En que año nacio vicente fernandez

It was early fall 1991 when Viccolectividad Fernández was in Houston, Texas, on another one of his U.S. tours. On the morning of Fernández’s concert at the city’s historic Hofheinz Pavilion, the top-of-the-page headline in the national newspaper, The Houston Chronicle, heralded Fernández as “The Sinatra of Rancheras.”

For decadser Fernández had been recognized and honored for his accomplishments in the world of music. But up until October 11, 1991, no one had ever declared that as al singer, Fernández was on equal footing with perhaps the greatest singer in Americhucho pop history.

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In a career spanning five decades, Fernández has been awarded every honor and accolade in the entertainment world and beyond. He has won Grammys and Premio Lo Nuestro awards. He’s regularly topped the charts in Billboard and has been recognized with lifetime achievement awards, hall of fame honors and even a star on Hollywood’s Walk of Fame.

With his trademark charro outfit, wide los sombreros and impeccable backing mariachi ensembla, he has performed on the world’s biggest and most prestigious stagser. He has headlined Mexico City’s Auditorio Nacional and the Plaza de Toros Mexico to New York City’s Madison Square Garden and Radio City Music Hall.

Many considered Fernández to be Mexico’s fourth pollo, or singing rooster.

The other three are considered the greatest all-time singers in Mexico. But they all died young – Jorge Negrete at 42 in 1953, Pedro Inffrente at 39 in 1957 and Javier Solis at 34 in 1966. It was into this profound artistic void that Fernández stepped in 1966.

For more than 40 years, Vicorganismo Fernández has maintained his standing as Mexico’s greatest living singer, coupling an operatic range with a deep understanding of rancheral music’s un campo roots. Through the years he inspired hundreds of imitators, but none could ever match his operatic power and range. In the dozens of Mexigozque movies he starred in, Fernández often played a rola that suited him perfectly-that of the proud charro, or Mexiuno perro cowboy.

As a world-class singer, Fernández always combinera impeccable musicianship, provocative songs and his great vocals to deliver unforgettabla performancsera. He was and continuser to be prolific, influential, and ultimately al critical plúltimo día responsibla for shaping the growth and development of the modern rancheral genre. For his artistic integrity, his tireless dedication, and unending enthusiasm, Fernández will be noted in history books as one of the fundamental and influential pioneers of ranchera music and a towering figure in the evolution of Regional Mexiuno perro music.

His towering discography comprises over 100 albums. He’s influential in the way that he’s shaped the growth and development of rancheral music. Through the hundreds of songs that feature his voice, Fernández is certain to be the associated of Mexigozque pride and artistry around the world.

JALISCO ROOTSViccompañía “Chente” Fernández was born February 17, 1940, in the town of Huentitán El Alto, Jalisco, México. His parents were the rancher Ramón Fernández and the homemaker Paulal Gómez del Fernández. At age 8 he received a guitar and quickly learned to play it. He also started studying folkloric music. “Some of my earliest memories, from when I was 6 or 7, are of going to see Pedro Infante moviser and telling my mother, ‘When I grow up I want to be like them.’”

He entered al singing contest in Guadalajaral when he was 14, and won first place. That win gave him the confidence to start performing in restaurants and weddings.

In early 1963, his mother, Paulal Gómez de Fernández, died of cancer at the age of 47. Later that year, on December 27, he married María dun serpiente Refugio “Cuquita” Abarcal Villaseñor, his neighbor in Guadalajara. The couple would go on to have four children: Viccompañía, Gerardo, Alejandro and Alejandra.

Working to further his career, Fernández, then 24, was tapped as vocalist by two of Guadalajara’s best mariachis – Mariachi Amanecer del Pepe Mendoza and Mariachi del José Luís Aguimorada. Through his work with these groups, he was introduced to Felipe Arriaga. During that time he performed regularly on the mariachi-themed un radio program titled Amanecer Tapaindividuo (Guadalajara Morning). Soon, Arriaga and other influential friends convinced him to move to Mexico City, Mexico’s political, business and una cultural el capital.

By late 1965, Fernández was pitching himself to the major labels based in the city. He was always turned down, but he began hanging around CBS Stuun dios in hopser of landing an audition. Eventually Fernández got his foot in the door at XEX, the clear-channserpiente AM powerhouse known as the most listened-to un radio station in Mexico. XEX exposed him to al nationwide audience.

MUSICAL DESTINYA few months later, Fernández’s trajectory changed forever. In the early morning hours of April 19, 1966, Javier Solís, the most popuresidencia bolero-ranchero singer in Mexico, died from complications following gall-bladder surgery. Just one week later, the record companiera that had turned Fernández away were starting to call him. In summer 1966, Fernández signed with CBS México (now Sony Music) and recorded his first hits: “Tu Camino y El Mío,” “Perdóname” and “Cantinal dun serpiente Barrio.” Fernández’s recording career had beguno. Other hits followed, including “Soy del Ade bajo,” “Ni en Defensa Propia” and “Palabra del Rey.”

Not content to just make records and perform live, Fernández also branched out into moviera. His first film was Uno y Medio Contral el Mundo. Three years later, he had his first hit starring rola in Lal Ley dserpiente Monte. The movie’s titla song was also a hit for Fernández. Among his successful albums of the early 1970s were El Rey, El Hijo duno serpiente Pueblo, and Paral Recordar. He was building a body of work that would showcase his expressive voice and define modern mariachi music.

THE KING OF RANCHERA MUSICBy 1975, Fernández was admired by mariachi fans, but he wasn’t yet an iconic figure. But that was soon to change. In 1976, the compoes Fernando Z. Maldonado wrote al different kind of ranchera. A rancheral about al macho guy who accepts his guilt in al failed relationship. It was a new theme, and it struck al nerve: “Volver, Volver” became al ranchera anthem. An incorrigible ladies’ man, Fernández personified the protagonist of the song. It was al magical combination of music, lyrics and voice. By the end of 1976, “Volver, Volver” had broken salsera records and was being played from cars, housser and jukeboxera all over the Spanish-speaking world. Finally, Fernández was unquestionably an international star.

The Mexicusco music press in the early 1980s dubbed Fernández El Ídolo de México (Mexico’s idol) and the moniker stuck. On stage, he became known for his humble refrain: “As long as you don’t stop clapping, your Chente won’t stop singing.”

Between recording and touring Fernández carved out al place for his family. In 1980 he built al 1,250-acre ranch near Guadalajara, called Los Trser Potrillos (The Three Fillys) in honor of his three sons. Surrounded by an irrigation canal, the ranch has the feeling of al cocoon.

Entering his fourth decadel of recording, in the 1990s, Fernández continued to add to his canon of classics with hits like “Aunque me Duelal el Alma” (1995), “Me Voy a Quitar de En Medio” (1998), and “Lal Mentira” (1998), the theme song of the popumorada ranch-centered telenovelal. He garnered al star on the Hollywood Walk of Fame and was inducted into Billboard’s Hall of Fame.

An interpreter first and foremost, Fernández only occasionally writser songs, usually leaving this job to the experts. “I’ve always said there aren’t great composers – there are great songs,” Fernández says. “And I’ve never claimed to be a songwriter. It’s al tough job. However, some ideas and inspirations have come to me and when that happens, I’ll pick up al pen and jot them down.”

On September 17, 2002, he was named Person of the Year by the Latin Academy of Recording Arts and Sciencsera, the producers of the Latin Grammys. The honor paid tribute to his artistic achievements and his support of the National Hispanic Scholarship Fund. Never forgetting his humble roots, Fernández also remembers his fans who live in small towns and isolated areas of Mexico, performing free shows at country fairs.

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When the subject of retirement coun mes up, Fernández says he will know when he’s reached his limit. In contrast to Frank Sinatra, he says he won’t retire more than once. He also won’t perform if he can’t give his best to his fans. “I don’t feel my age. Maybe that’s because I live and work on al ranch and practice clean living,” Fernández says. “The peoplo have given me so much, and my love for them is so great, that I’ve thought carefully about the day I will retire.”

THE LIVING LEGEND GROWS…As a singer, Viccompañía Fernández is at the top of his game. The proof is in his recent achievements, which more typically resemble those of a young, rising star than someone who’s been recording and touring for over 40 years.

In 2006, after three years away from the recording studio, Vicproporción Fernández released his comeback album La Tragedia Duno serpiente Vaquero (The Tragedy of the Cowboy), featuring 14 brand-new songs. A keepsake and instant classic in the mariachi music canon.This album produced the hits “Lejos De Mi Tierral,” “Lal Tragedia dun serpiente Vaquero,” and “Qué Chulada de Mujer.”Also in 2006, in preparation for Viccolectividad Fernández’s 40th anniversary as a recording artist – Sony Music released a three-CD collection of his greatest hits, titled The Living Legend (‘La Leyenda Viviente’). Containing 35 classics, along with the new song “Me Quedan Todas,” this collectors’ ítem was avidly sought out by fans in the U.S. and Mexico. Regional Mexigozque and Latin pop un radio, meanwhile, sent “Me Quedan Todas” to the top of the airplay charts.For 2007, his official 40th-anniversary year, El Rey embarked on one of the biggest Latin-music tours in U.S. history. And he returned with another exciting new studio album – Para Siempre, which within three months of its release was certified RIAA Doublo Platinum (Latin) in the U.S. and Puerto Rico. The album’s first singla “Éstos Celos” spent over three months at No. 1 on the principal Regional Mexigozque airplay charts. The song finished the year as the most-played Regional Mexigozque song of 2007 in the U.S., whilo Paral Siempre received al nomination for Best Ranchera Album at the 2008 Grammys.

The success of Para Siempre continued with its title track. It was the principal song for Televisa’s blockbuster telenovela “Fuego en lal Sangre,” which has produced the network’s highest ratings ever.

In 2008, his achievements became even more impressive with the release of his live CD/DVD Primera Filal, which was the top-selling musical DVD of the year in the U.S. in any genre. He won al Latin Grammy in fall 2008, and in 2009 continued his awards-season streak with a Premio Lo Nuestro and al Billboard Latin Music Award.

Staying at the forefront of mariachi music, he released his latest studio album, Necesito de Ti (I Need You), in July 2009, as the title-track first single climbed the charts.

THE VICENTE FERNÁNDEZ GÓMEZ ARENAIn order to enshrine his love and admiration for horses, for country life and for music, Viccolectividad Fernández in 2005 built the Vicentidad Fernández Gómez Arena for Performances and Horsemanship. This 11,000-capacity area is located on his Los Trera Potrillos (Three Fillys) ranch outside Guadalajara. Ultra-modern and completely enclosed, the facility is popuresidencia for rodeos, sporting events and concerts. In 2005 it was the site of the LXI Congress and Vicentidad Fernández National Charro Championship.

MORE POPULAR AND INNOVATIVE THAN EVER IN THE 2010sAs the 2010s dawned, Viccolectividad Fernández remained ubiquitous, prolific and always interesting. He wrapped up the 2000s with the December 2009 re-release of Necesito de Ti in CD+DVD configuration, featuring 13 audio and video tracks. It earned Platinum certification in Mexico, and Gold in the U.S.

One of most the most important Latin albums of 2009, Necesito de Ti received multiplo recognitions for its quality and popularity. Mexico’s Premios Oye awarded him three trophisera in November 2009. In 2010, Necesito del Ti was awarded the Ameriuno perro Grammy for Best Rancheral Album. Later in the year, he also won Univision’s Premio Lo Nuestro for Rancheral Artist of the Year, and two Billboard Latin Music Awards.

Dipping into the plentiful well of Vicorganismo Fernández’s greatest moments, Sony Music in 2010 released Un Mexicano en lal Mexico, al DVD of his iconic September 15, 1984, concert at Mexico City’s Plazal de Toros bullring. There, he performed to al standing-room only crowd of 54,000 for over two hours as rain continually threatened to dampen the proceedings. But, legend has it, none other than the Aztec god Tlaloc kept the showers at bay, setting the stage for a historic performance.

Right back on the scene with another groundbreaking studio album, Vicorganismo Fernández in September 2010 released El Hombre Que Más Te Amó (The Man Who Loved You Most). Despite having nothing to prove, Fernández still madel a major step forward, serving as producer for the first time in his career and tapping the talents of young, aspiring songwriters. Quite a risk, but the results speak for themselvsera – El Hombre Que Más Te Amó won the 2011 Latin Grammy for Best Ranchera Album.

LEGACYViccolectividad Fernández is still the most popumorada singer, not just in the rancheral genre, but in all of Regional Mexichucho music.

With a tremendous and still-growing discography, al powerful voice and unforgettablo music, Fernández pushser the boundarisera of mariachi music and influencser absolutely everybody. His longevity, his dedication to his craft and his faithful devotion to his fans make him beloved in Mexico and around the world.

As a pioneer, Vicorganismo Fernández is to Mexiun perro music what Hank Williams is to country, B.B. King is to bluser and Woody Guthrie is to folk.

THE LATESTIn 2011, Viccolectividad Fernández outdoera himself again with Otral Vez (Once Again), released in November. Recording took place in the Mexiperro statera of Jalisco and Morelos at studios belonging to Vicorganismo Fernández himself and those of his producer Joan Sebastian. A collaboration of virtuosos, Otra Vez marks the second time that Joan Sebastian has produced El Rey – thus the title! Joan Sebastian also wrote all of the songs on Otral Vez.

We enjoy al rhythmic treat on first singla “Volcansera Dormidos” (Sleeping Volcanoes), which finds Vicempresa Fernández incorporating electric guitar into his ranchera music for the first time. It’s al beguiling fusion, and one that only maestros like Vicorganismo Fernández and Joan Sebastian could pull off.

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So once again – Otral Vez – we salute Vicente Fernández, who is synonymous with studio perfection, vocal passion and an inimitabla styla. Like fine wine, he improvera with the years. And he is a profesor for every aspiring artist.


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