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Look up nocturnal in Wiktionary, the free dictionary.

Owls are well known for being nocturnal, although some owls are active during the day.

Nocturnality is an animal behavior characterized by activity during the night and sleeping during the day. The common adjective is "nocturnal".

Nocturnal creatures generally have highly developed senses of hearing and smell, and specially adapted eyesight. Some animals, such as cats and ferrets, have eyes that can adapt to both low-level and bright day levels of illumination (see metaturnal). Others, e.g. bushbabies and (some) bats, can function only at night. Many nocturnal creatures including tarsiers and some owls have large eyes in comparison to their body size in order to compensate for the lower light levels during the night.

Diurnal animals, e.g. squirrels, songbirds, etc., are active during the daytime. Crepuscular species, i.e. rabbits, skunks, cats, and hyena, are often erroneously referred to as nocturnal. Cathemeral species, such as fossas and lions, are active both day and night.

Survival adaptations[link]

Resource competition[link]

Being active at night is a form of niche differentiation, where a species' niche is partitioned not by the amount of resources but by the amount of time (i.e. temporal division of the ecological niche). Hawks and owls can hunt the same field or meadow for the same rodents without conflict because hawks are diurnal and owls are nocturnal. This means they are not in-competition for each other's prey.

Predation[link]

Nocturnality is a form of crypsis, an adaptation to avoid or enhance predation. One of the reasons that (cathemeral) lions prefer to hunt at night is that many of their prey species (zebra, antelope, impala, wildebeest, etc.) have poor night vision. Many species of small rodents are active at night because most of the dozen or so birds of prey that hunt them are diurnal. There are many diurnal species that exhibit some nocturnal behaviors. For example, many seabirds and sea turtles only gather at breeding sites or colonies at night to reduce the risk of predation to themselves and/or their offspring.

Water conservation[link]

Another reason for nocturnality is avoiding the heat of the day. This is especially true in arid biomes like deserts, where nocturnal behavior prevents creatures from losing precious water during the hot, dry daytime. This is an adaptation that enhances osmoregulation.^[1] One of the reasons that (cathemeral) lions prefer to hunt at night to conserve water.

Plants[link]

Many plant species native to arid biomes have adapted so that their flowers only open at night when the sun's intense heat can't wither and destroy their delicate, moist blossoms. These flowers are pollinated by bats, another creature of the night.

In captivity[link]

Zoos[link]

In zoos, nocturnal animals are usually kept in special night-illumination enclosures to invert their normal sleep-wake cycle and to keep them active during the hours when visitors will be there to see them.

Pets[link]

Hedgehogs are mostly nocturnal.

Hedgehogs and sugar gliders are just two of the many nocturnal species kept as (exotic) pets. Cats have adapted to domestication so that each individual, whether stray alley cat or pampered housecat, can change their activity level at will, becoming nocturnal or diurnal, to suit their environment and/or the routines of their owners.

See also[link]

v t e Ethology and parts of the day Diurnality · Nocturnality · Cathemeral Crepuscular (Matutinal · Vespertine) Circadian rhythm · Chronotype

• Niche (ecology)
• Niche differentiation
• Competitive exclusion principle
• Adaption
• Antipredator adaptation
• Crypsis
• List of nocturnal birds
• List of nocturnal animals
• Diurnality
• Crepuscular

References[link]

Wikimedia Commons has media related to: Nocturnality

v t e Modelling ecosystems – trophic components General Abiotic component Abiotic stress Behaviour Biogeochemical cycle Biomass Biotic component Biotic stress Carrying capacity Competition Ecosystem Ecosystem ecology Ecosystem model Keystone species List of feeding behaviours Metabolic theory of ecology Productivity Producers Autotrophs Chemosynthesis Chemotrophs Foundation species Mixotrophs Myco-heterotrophy Mycotroph Organotrophs Photoheterotrophs Photosynthesis Photosynthetic efficiency Phototrophs Primary nutritional groups Primary production Consumers Apex predator Bacterivore Carnivores Chemoorganotroph Foraging Generalist and specialist species Intraguild predation Herbivores Heterotroph Heterotrophic nutrition Insectivore Mesopredator release hypothesis Omnivores Optimal foraging theory Predation Prey switching Decomposers Chemoorganoheterotrophy Decomposition Detritivores Detritus Microorganisms Archaea Bacteriophage Environmental microbiology Lithoautotroph Lithotrophy Microbial cooperation Microbial ecology Microbial food web Microbial intelligence Microbial loop Microbial mat Microbial metabolism Phage ecology Food webs Biomagnification Ecological efficiency Ecological pyramid Energy flow Food chain Trophic level Example webs Cold seeps Hydrothermal vents Intertidal Kelp forests Lakes North Pacific Subtropical Gyre Rivers San Francisco Estuary Soil Tidal pool Processes Ascendency Bioaccumulation Cascade effect Climax community Competitive exclusion principle Consumer-resource systems Copiotrophs Dominance Ecological network Ecological succession Energy quality Energy Systems Language f-ratio Feed conversion ratio Feeding frenzy Mesotrophic soil Nutrient cycle Oligotroph Paradox of the plankton Trophic cascade Trophic mutualism Trophic state index Defense/counter Animal coloration Antipredator adaptations Camouflage Herbivore adaptations to plant defense Mimicry Plant defense against herbivory Predator avoidance in schooling fish

v t e Modelling ecosystems – other components Population ecology Abundance Allee effect Depensation Ecological yield Effective population size Intraspecific competition Logistic function Malthusian growth model Maximum sustainable yield Overpopulation in wild animals Overexploitation Population cycle Population dynamics Population modeling Population size Predator–prey equations Recruitment Resilience Small population size Stability Species Biodiversity Density-dependent inhibition Ecological effects of biodiversity Ecological extinction Endemic species Flagship species Gradient analysis Indicator species Introduced species Invasive species Latitudinal gradients in species diversity Minimum viable population Neutral theory Occupancy-abundance relationship Population viability analysis Priority effect Rapoport's rule Relative abundance distribution Relative species abundance Species diversity Species homogeneity Species richness Species distribution Species-area curve Umbrella species Species interaction Antibiosis Biological interaction Commensalism Community ecology Ecological facilitation Interspecific competition Mutualism Storage effect Spatial ecology Biogeography Cross-boundary subsidy Ecocline Ecotone Ecotype Disturbance Edge effect Foster's rule Habitat fragmentation Ideal free distribution Intermediate Disturbance Hypothesis Island biogeography Landscape ecology Landscape epidemiology Landscape limnology Metapopulation Patch dynamics r/K selection theory Source–sink dynamics Niche Ecological niche Ecological trap Ecosystem engineer Environmental niche modelling Guild Habitat Limiting similarity Niche apportionment models Niche construction Niche differentiation Other networks Assembly rules Bateman's principle Bioluminescence Ecological collapse Ecological debt Ecological deficit Ecological energetics Ecological indicator Ecological threshold Ecosystem diversity Emergence Extinction debt Kleiber's law Liebig's law of the minimum Marginal value theorem Thorson's rule Xerosere Other Allometry Alternative stable state Balance of nature Biological data visualization Constructal theory Ecocline Ecological economics Ecological footprint Ecological forecasting Ecological humanities Ecological stoichiometry Ecopath Ecosystem based fisheries Endolith Evolutionary ecology Functional ecology Industrial ecology Macroecology Microecosystem Natural environment Systems ecology Theoretical ecology List of ecology topics

"The Black Dahlia" was a nickname given to Elizabeth Short^[1][2][3] (July 29, 1924 – January 15, 1947), an American woman who was the victim of a gruesome and much-publicized murder. Short acquired the moniker posthumously by newspapers in the habit of nicknaming crimes they found particularly colorful. Short was found mutilated, her body sliced in half at the waist, on January 15, 1947, in Leimert Park, Los Angeles, California. Short's unsolved murder has been the source of widespread speculation, leading to many suspects, along with several books and film adaptations of the story.

Early life[link]

This unreferenced section requires citations to ensure verifiability.

Elizabeth Short was born in greater Boston, Massachusetts; she grew up and lived in Medford. She was the third of five daughters of Cleo Short and Phoebe Mae Sawyer. Her father built miniature golf courses until the 1929 stock market crash, in which he lost much of the family's assets. In 1930, he parked his car on a bridge and vanished,^[4] leading some to believe he had committed suicide. Short's mother moved the family to a small apartment in Medford, and found work as a bookkeeper. It was not until later that Short would discover her father was alive and was living in California.

Arrest photo from 1943 for underage drinking

Troubled by asthma and bronchitis, Short was sent to live for the winter in Miami, Florida at the age of 16. She spent the next three years living there during the cold months and in Medford the remainder of the year. At age 19, Short travelled to Vallejo, California to live with her father, who was working nearby at Mare Island Naval Shipyard on San Francisco Bay. The two moved to Los Angeles in early 1943, but an altercation resulted in her leaving there and finding work in the post exchange at Camp Cooke (now Vandenberg Air Force Base), near Lompoc, California. Short next moved to Santa Barbara, where she was arrested on September 23, 1943, for underage drinking. Following her arrest, she was sent back to Medford by the juvenile authorities in Santa Barbara. Short then returned to Florida to live, with occasional visits back to Massachusetts.

In Florida, Short met Major Matthew Michael Gordon Jr., a decorated United States Army Air Forces officer who was assigned to the 2nd Air Commando Group and in training for deployment to China Burma India Theater of Operations. Short told friends that Gordon wrote her a letter from India proposing marriage while he was recovering from injuries sustained from an airplane crash. She accepted his proposal, but Gordon died in a second airplane crash on August 10, 1945 before he could return to the United States. She later exaggerated this story, saying that they were married and had a child who died. Although Gordon's friends in the air commandos confirmed that Gordon and Short were engaged, his family denied any connection after Short's murder.

Elizabeth Short returned to Los Angeles in July 1946 to visit Army Air Corps Lieutenant Joseph Gordon Fickling, an old boyfriend she had met in Florida during the war. At the time Short returned to Los Angeles, Fickling was stationed at NARB, Long Beach. For the six months prior to her death, Short remained in southern California, mainly in the Los Angeles area.

Murder and aftermath[link]

The grave of Elizabeth Short

The body of Elizabeth Short was found in the Leimert Park district of Los Angeles on January 15, 1947. Her remains had been left on a vacant lot on the west side of South Norton Avenue midway between Coliseum Street and West 39th Street. (at 34°00′59″N 118°19′59″W / 34.0164°N 118.333°W / 34.0164; -118.333) The body was discovered by local resident Betty Bersinger, who was walking with her three-year-old daughter.^[5] Short's severely mutilated body had been found nude and severed at the waist, completely drained of blood.^[6] Her face had been slashed from the corners of her mouth toward her ears, creating an effect called the Glasgow smile. The body had been washed and cleaned and she had been "posed" with her hands over her head and elbows bent at right angles.^[4]

The autopsy stated Short was 5 feet 5 inches (1.65 m) tall, weighed 115 pounds (52 kg), and had light blue eyes, brown hair, and badly decayed teeth. There were marks on her ankles and wrists made by rope, consistent with being tied either spreadeagled or hung upside down. Although the skull was not fractured, Short had bruising on the front and right side of her scalp with a small amount of bleeding in the subarachnoid space on the right side, consistent with blows to the head. The cause of death was blood loss from the lacerations to the face combined with shock due to a concussion of the brain.

William Randolph Hearst's papers, the Los Angeles Herald-Express and the Los Angeles Examiner, sensationalized the case; the black tailored suit Short was last seen wearing became "a tight skirt and a sheer blouse" and Elizabeth Short became the "Black Dahlia," an "adventuress" who "prowled Hollywood Boulevard". As time passed, the media coverage became more outrageous with claims her lifestyle "made her victim material."

On January 23, 1947, the killer called the editor of the Los Angeles Examiner, expressing concern that news of the murder was tailing off in the newspapers and offering to mail items belonging to Short to the editor. The following day a packet arrived at the Los Angeles newspaper containing Short's birth certificate, business cards, photographs, names written on pieces of paper and an address book with the name Mark Hansen embossed on the cover. Hansen, the last person known to have seen Short alive (on January 9), became the prime suspect. The killer would later write more letters to the newspaper, calling himself "the Black Dahlia Avenger," after the name given to Short by the newspapers. On January 25, Short's handbag and one shoe were found in a garbage bin a short distance from Norton Avenue. Due to the notoriety of the case, more than 50 men and women have confessed to the murder and police are swamped with tips every time a newspaper mentions the case or a book or movie about it is released. Sergeant John P. St. John, a detective who worked the case until his retirement, stated: "It is amazing how many people offer up a relative as the killer."

Gerry Ramlow, a Los Angeles Daily News reporter later stated, "If the murder was never solved it was because of the reporters ... They were all over, trampling evidence, withholding information."^{[citation needed]} It took several days for the police to take full control of the investigation during which time reporters roamed freely throughout the department's offices, sat at officers' desks, and answered their phones. Many tips from the public were not passed on to police as the reporters who received them rushed out to get "scoops".

Short was buried at the Mountain View Cemetery in Oakland, California. After Short's sisters had grown up and married, Short's mother moved to Oakland to be near her daughter's grave. Phoebe Short finally returned to the East Coast in the 1970s and lived into her 90s.^[4]

Rumors and popular misconceptions[link]

According to newspaper reports shortly after the murder, Elizabeth Short received the nickname "Black Dahlia" at a Long Beach, California drugstore in mid-1946, as a word play on the then-current movie The Blue Dahlia. Los Angeles County district attorney investigators' reports state that the nickname was invented by newspaper reporters covering the murder. Los Angeles Herald-Express reporter Bevo Means, who interviewed Short's acquaintances at the drug store, is credited with first using the "Black Dahlia" name.^[7]

A number of people, none of whom knew Short, contacted police and the newspapers claiming to have seen her during her so-called "missing week"—a time period between the time of her January 9 disappearance and the time her body was found on January 15. Police and district attorney investigators ruled out each of these alleged sightings, wherein in some cases, those interviewed were identifying other women they had mistaken for Short.^[8]

Many true crime books claim that Short lived in or visited Los Angeles at various times in the mid 1940s; these claims have never been substantiated and are refuted by the findings of law enforcement officers who investigated the case. A document in the Los Angeles County district attorney's files titled "Movements of Elizabeth Short Prior to June 1, 1946" states that Short was in Florida and Massachusetts from September 1943 through the early months of 1946 and gives a detailed account of her living and working arrangements during this period. Although a popular portrayal amongst her acquaintances and many true crime authors was of Short as a call girl, the Los Angeles district attorney's grand jury proved there was no existing evidence that she was ever a prostitute and the district attorney's office attributes the claim to confusion with a prostitute of the same name. Another widely circulated rumor holds that Short was unable to have sexual intercourse because of a congenital defect that left her with "infantile genitalia." Los Angeles County district attorney's files state that the investigators had questioned three men with whom Short had sex,^[9] including a Chicago police officer who was a suspect in the case.^[10] The FBI files on the case also contain a statement from one of Short's alleged lovers. Found in the Los Angeles district attorney's files and in the Los Angeles Police Department's summary of the case, Short's autopsy describes her reproductive organs as anatomically normal although the report notes evidence of what it called "female trouble." The autopsy also states that Short was not and had never been pregnant, contrary to what had been claimed prior to and following her death.^[9]

Suspects[link]

The Black Dahlia murder investigation was conducted by the LAPD. The case also enlisted the help of hundreds of officers borrowed from other law enforcement agencies. Owing to the nature of the crime, sensational and sometimes inaccurate press coverage focused intense public attention on the case.

Theories and possibly related murders[link]

Some crime authors have speculated on a link between the Short murder and the Cleveland Torso Murders, which took place in Cleveland between 1934 and 1938.^[11] As with a large number of killings that took place before and after the Short murder, the original LAPD investigators looked into the Cleveland murders in 1947 and later discounted any relationship between the two cases. Nevertheless, new evidence implicating a former Cleveland torso murder suspect, Jack Anderson Wilson, with Short's death was investigated by Detective John P. St. John in 1980. St. John claimed he was close to arresting Wilson for the death of Short when Wilson unexpectedly died in a fire on February 4, 1982.^[12]

Crime authors such as Steve Hodel and William Rasmussen have suggested a link between the Short murder and the 1946 murder and dismemberment of six-year-old Suzanne Degnan in Chicago.^[13] Captain Donahoe of the Los Angeles police also stated publicly that he believed the Black Dahlia and Lipstick murders were "likely connected."^[14] Among the evidence cited is the fact that Elizabeth Short's body was found on Norton Avenue three blocks west of Degnan Boulevard, Degnan being the last name of the girl from Chicago and there were striking similarities between the writing of the Degnan ransom note and that of "the Black Dahlia Avenger." For example, both used a combination of capitals and small letters, the Degnan note read in part "BuRN This FoR heR SAfTY" with both notes containing a similar mis-shapen letter P and have one word matching exactly.^[15] Convicted serial killer William Heirens served life in prison for Degnan's murder. Initially arrested at age 17 for breaking into a residence close to that of Suzanne Degnan, Heirens claimed he was tortured by police, forced to confess, and made a scapegoat in the Degnan murder.^[16]

Depictions in fiction[link]

The radio show Somebody Knows!, a summer replacement for Suspense, ran an episode on the killing in August 1950 on the CBS Radio Network.

James Ellroy's neo-noir novel The Black Dahlia was published in 1987. It was made into a 2006 movie directed by Brian De Palma. Elizabeth Short was played by actress Mia Kirshner in the film.

Lucie Arnaz played Elizabeth Short in the 1975 TV movie Who Is the Black Dahlia?

An episode of the NBC television series Unsolved Mysteries (hosted by actor Robert Stack) ran a profile on the murder in 1989, and it has aired on reruns on Lifetime several times, and was even revisited in the more recent iteration of the series.

In the ninth episode of the horror television series American Horror Story, Short is among the people murdered in the show's haunted house setting over the course of a century. Short, played by Mena Suvari, is depicted as having died accidentally from anesthesia while being sexually assaulted by a dentist, her body then being dismembered by a ghost for easier transport. In the same episode, the character Travis is murdered in a similar fashion and his murder case is dubbed the "Boy Dahlia". ^[17]

See also[link]

• Ernest E. Debs, Los Angeles City Council member who sought investigation of J. Paul de River, the Los Angeles Police Department psychiatrist at the time of the Black Dahlia.

References[link]

Further reading[link]

External links[link]

	Biography portal
	Los Angeles portal

• Black Dahlia Killer Profile on America's Most Wanted
• truTV entry for Black Dahlia.
• The FBI's Black Dahlia files from the FBI's Freedom of Information Act site.
• "Somebody Knows" episode a 1950 radio program on the case.

Alfredo Sadel (February 22, 1930 – June 28, 1989) was a popular Venezuelan singer and actor.^[1]

Born Alfredo Sánchez Luna in Caracas, Venezuela, Sadel was affectionately called "The Favorite Tenor of Venezuela".^[2] He adopted his stage name by combining the first syllable of his surname with the last syllable of the surname of his favorite idol, tango singer Carlos Gardel.^[3] According to musician Aldemaro Romero, Sadel became Venezuela's heart-throb due to his huge popularity with the feminine audience. Being in the peak of his popularity he was shown to the doors of Hollywood, but convinced of his conditions for the bel canto, he went to Europe to cultivate his spirit through the serious music, studying in important conservatories, to devote himself to the opera and zarzuela genres.

The means meanness certain and his political affinity carried difficulties to him in his country. Nevertheless, he was acclaimed. He made films in Cuba and Mexico next to Graciela Naranjo and Amador Bendayán, among other important Venezuelan artists.

Sadel died in Caracas, Venezuela, of cancer at age of 59. The Latina VJ Desiree Ortíz is the niece of Vanezuela's most prominent tenor Alfredo Sadel.

References[link]

External links[link]

• Discography
• IMDb entry
• Alfredo Sadel: biography in "Venezuela Tuya"
• Fundación Internacional José Guillermo Carrillo

See also[link]

• Venezuela
• Venezuelan music

Billo Frómeta (b. November 15, 1915 in Santo Domingo, Dominican Republic - Caracas May 5, 1988) was a Dominican Republic orchestra conductor, arranger and composer who lived and worked most of his life in Venezuela, where he is remembered.

Early career[link]

Luis María Frómeta was born in Pimentel, Provincia Duarte,Republica Dominicana, on November 15, 1915; he would move with his family to San Francisco de Macorís some years later. The school he attended there had compulsory music lessons, so he learned much of his musical training there.

In 1930, at the age of 15, he founded and was the resident conductor of the Banda del Cuerpo de Bomberos de Ciudad Trujillo (Ciudad Trujillo's Fire Brigade's Band). He also founded the Orquesta Sinfónica de Santo Domingo during this time.

In 1933, he moved back to Santo Domingo. During these years, he would meet and work with some of his closest friends and associates: Freddy Coronado, Ernesto Chapuseaux and Simó Damirón, whom he already knew from school . The Conjunto Tropical and the Santo Domingo Jazz Band were formed then, as well.

Frómeta then began studying Pre-Medicine in the Universidad de Santo Domingo and had to abandon all musical activity during this time. However, he eventually dropped out on his third year to dedicate himself fully to music.

Career in Venezuela[link]

Frómeta and his orchestra arrived in Venezuela in December 1937 with his orchestra to play regularly in a dance club in a Caracas, the Roof Garden. The Santo Domingo Jazz Band did well, but the club owners didn't think the name would stick- so they had Frómeta change it to something more marketeable. Frómeta went along, which got him barred from ever returning to his native Dominican Republic as Trujillo considered the change- "Billo's Caracas Boys"- an insult.

Frómeta continued to play in Venezuela until the fall of Marcos Pérez Jiménez in 1958. Accused of being a supporter of the regime, he was barred by the Asociación Musical de D.F y Estado Miranda from ever playing in Venezuela again.

Following this, he moved to Cuba to play with a Cuban band there.

In 1960, a special session of the National Assembly was convened in Caracas. The purpose was to lift the ban passed on Billo in 1958, which was by then considered to have been unfair. That very same year, Frómeta returned to Venezuela.

Last years[link]

On April 27, 1988, he suffered a stroke while rehearsing with the Venezuela Symphony Orchestra for a concert-tribute in his honour that would occur the very next day: just after he finished conducting the practice run for "Un Cubano en Caracas", he collapsed on the ground as the orchestra was applauding his performance. Frómeta died the following week on May 5, 1988.

See also[link]

• Venezuela
• Venezuelan music

External links[link]

• Billo Frómeta Biography

José Pedro Infante Cruz (November 18, 1917^[1][2] – April 15, 1957), better known as Pedro Infante, is one of the most famous actors and singers of the Golden Age of Mexican cinema and is an idol of the Latinamerican people, together with Jorge Negrete and Javier Solís, who were styled the Tres Gallos Mexicanos (the Three Mexican Roosters). Infante was born in Mazatlán, Sinaloa, Mexico. He was raised in Guamúchil. He died on April 15, 1957, in Mérida, Yucatán, in a plane crash during a flight that he was piloting himself en route to Mexico City.

His film career began in 1939 with him appearing in more than 60 films, and starting in 1943, he recorded about 350 songs. For his performance in the movie Tizoc, he was awarded the Silver Bear for Best Actor at the 7th Berlin International Film Festival.^[3]

Childhood and early career[link]

Son of Delfino Infante García, who played the double bass in a band, and Refugio Cruz Aranda, he was the third of fifteen children, of which nine survived. Although the Infante Cruz family stayed for some time at Mazatlán, in the early 1919 they moved to Guamuchil. Later in 1920, they moved to Rosario, Sinaloa.

From teenager, Infante showed talent and affection for music. He managed to learn strings, wind, and percussion instruments in a short time. He was a guitar student of Carlos R. Hubbard.

His wife María Luisa León, who was somewhat well-off economically, convinced him of the need to move to Mexico City where they would find opportunities for this talented young man.

In Mexico City, he sang the songs of composers including Alberto Cervantes (Alberto Raúl Cervantes González [1]), José Alfredo Jiménez, Cuco Sánchez, Tomás Méndez, Rubén Fuentes, Salvador Flores Rivera (Chava Flores) and others. His first musical recording El Soldado Raso (The Soldier) was made on November 19, 1943, for the Peerless Records Company. Infante first appeared as an extra in the movie En un Burro Tres Baturros (Three Men from Aragon on a Donkey), literally translated as "On a Donkey, Three Baturros'"'. His career as an actor in leading roles started with La Feria de Las Flores (The Fair of Flowers), literally translated as "The Flower Carnival" in 1943. In that same year, a friend and neighbor of Infantes' wife, Carmen Barajas Sandoval, offered to introduce them to Jorge Negrete, a singer whom he admired. Barajas, who knew people in the business as she was the aunt of the child actress Angélica María, worked then at The Sindicat Of Workers of the Movies Production, S.T.P.C. (Workers of the Cinematographic Production Union). She succeeded in convincing Negrete to recommend Infante to the producer Ismael Rodríguez, and others. As a result, he was invited to appear in different pictures, such as Vuelve el Ametralladora (The Machine Gun Returns)

While married to María Luisa León, he met the dancer Lupita Torrentera, with whom he had three children, Graciela Margarita (b. 1947), Pedro Infante Jr. (March 31, 1950 - April 1, 2009) and Guadalupe Infante Torrentera (b. 1951), solidifying his reputation as a ladies' man. Irma Infante was born from his relationship with the young actress Irma Dorantes, whom he met when she was only 16 years of age. Irma Infante has had a career as an actress and a singer.

Actor[link]

His natural talent for acting was made evident in such pictures as:

• Tizoc, along with María Félix, which gained him the Silver Bear for Best Actor at the 7th Berlin International Film Festival.^[3]

• The massive migration from the countryside to the cities (mostly to Mexico City) during the 1940s fed the required labor force for rising manufacturing industries. This urbanization created the "working neighborhoods" and the culture of "la vecindad" (group of small apartments around a common patio), and found in Pedro Infante an identifiable icon for these, the new urban working class, with his character Pepe el Toro (Pepe the Bull) in the melodramatic trilogy made up of Nosotros los pobres, Ustedes los ricos, and Pepe el Toro (We the Poor, You the Rich, and Pepe the Bull), costarring with Evita Muñoz "Chachita".

• He worked with Sara García ("Mexico's grandmother") in many movies for Mexican cinema. Sara Garcia frequently played the role of his loving but "no nonsense" grandmother in their movies together, in which she constantly tried to get him to behave, but never succeeded.

• If that same urbanizing population had the nostalgia for the rural life, and with it the popularity of ranchera music and the idealized charro, it was not until he played the poor carpenter with a strong chilango (Mexico City) accent that Pedro Infante achieved a status, at least in Mexico, at the same level of celebrity such as Cantinflas, the Soler Brothers and even Jorge Negrete and María Félix. Despite that, he kept on playing the role of the charro and even the northern Mexican rancher (perhaps his most authentic character) in Ahí viene Martín Corona (Here comes Martín Corona) in 1951 and Los Hijos de María Morales (The Sons of María Morales) in 1952. When Jorge Negrete died in 1953, Pedro was no longer in the shadow of the international idol, even though Pedro was very affected by the disappearance of his idol. During his burial service some saw him slightly inebriated, a rare sight given that Infante was not a drinker.

• The Mexican child star María Eugenia Llamas, who was only four at the time, made her screen debut with him in the 1948 movie classic, "Los Tres Huastecos" ("The Three Men from Hausteca") as "La Tucita", a screen name she has used ever since.^[4] She played with him again under the sceen name La Tucita in his classic 1949 film comedy, "Dicen que Soy un Mujeriego" ("They Say I am a Womanizer").

• One of his better roles was that of Juventino Rosas in the movie "Sobre las Olas" ("Over the Waves"), based on the life of the Mexican waltz composer. Infante's natural musical abilities contributed to helping him to get into character.

• An important point in his career as an actor was winning the Ariel Award given by the Mexican Academy of Arts and Cinematographic Sciences for Best Actor for his role in La Vida No Vale Nada (Life is Worth Nothing, a line from the song Camino de Guanajuato).

Musical interpretations[link]

Waltzes, cha-cha-chas, rancheras and boleros placed him among the most popular singers of the mariachi and ranchera music.

Some of his most popular songs include: Amorcito Corazón (approximately My Little Love and Heart), Te Quiero Así (I Love You Like This), La Que Se Fue (She Who Left), Corazón (Heart), El Durazno (The Peach), Dulce Patria (Sweet Fatherland), Maldita Sea Mi Suerte (Cursed Be My Luck), Así Es La vida (Life Is Like This), Mañana Rosalía (Tomorrow Rosalía), Mi Cariñito (My Little Darling), Dicen Que Soy Mujeriego (They Say I Am A Womanizer), Carta a Eufemia (Letter to Eufemia), Nocturnal, Cien Años (Hundred Years), Flor Sin Retoño (Flower Without Sprout), Pénjamo, and ¿Qué Te Ha Dado Esa Mujer? (What Has That Woman Given You?). He sang "Mi Cariñito" to his frequent on screen grandmother, Sara Garcia, so many times in so many of their movies together, that it was played at her funeral.^[5]

The world famous song Bésame Mucho ("Kiss Me a Lot", or more loosely translated to get its elusive Spanish meaning closer to its English meaning, "Give Me a Lot of Kisses"), from the composer Consuelo Velázquez, was the only melody that he recorded in English and he interpreted it in the movie A Toda Máquina (ATM) (At Full Speed), with Luis Aguilar.

"Amorcito Corazón", by Manuel Esperón is one of Infante's most famous interpretations.

Infante was very often accompanied by the great musical ensembles of the time like the Mariachi Vargas de Tecalitlán, Noé Fajardo's Orchestra, the Trío Calaveras and Antonio Bribiesca, among others.

By then, Pedro Infante had already created his characteristic mariachi shout

Death and homages[link]

Infante was a fanatic of aviation, a hobby that would lead to his death. According to Wilbert Alonzo-Cabrera, his biographer, the actor was piloting a Consolidated Aircraft X B-24-D (a variant of the B-24 Liberator), which had been converted from heavy bomber war airplane to air cargo in San Diego, California. The plane crashed 5 minutes after taking off from Mérida, Yucatán, in southeast Mexico.

The death of Pedro Infante on the morning of April 15, 1957, was announced by radio personality Humberto Rodríguez, of radio station XEMH of Mérida, after one of the firefighters discovered the bracelet engraved with the name "Pedro Infante", plus the winged insignia that symbolized his aviator license. This was around 8:15 am; at 11:12 am, Manuel Bernal, of Mexico City radio station XEW, gave the news saying: "this Monday, April 15, 1957, Pedro, our beloved Pedro...this has been confirmed, has died in a tragic accident in Mérida, Yucatán".

Year after year Pedro Infante attracts a great number of fans of every age to his shrine in the Panteón Jardín of Mexico City, as well as one at 54th through 87th streets in the center of Mérida. Pedro Infante died amongst friends: mechanic Marciano Bautista, and copilot Manuel Vidal. Many friends, family and fans still dress up as the characters that he played in film: Pedro Chávez, Pepe el Toro, Tizoc and a number of people incarnated from the Mexican culture that Infante symbolized. His fans honor him every year with a mass, honor guards, music and the songs made famous by the Idol of Guamúchil. Until now they have all been spontaneous, without any official authority or institution organizing them.^[6]

Four statues have been erected in his honor. The one in Mexico City was made out of thousands of bronze keys donated by his fans to a Mexico City TV station after a request by TV director Raúl Velasco. For the statue in Mérida another TV presenter (Manuel Pelayo) made a request and received keys. The third statue is in his birthplace, Mazatlán, Sinaloa. At the Paseo de Olas Altas at Mazatlán there is a statue of Pedro Infante on a motorcycle, in honor of his role in the movie A Toda Máquina ("ATM") with Luis Aguilar and "¿Qué te ha dado esa mujer?" also with Luis Aguilar, Rosita Arenas and Carmen Montejo. The fourth statue is in the town square of Guamúchil, his adopted home town.

The social phenomenon of Pedro Infante[link]

The Mexican idol died intestate. [2] Because of this, the main beneficiaries of his legacy have been the producers of the extremely successful movies in which he starred, as well as the "Peerless" music company [3] (now associated with Warner Music), and thanks to the large income his pictures and songs still generate, they are the ones who have contributed greatly to promoting and updating him.

He represented not only the fun-loving and partying charro, but also the urban hero of the working class, and it was this character that won him the love and admiration of the public in Mexico and other countries, such as Venezuela and Guatemala.^[7]

According to producer Jorge Madrid y Campos, who was also his legal representative, Pedro Infante's fame has increased greatly since his death. The presence of so many admirers at his shrine on the anniversary of his death is remarkable, as are the musical tributes from singers of the ranchera and mariachi genres that pay homage to him. As Mexican American author, Denise Chavez, in her book "Loving Pedro Infante" put it humorously, "If you're a [Mexican], and don't know who he is, you should be tied to a hot stove with a yucca rope and beaten with sharp dry corn husks as you stand in a vat of soggy fideos. If your racial and cultural background ethncity is Other, then it's about time you learned about the most famous of Mexican singers and actors."^[8]

Some fanatics even speculated that his death was faked.^[9] They believed in the possibility that he was living "in hiding" somewhere; there have also been cases, reported in the Mexican press, of people who claim to be Infante. These cases are similar, in a sense, to other famous deceased celebrities, such as Elvis Presley, Anastasia, 2pac, or Jim Morrison,with people claiming to be these individuals.

Filmography[link]

• El Organillero (The Organ Grinder) (1939)
• En Un Burro Tres Baturros (Three Men of Aragon on a Donkey) (1939)
• Puedes Irte De Mí (You Can Leave Me) (1940)
• Jesusita En Chihuahua (Jesusita in Chihuahua) (1942)
• La Razón De La Culpa (The Reason Of The Blame) (1942)
• La Feria De Las Flores (The Fair of Flowers) (1942)
• Arriba Las Mujeres (Up With The Women) (1943)
• Cuando Habla El Corazón (When The Heart Speaks) (1943)
• ¡Viva Mi Desgracia! (Long Live My Bad Luck!) (1943)
• Mexicanos al grito de guerra (Mexicans at the Cry of War) (1943)
• Escándalo De Estrellas (The Stars' Scandal) (1944)
• Cuando Lloran Los Valientes (When The Brave Weep) (1945)
• Si Me Han De Matar Mañana (If They Should Kill Me Tomorrow) (1946)
• Los Tres García (The Three Garcías) (1946)
• Vuelven Los García (The Garcías Return) (1946)
• Soy Charro De Rancho Grande (I Am a Charro Of Rancho Grande) (1947)
• Nosotros los pobres (We The Poor) (1947)
• La Barca De Oro (The Golden Boat) (1947)
• Cartas Marcadas (Marked Cards) (1947)
• Ustedes los ricos (You The Rich) (1948)
• Dicen Que Soy Mujeriego (They Say I'm A Womanizer) (1948)
• Los Tres Huastecos (The Three Huastecos) (1948)
• Angelitos Negros (Little Black Angels) (1948)
• No Desearás La Mujer De Tu Hijo (You Shall Not Covet Thy Son's Wife) (1949)
• La Oveja Negra (The Black Sheep) (1949)
• La Mujer Que Yo Perdí (The Woman That I Lost) (1949)
• El Seminarista (The Seminarian) (1949)
• Sobre Las Olas (Over The Waves) (1950)
• El Gavilán Pollero (The Chickenhawk) (1950)
• Las Mujeres De Mi General (My General's Women) (1950)
• También De Dolor Se Canta (Singing Also From Pain) (1950)
• Islas Marías (1950)
• A.T.M. A Toda Máquina! (At Full Speed) (1951)
• ¡¿Qué Te Ha Dado Esa Mujer?! (What Has That Woman Given You?) (1951)
• Ahí Viene Martín Corona (There Comes Martín Corona) (1951)
• Necesito Dinero (I Need Money) (1951)
• El Enamorado (The Lover) (1951)
• Un Rincón Cerca Del Cielo (A Place Near Heaven) (1952)
• Ahora Soy Rico (Now I Am Rich) (1952)
• Dos Tipos De Cuidado (Two Guys To Be Afraid Of) (1952)
• Por Ellas Aunque Mal Paguen (For Them Although They Pay Badly) (1952)
• Ansiedad (Anxiety) (1952)
• Sí, Mi Vida (Yes, My Dear) (1952)
• Había Una Vez Un Marido (There Once Was A Husband) (1952)
• Pepe el Toro (Pepe The Bull) (1952)
• Los Hijos De María Morales (The Sons Of María Morales) (1952)
• Gitana Tenías Que Ser (You Had To Be Gypsy) (1953)
• Reportaje (News Article) (1953)
• Cuidado Con El Amor (Beware With Love) (1954)
• Los Gavilanes (The Sparrowhawks) (1954)
• Pueblo, Canto Y Esperanza (People, Song And Hope) (1954)
• La Vida No Vale Nada (Life's Worth Nothing) (1954)
• Escuela De Vagabundos (School Of Vagabonds) (1954)
• El Mil Amores (The Thousands Lover) (1954)
• Escuela De Música (School Of Music) (1955)
• La Tercera Palabra (The Third Word) (1955)
• El Inocente (The Innocent) (1956)
• Pablo Y Carolina (Pablo And Carolina) (1956)
• Tizoc (1957)
• Escuela De Rateros (School Of Thieves) (1957)

References[link]

External links[link]

English

• Pedro Infante at the Internet Movie Database

Spanish

• Pedro Infante at ILCE
• Biography of Pedro Infante at Univisión

v t e Cinema of Mexico Actors Directors Films A-Z Cinematographers Editors Producers Screenwriters Films by year 1896–1919 1920s 1930s 1940 1941 1942 1943 1944 1945 1946 1947 1948 1949 1950 1951 1952 1953 1954 1955 1956 1957 1958 1959 1960 1961 1962 1963 1964 1965 1966 1967 1968 1969 1970 1971 1972 1973 1974 1975 1976 1977 1978 1979 1980 1981 1982 1983 1984 1985 1986 1987 1988 1989 1990 1991 1992 1993 1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011