Mr. Moreno reinvented himself as a capable character actor, television presenter, and stand up comedian. He was also in constant demand for television voice overs and film dubbing, still remembered as the voice of "Sargent Dodo" in the Mexican version of the animated series "The Pink Panther." At a certain point in his career, he realized there were other actors using his same name, so in order to avoid confusion, he started calling himself "Moreno López." During the last years of his career, his comedy act became very popular in Mexico City's night clubs.

Highly successful Mexican trio specializing in romantic boleros. Formed in 1953 by Juan Neri (requinto guitar, lead singer and director), Héctor González (guitar and second voice), and Marco Antonio Muñiz (maracas, third voice and often lead singer), the trio became very popular performing in Mexico City's night clubs and theaters. Soon their popularity rose to incredible heights when they signed with RCA Victor and their recordings became huge hits in radio stations and record stores, not only in Mexico but everywhere. This new celebrity turned Los Tres Ases into world travelers performing in the most important cities in Latin America, Spain, Portugal, The United States and Canada. They were awarded eight gold records, and all the recognition of the music industry.

In 1960 the trio suffered a big set back when Marco Antonio decided to leave to pursue a solo career as a singer. His success was immediate as he turned into one of the most popular and beloved vocalists in the history of Latin America. Los Tres Ases found a replacement and continued performing until 1964 when Juan Neri unexpectedly died in tragic circumstances. Since they had a lot of contracts signed, Héctor González took over the trio becoming its director, and sole owner of the name. He found musicians that could achieve the same standards of excellence that the public expected and in 2003 the trio would go on to celebrate their 50th anniversary in show business. It all ended with Héctor death in 2009. In his last will the musician legally prohibited any attempt by anybody to use the name Los Tres Ases ever again. However, thanks to their magnificent discography they remain a musical institution as well as a legend for music lovers everywhere.

Cuban actor of great success in television telenovelas (soap operas) and films. He was born in the city of Holguín, province of Oriente in Cuba. (The Oriente province no longer exists and Holguín was officially declared a province in recent years). His parents were Idelfonso Moro and Margot Rueda whose marriage had produced three children, Frank, Fernando and Flor.

In 1960, when Frank was barely 16 years old, his parents went into exile in Miami, Florida in order to escape the harsh communist dictatorship that had taken over Cuba. Frank finished his studies in Miami and when he reached adulthood decided he wanted to be an actor. Since there was not much happening at the time in Miami in the performing arts, Frank moved to Puerto Rico where the television industry offered more opportunities. With his good looks and charisma, Frank found work at the beginning as a supporting actor in various television broadcasts. He was also given the opportunity to work in the films "Antesala de la silla eléctrica" (1968) and "Libertad para la juventud" (1970) which gave evidence of his potential for the big screen. After demonstrating his born acting talent, he became a leading actor in telenovelas of great success.

By the mid 1970's Frank Moro was a household name in Puerto Rico as well as in other Latin American countries, and was considered one of the hottest commodities in Latin television. Ernesto Alonso, a Mexican actor turned influential producer, was impressed by Frank's talent and offered him an exclusive contract with Mexico's powerful Televisa Network. Frank accepted the offer sensing its magnitude and moved immediately to Mexico. With Alonso's experienced guidance, Frank Moro was enormously successful in Mexican television and in films from 1975 and throughout the early 1990's.

Always missing his family and friends in Miami, he accepted a contract from Miami based Univision Network to host a television show that was broadcast all over the American continent. Frank Moro was at the top of his power as an actor when a heart attack cut his life short at age 49, a death that shocked Latin show business and his fans. He was survived by his Miami family, and by a son also named Frank, born in Puerto Rico during a short-lived marriage.

Notable Cuban actress of radio, television and stage, born in Havana on July 1st, 1933. Hailed by critics as "one of Cuba's most promising young actresses", she started performing as a teenager both in dramas and light comedies. The "promise" came true in the early 1950s when Griselda became a popular and much in demand leading lady, combining her youthful good looks with a profound knowledge of her craft. She won the popular "Codazo de Oro" award as "best young actress" of 1953 and would go on to win various formal recognitions for her outstanding performances .

With the arrival of the Cuban Revolution in 1959, Griselda became antagonistic of the communist dictatorship, and refused to submit to the fierce censorship and control of the arts. Her immediate arrest was ordered by Commander Fidel Castro himself and she was thrown in prison at the Combinado del Este jail in Havana where she was tortured and brutalized along other inmates. She was released after three years but, banned from acting in her homeland, she promptly went into exile in Southern Florida, in the United States. Severely traumatized by her horrific experiences in prison and without knowledge of the English language, Griselda's acting career in exile was slow in taking off.

In 1966 she finally found an outlet for her talents when she was hired as an acting coach for Hispanic students at the Miami Dade College, Wolfon Campus, in downtown Miami. Soon she was able to star in several local plays as well as on Spanish radio broadcasts where her unique voice and diction made her a favorite of audiences. In 1990 she began appearing In telenovelas (television soap operas) taped in Caracas, Venezuela, Miami, and other cities gaining a huge following in character roles. Miss Nogueras lives in Miami with her family where is much loved for her talents as well as for being a symbol of the Cuban struggle for freedom.

Highly successful trio founded in New York City in 1944 by musicians Chucho Navarro and Alfredo Gil, both from Mexico, and Hernando Avilés from Puerto Rico. All three played guitars and sang three-part harmonies developing a unique sound that made them enormously popular throughout Latin America. In 1946 they settled in Mexico where they became a national treasure. Selling millions of records and touring all over the world, Los Panchos performed in many Mexican films and their music has been featured in countless film soundtracks. Through the years, membership in the group changed making them an enduring musical institution.

Cuban singer, musician, and entertainer who left an indelible mark in the history of Cuban popular music. At age 9, Rolando taught himself how to play percussion and it was obvious he had a great ear for music and Afro Cuban rhythms. As a teenager, he was good enough to play with the Municipal Band of Santa Clara and the famed Arcaño Orchestra.

In 1946 he decided to try his luck in Havana and became the percussionist of the Hermanos Palau Orchestra, moving later to the popular Beny Moré's Banda Gigante in which he played "timbales" and sang background vocals. Slowly, Rolando became aware he had a singing voice with a unique sound, and decided he could express himself better as a vocalist. With the help of musician and arranger Ernesto Duarte, Rolando defined a singing style that, at the beginning was controversial, but it would prove to be extremely commercial. Duarte introduced him to his partner Guillermo Álvarez Guedes, an actor turned record mogul, and together they recorded Rolando in a bolero titled "Mentiras tuyas". As soon as the single was released, radio DJs began playing it, and audiences loved it so much that the single sold 30,000 copies in a few days.

More recordings followed and a superstar had been born. Rolando had a big open voice which was "slightly hoarse and aggressive" according to the New York Times, but most important, he lived the lyrics to his songs and delivered his feelings with such a resolved bravado that audiences could not help but be impacted. In order to highlight the message of a song, Rolando included some ad libs that quickly became part of popular Cuban culture. During his singing, which was always up-tempo and effervescent, he would utter phrases like "de película!" meaning "this is like a movie!" or "mira esto Tita" meaning "can you believe it Tita? (Tita was his pet name for wife Gisela, a marriage that lasted for 55 years). With hit platters constantly playing on radio stations earning him several gold records, he was in great demand on television, theaters, night clubs and he did them all with a vengeance.

If his sound and style made his fortune in the recording studio, performing live Rolando Laserie acquired an extra dimension. First of all it was his looks, always smartly dressed in fashionable suits, matching ties or bows, and topping it all with a mischievous cap on his head which became his trademark. He also demonstrated being a consummate performer with his up-tempo singing even on romantic songs which was a marvel of improvisation and sound. His attack and enthusiasm earned him the nickname ''El Guapo de la Canción,'' and "El Guapachoso" which in Cuban slang translates as valiant or bold singer.

In 1959, at the top of his fame and popularity, Rolando's world changed dramatically almost overnight when Cuba fell to a communist dictatorship. All freedoms were abolished on the island and he decided he could not live under the repression and mandates of the new regime. Like thousands of his compatriots, Rolando went into exile which meant leaving behind all he had earned and starting again from scratch. It helped that his name and prestige were fairly well established in other Latin American countries and, after a couple of years struggling to relaunch his career, Rolando received valuable support from record labels in Mexico and Argentina.

He kept releasing singles and albums that became huge hits and had long residencies in various Latin American countries, always with wife Gisela by his side. He toured extensively throughout the continent and Spain appearing in theaters, night clubs and television, ratifying time and again his immense popularity. As time moved on he settled down in Miami which had become the center of the Cuban exile community and where he felt more at home. It was said that Rolando never overcame his sadness at having to abandon his homeland but always hoped to see a free Cuba during his lifetime. Unfortunately, it never happened and Rolando developed a form of heart decease that curtailed his artistic activity. His heart finally gave out at Healthsouth Doctors' Hospital in Coral Gables, Florida on November 22, 1998 at age 75. The unique Cuban vocalist stills lives through his recordings and in the memory of a faithful public.

Mariano Eusebio González García, a.k.a Luis Mariano, was a famous tenor of Spanish-Basque origin who is remembered, especially in France, as "the king of the operetta." Born in Irún, he showed from an early age the signs of a multi-talented personality. By the time he was 12 years old, he could sing, draw and write stories with incredible virtuosity. When both his house and his hometown were destroyed during the Spanish Civil War, Mariano fled to France and settled in Bordeaux where he even had to work on the fields to support himself and his education. He enrolled there at the Fine Arts Institute choosing Architecture as his major. After graduation, he decided that singing was his true vocation and for the next two years he attended the prestigious Conservatory of Music. His professional debut as a tenor came in 1943 when he sang the part of Ernesto in Donizetti's comic opera "Don Pasquale" at the Palais de Chatillot, receiving enthusiastic reviews. In 1945 he moved to Paris where he met Francis López, a French composer of Spanish ancestry who specialized in colorful operettas with Spanish themes. López talked Mariano into trying this popular musical genre and within a year, both the vocalist and the composer, had achieved a great success with "La Belle de Cadix." The operetta was recorded and one of the songs, "María Luisa" became a radio hit for Luis Mariano making him a pop sensation in France and Spain. From then on it was continued success for the singer who starred in many other operettas by López and recorded dozens of highly popular tunes. Soon the movie industry came calling and he was featured in several films with notable box office results. Some of the productions were filmed versions of his stage hits allowing his good looks and golden voice to reach a worldwide audience.

By 1952 and with the box office success of his film "Violetas Imperiales," Luis Mariano had become and international idol and for many years, combined his stage, film and recording activities in Europe with personal appearances all over the world. By the 1960s, with the rock British invasion and the demise of the operetta, Luis Mariano's stage work became less frequent. However he continued recording and was often seen on television and live concerts. In 1967 Luis Mariano and Francis López united again and surprised everybody with "Le Prince de Madrid," an old style operetta which ran in a Paris theater for two years. It was like the good old days all over again and in December 1969 they opened with "La Caravelle d'Or" expecting similar results. However a few weeks after the debut, Luis Mariano became ill and had to abandon the production. He was diagnosed with viral hepatitis and after a long fight with the disease he died in July 1970. During his extraordinary career, Luis Mariano received most of the awards and accolades granted by the entertainment industry. He was also officially recognized with France's Legion of Honor Medal and Spain's Order of Queen Isabella The Catholic. His films and recording are still widely distributed on CDs and DVDs while in his hometown a park was named after him with a sculpture of the singer ensuring his everlasting presence.

Probably the most important musician to be born in Cuba, Ernesto Lecuona was already playing piano at age 5. He obtained his master in piano with a gold medal at the National Conservatory when he was barely 17 years old. Among his teachers were Antonio Saavedra (a disciple of Ignacio Cervantes), Joaquin Nin and the Dutch composer Hubert de Blanck who resided in Havana. When his father died, young Lecuona was forced to work playing piano in silent-movie bistros in order to help the family finances. As he became known as a concert pianist he also started composing. In spite of being a classical pianist, early on Lecuona showed interest in popular music and composed "La Comparsita" and other dance pieces which defined Cuban music by uniting the Spanish-European musical tradition with African rhythms. In 1917 he made his first recordings in New York, where he settled for a while, but in 1918 he was back in Cuba to found the Instituto Musical de La Habana. He composed his first operetta in 1919 and became wildly successful in this genre, turning out more than 50 staged musicals. In 1927 he unveiled his "Malaguena" at the Roxy Theater in New York with enormous success (fellow composer Ravel exclaimed, "It is more beautiful and melodic than my 'Bolero!'").

The hit parade success in 1929 of "Siboney" marked another milestone in Lecuona's career and he became known as the "Cuban Gershwin." This encouraged him to form the "Orquestra Cubana", which quickly became a favorite ensemble worldwide. During a tour of Spain, the composer had to leave the orchestra for health reasons and went back to Cuba for a needed rest. The group, now under the direction of Armando Orechife, change its name to "Lecuona Cuban Boys" and continued touring the world for many years, even appearing in films.

In the late 1930s and 1940s Lecuona wrote several soundtracks for films at MGM, 20th Century-Fox and Warner Bros. The love theme for Always in My Heart (1942) became a huge hit, with more than 1,000 versions recorded by vocalists and orchestras. By the end of World War II Lecuona had built an impressive catalog of music, which included 400 songs, 176 pieces for piano, 52 operettas, zarzuelas and musical revues, 31 orchestral works, 11 soundtracks for the cinema, 5 ballets, one trio and an opera. It was obviously time to relax and enjoy the fruit of his labors, so he spaced out his musical commitments and dedicated himself to gardening and the breeding of tropical birds. Although quite wealthy, Lecuona preferred a simple lifestyle and was very proud of his roses and fruit trees. He detested politics but was notoriously generous: he financed, with his own money, various artists' associations including, with maestro Gonzalo Roig, the founding of Sociedad Nacional de Autores, devoted to protecting the copyrights of Cuban musicians.

When 'Fidel Castro (I)' (v) came to power, Lecuona, along with hundreds of thousands of Cubans, went into exile. He settled in Tampa, Florida, and it's possible that he later moved to New York, where he led a quiet life hoping for the end of the communist dictatorship on his beloved island. In 1963 he traveled to the Canary Islands off the coast of Spain to attend a tribute being held in his honor and died there on November 23rd. His body was claimed by the government of Malaga, Spain, which wanted to bury the immortal composer of "Malaguena" in their land; it was also claimed by the Cuban government, which hoped to cover up the fact that its most prestigious artist was in exile. Cuban organizations in Miami protested the move and Lecuona's body rests today at the Westchester Cemetery in New York.

Spanish singer of Andalusian folk songs (coplas), kid sister of the legendary Lola Flores. Born in Jerez de la Frontera, Cadiz, Andalusia, Spain, she was the youngest daughter of Pedro Flores, who owned and tended a modest bar, and Rosario Ruiz, a seamstress. Her older siblings were the mentioned Lola, born in 1923, and Manolo, born in 1934.

In order to launch Lola's professional career as a copla singer and dancer, the family sold everything they had and migrated to Madrid in 1940. They struggled for a few years but eventually Lola's talents won the day and she became the bread winner for the family. In 1949 the Flores clan was dealt a tragic blow when Manolo died at age 15 due to a peritonitis. The family was devastated but the tragedy served to unite them more in their resolve to survive. Lola achieved great success on stage and began showing up in films.

The powerful film producer Cesáreo González of Suevia Films sensed Lola's great potential as a movie star and signed her to an exclusive contract that included promotional tours of Latin America. By then, sister Carmen was also giving evidence of her own talents as a singer and Lola became her enthusiastic mentor and benefactor, demanding that all her contracts for stage and films must include Carmen as well as traveling accommodations for her parents. During a concert tour with Cesáreo González, Carmen Flores, barely a teenager, made her professional debut at the Esperanza Iris Theater in Mexico City with resounding success. From then on Lola and Carmen became a united force that conquered audiences as well as critics everywhere they performed. In the early 1950's Carmen, like her sister, became a recording act and continued performing in her sister's stage musicals and films.

However in 1959 it all came to an abrupt end when Carmen fell in love with star football player Isidro Sánchez and decided to get married and raise a family. The couple would eventually procreate four children which kept Carmen quite busy during her retirement years although she did a couple of guest appearances in Lola's stage musicals. Ten years later, Carmen could no longer ignore that her husband was being unfaithful and that her marriage was over. She divorced Isidro and found herself broke due to his mismanagement of the couple's finances. With four kids to support she had to return to work and, as always, she was aided by sister Lola who by now had achieved super stardom status. Copla hit makers Manuel Quiroga and Rafael de León also came to her rescue by composing a new repertoire especially for her and the Columbia label did not miss the opportunity to record her. Her old public was delighted and a new generation was fascinated by an artist who reconquered the place she deserved in the music industry with her talents.

As time passed, Carmen was smart enough to keep developing as a vocalist, and slowly her Andalusian coplas became more pop influenced. Hence her act acquired new dimensions that made her attractive to audiences in discotheques, supper clubs and television. Of course that did not stop her from appearing with her dear sister Lola whenever the opportunity arose until 1995 when the great Lola Flores died a victim of cancer. By then the Flores clan also included her sister's daughters Lolita and Rosario, as well as son Antonio who unfortunately passed away two weeks after his famous mother at age 33.

Carmen continued performing and recording as a solo act although sometimes she would also join her nieces in national and international tours. In the late 1990's Carmen found remarkable success in Argentina and moved there temporarily in order to fulfill the demands of her adoring public. She traveled extensively as a one woman show touring Argentinean theaters and also appearing often on television. She signed with a new record label and her live concerts were released on home video formats. In spite of her many commitments in Argentina, Carmen was able to perform often in Uruguay, Chile, Mexico, the United States, and her own country Spain remaining a favorite of music fans for many years.

Giancarlo del Duca was an Italian model who was brought into films due to his remarkable photogenic good looks. Not to be confused with an Italian singer of the same name, Giancarlo's cinema career as an actor was short and uneventful. He is probably best remembered in Europe and Latin America for his long term love affair with actress Sara Montiel in spite of being married with children. In later years he retired from acting and became a successful businessman in Sardinia.

Lissette Álvarez is a Cuban American singer, composer, and all around entertainer, the daughter of legendary Cuban singers Tony Álvarez and Olga Chorens, a.k.a Olga & Tony. Her parents were touring Latin America with their popular stage show when Lissette was born by chance in Lima, Perú. She, and her younger sister Olguita, were raised in Cuba, where Olga & Tony hosted and performed in their own television program, which maintained the highest ratings in Cuban television history for several years. At age 9, Lissette made her first recording, as well as her television debut with her parents singing "El ratoncito Miguel" (Mikey the little mouse) which became a hit, especially among children. Shortly after, Olguita also began appearing and singing on the show and the masses idolized them. It was all like a fairy tale: the perfect couple, perfect parents, and perfect children, showing off their multi-talents and charm on the TV screen.

The fairy tale ended abruptly in 1959 with the Cuban Revolution led by Commander Fidel Castro. Some of the first to feel the impact of the ruthless communist dictatorship were citizens in the arts and show-business since it seemed like comrade Castro was not very keen on sharing the spotlight with anyone, nor would he permit any cultural freedom. Consequently, radio and television stations were confiscated from their rightful owners along with publishing houses, the recording industry, the printed press, theaters, and nightclubs. Eventually, everything fell under the ferocious government control, including private schools, which meant children could now be indoctrinated with fierce communist propaganda. Like many Cuban parents at the time, Olga & Tony felt the need to save their children by sending them to the United States under what became known as "Operation Peter Pan" ("Operación Pedro Pan" in Spanish). Created by the Catholic Welfare Bureau, and operated covertly out of fear of retaliation on parents and children by the Castro tyranny, "Operation Peter Pan" was able to carry through successfully a mass exodus of over 14,000 unaccompanied Cuban minors to the United States between 1960 and 1962. Among those were Lissette and Olguita Álvarez.

The "Pedro Pan" children were usually given shelter and schooling in several South Florida camps until their parents could manage to flee Cuba and claim them. Unfortunately, Olga & Tony, banned from performing, with all their assets confiscated by the Cuban government, were detained in the island longer than they expected. In such cases, the children were sent elsewhere into what it was hoped were more stable lodgings. Lissette and her sister were first placed on an orphanage in Iowa but later moved to two different foster homes, from whence they were interned in a New York school, and later moved back to the South Florida camps. In late 1964 Olga & Tony were granted permission to abandon Cuba and they found refuge in Puerto Rico where they were given the opportunity to relaunch their career on television. However, it was not until 1965 that the family was able to reunite, due to all the red tape involved in having their daughters released to its custody.

After those troubled times which could have destroyed any family with less fiber, Olga & Tony achieved stardom once again with their wholesome television show in Puerto Rico. Lissette had reached adolescence, and was very much interested in following in her parents footsteps. She didn't have to wait long since her first solo album was released in 1966 and showed the young singer's diversity in musical tastes. She recorded Brazilian bossa novas such as "Agua de beber", a Broadway favorite "My favorite things", the French classic "Autumn Leaves", and The Rolling Stones'"Satisfaction" among others. ¡Quite a variety! Young people on the island, as well as Puerto Rican and Cuban teenagers residing in the United States, identified immediately with Lissette's voice and style. At the same time she became a trendsetter whose wardrobe, makeup, and hairdos were widely imitated by youth everywhere. Another big event that made Lissette reach incredible heights of popularity was her marriage in 1967 to Puerto Rican crooner Chucho Avellanet, her male counterpart in the teen idol singing business. The union was short lived, but all issues leading to the wedding and, to the 1969 divorce, were treated by the media as news of capital importance. Actually, in spite of the controversial divorce, the couple remained good friends and, even though they went on to other marriages, they would perform together in the future for the pleasure of their massive fan base.

By the time the 1960s folded, Lissette had recorded ten highly successful albums in less than four years, an industry record of sorts. The 1970s were a time of great musical changes but Lissette never missed a beat and was developing into an accomplished composer and spectacular show woman. From 1970 to 1979, the artist released twelve albums in less than ten years, among them some of the best sellers of her recording career. Each album included at least three selections that became top ten hits in Latin radio stations including her version of Barry Manilow's "Copacabana" with Spanish lyrics written by her. . Besides her unique talents as composer of her own tunes, Lissette demonstrated her unique skill for translating songs from their original language when she scored another international multi-million seller in 1985 with the Spanish version of Bonnie Tyler's "Total eclipse of the heart". Doubtless, she outdid herself with her translation of Andrew Lloyd Webber's "Song and Dance", a stage musical she performed at The Coconut Grove Playhouse to enthusiastic crowds and rave reviews.

Lissette's artistic output has included producing her own recordings, her stage shows, and television specials. Among the prestigious venues that have witnessed her sell out concerts were Carnegie Hall, and Avery Fischer Hall at Lincoln Center in New York, Jackie Gleason Theater, and James Knight Center in Miami, Center of Fine Arts in Puerto Rico, TropWorld Casino in Atlantic City, Michelangelo in Buenos Aires, just to mention a few. Her impact on television has also been outstanding as could only be expected from the daughter of Olga & Tony. Countless television specials in Latin stations and also in American channels such as her Peabody award winning "Lissette and friends" with Melissa Manchester, "Ladies and gentlemen: Lissette" with Michel Legrand, and "Lissette 1/2" which won her the Bronze trophy at The American Film Festival in New York.

It is truly impossible to list here all the awards that Lissette has received in her long, unstoppable career, including gold and platinum nods from the record industry, and "best female singer" won repeatedly from different organizations in various countries. However, especially dear to her is the UNICEF and World Vision Awards bestowed on the Willy Chirino Foundation, a charity she leads with her husband, Cuban singer, composer, producer and fellow Grammy winner Willy Chirino, whom she married in 1980. The couple, one of show-business' most successful marriages, lives in Miami and has produced three children, Nicole, Alana, and Gianfranco as well as several grandchildren. Lissette and Willy own their production firm and recording studio which is responsible for all the artistic and commercial output of the couple. Ignoring all their achievements, the dictatorship in Cuba continues to ban all music by the freedom loving Chirino Álvarez family from Cuban airwaves as of 2019.

Cuban actor born in Havana in 1940. His parents were Carlos Badías and Mercedes Díaz, both popular actors on Cuban radio, television and stage. Raised in the environment of the performing arts, Carlos Alberto knew by instinct that he wanted to follow in his parents footsteps. After graduating from high school, his parents allowed him to try out for acting parts in theaters and television. Apart from inheriting his father's deep voice and classic delivery, Carlos Alberto was tall and extremely handsome with a youthful exuberance that casting directors found very appealing. At barely 18 years old, he was given the opportunity to act on television in various sitcoms playing small roles but in spite of the limited exposure, Carlos Alberto impressed the audience and started gathering a large following, especially among the young ladies.

Producers and advertising agencies realized they had a hot commodity in their hands and gave Carlos Alberto larger starring roles that cemented his acting career and increased his popularity. It could not be more idyllic for public relations: a young, good-looking, capable actor, with a prestigious last name. By the end of 1957, the media, with the blessings of the television networks, had inducted Carlos Alberto into a dynamic group of top young actors they nicknamed "Los galanes" (The leading men) and the designation soon became a household name. Everybody in Cuba knew the individual names of "Los galanes": Rolando Barral, Jorge Félix, Carlos Barba, Alberto Insúa, Jorge Marx, and Carlos Alberto Badías. In short, it was a new generation of promising actors that guaranteed the continuity of the high standards of the performing arts in the Caribbean island, and the public idolized them.

The promise came to an abrupt halt when Cuba fell to a Marxist dictatorship in 1959. All businesses were confiscated by the government including the arts and communications. From then on, radio, television, printed press, etc. became tools to indoctrinate the masses and anyone who disagreed publicly was risking death by firing squad or prison. One of the first actors to be incarcerated for refusing to follow the communist agenda was Carlos Badías, Carlos Alberto's father. After his release from two different imprisonments, Badías senior was officially banned from working as an actor and the same fate was extended to his son Carlos Alberto. In desperation, Carlos Alberto left the country illegally in 1960 and went to Miami where he joined the Brigada 2506, a group of Cuban exiles committed to liberate Cuba from the communist debacle. The group received training by United States military in Nicaragua and Carlos Alberto turned into paratrooper R-709 ready for action. Unfortunately the invasion of Cuba by the 2506 Brigade on April 17th, 1961 did not achieve its purpose. Many freedom fighters were killed while the rest were sent to prison, including Carlos Alberto. Thanks to negotiations initiated by President John F. Kennedy, the prisoners were sent back to Miami and received a hero's welcome from their compatriots at the Orange Bowl.

Carlos Alberto and his parents finally reunited in Miami in 1970 when Badías senior was allowed to leave the island thanks to pressure exerted by the government of Mexico and Mexican actor Mario Moreno "Cantinflas", a long time friend of the Badías family. Carlos Alberto worked hard throughout the 1960's and 1970's to reestablish his career as an actor. He tried New York City for a while where he appeared in several plays and starred in the movie "La vendedora de amor" (1964) filmed entirely in the Big Apple. Later he moved to Puerto Rico where he signed a contract with Telemundo to act in several telenovelas (soap operas) to be taped on the island. These serials with Carlos Alberto had great success and achieved some of the highest ratings in the history of the network. Carlos Alberto's work was highly praised by critics and by a faithful public that would not miss a chapter of telenovelas such as "La renuncia", or "La mentira", based on the famous novel by Cuban writer Caridad Bravo Adams. During this time in Puerto Rico, the actor found true love and got married. The union produced two daughters but Carlos Alberto and his wife decided to raise them away from the limelight.

Carlos Alberto's success echoed in Mexico and producers demanded a piece of his action. He was introduced to Mexican audiences in the telenovela "El amor tiene cara de mujer" (1971) and for the next three years he demonstrated his versatility playing totally different roles in each series. His last appearance in Mexico was in "Los que ayudan a Dios" (1973). The actor returned to his family in Puerto Rico and at some point he started turning down offers for acting assignments. Nobody can explain satisfactorily the reasons behind what seemed like a decision to abandon his career and he never clarified the issue. Most probably he wanted to settle down peacefully with his wife and daughters; others venture that he had slowly invested in several business through the years and was very successful as an entrepreneur. In time his businesses commitments expanded to Spain and he needed to spend a lot of time in that country. It was precisely in Madrid where he passed away quietly on August 31st, 2014. Those who were touched by his performances have never forgotten him, while for his fellow Cubans exiles he remains an example of true patriotism.

Spanish journalist, writer, playwright, and actress of Jewish-German ancestry. Born Carmen Eva Nelken Mansberger in a family that had made a fortune in the jewelry business, she and her younger sister Margarita Nelken received a privileged education that distinguished them from the women of their time. They both embraced the feminist movement in an era when the concept was extremely controversial if not unheard of, and decided to influence society through their writings.

In 1917 Carmen began writing for the newspaper El Imparcial as a consultant on feminine fashions but soon showed her compromise with the rights of women to vote, to earn a living, and to divorce, among other hot topics of the era. She signed those articles under the pseudonym "Magda Donato" to avoid being confused with Margarita who was making quite a splash on political circles. Magda Donato became a leader of feminist causes and liberalism in general thanks to her writing skills, sensitive style, as well as a most combative spirit. She was also a pioneer on "undercover investigative journalism" spending over a month in jail to report on conditions in a women's prison, or sleeping on the streets to report on the plea of the homeless.

However she was also successful writing children stories and scripts for puppet shows produced by her boyfriend, the multi-talented Spanish puppeteer, designer, illustrator, painter, and sculptor Salvador Bartolozzi with whom she established a life-long relationship without the benefits of marriage. In addition to all these activities, the always restless Magda joined the Caracol theater troupe as an actress and writer, collaborating on the adaptation of various stage plays until the group disbanded in 1935. Actually Magda Donato was most influential during the 1920's and under the Spanish Second Republic (1931-1936) when her writings were much in demand until the outbreak of the Spanish Civil War.

When they sensed the rebel forces led by General Francisco Franco were winning the conflict, Donato and Bartolozzi fled to France and continued their work there which now included acting on stages with Les comediéns de France. In 1941, when Nazi Germany invaded France, the couple found long term safety in Mexico where they successfully published the children plays they co-wrote and were warmly received by the theater and film establishments. During the 1940's and 1950's Magda was featured in character roles or as a light comedienne in countless plays and movies. In 1960 she received the best actress award from the Association of Theater Critics for her performance in the play "Las sillas".

After her death in 1966 the National Association of Actors and Directors (ANDA) created the "Magda Donato Award" to recognize and reward the best written play of the year. The award lasted until 1973, when it was officially discontinued.

Cuban actor born in Havana in 1921 who achieved great popularity in Cuban radio serials beginning in 1936. Noted for his acting versatility, Eduardo Egea excelled in both drama and comedy. His performances as super heroes "Tamakun", and "Leonardo Moncada" are still remembered in the island. In 1950 he made an easy transition to television as a leading man in telenovelas (soap operas), sitcoms, teleplays, as well as hosting variety programs. He was also successful on stage starting in 1948 with his critically acclaimed performance in Shakespeare's Hamlet. After years of tireless work on radio, television and stage, Mr. Egea made his last appearance playing Dmitri in a television serial based on Dostoyevsky's The Brothers Karamasov. Shortly after, in January 1964, he did not survive a surgery that removed one of his lungs. He was barely 43 years old.

Spanish singer, composer, and flamenco guitar player initially notorious as the patriarch of the "rumba flamenca catalana" a musical genre that he created and launched quite successfully.

When in 1958 he married Lola Flores, a celebrated singer and dancer of Andalusian folklore, he became the patriarch of one of the most extraordinary musical dynasties in Spain's history fathering two daughters, Lolita and Rosario, as well as one son Antonio Jr., all of whom would become accomplished singers and performers.

Antonio Sr. was also very successful in recordings as a solo artist and as back up guitar and vocalist for wife Lola. Eventually he costarred with Lola in several of her film vehicles as well as appearing with her on television and in endless concert tours all over the world. When Lola and Antonio died, their children continued the family tradition and eventually their grandchildren also delighted audiences with their inherited talents. In spite of Antonio Jr. untimely death at age 33 the Flores-González saga continues.

Professional bullfighter and matador born in Almer'ia, Spain on May 27th, 1933, who appeared as a leading man in a few films always playing bullfighters. In the late 1950s it seemed that his photogenic good looks would guarantee a long career in the movies. However, shortly after his most successful film "El último cuplé"(1957), he went back full time to bullfighting turning his back on the film industry. He married Isabel García, a talented designer and maker of bullfighter customs and had a son, also named Enrique. After his retirement from bullfighting in 1987, he concentrated on the family business by assisting and promoting his wife's work. He died of cardiac arrest in Madrid, Spain on February 19th, 1993.