
Country music star Johnny Rodriguez has died, aged 73
American country music star Johnny Rodriguez has died, aged 73.
Following a battle with ill health, Rodriguez was admitted into hospice care earlier this week, only to pass away on May 9.
The Texas-born star had six number one hits in the 1970s.
The zenith of his career was between 1973 and 1978, with hits like Ridin' My Thumb to Mexico, That's the way Love Goes and You Always Come Back (To Hurting Me).
He was one of the first Hispanic country music stars.
'It is with profound sadness and heavy hearts that we announce the passing of our beloved Johnny Rodriguez, who left us peacefully on May 9th, surrounded by family,' daughter Aubry shared to social media.
'Dad was not only a legendary musician whose artistry touched millions around the world, but also a deeply loved husband, father, uncle, and brother whose warmth, humor, and compassion shaped the lives of all who knew him.
'While the world has lost an extraordinary talent, we have lost someone irreplaceable - and we ask for privacy as we navigate this painful moment together.'
Rodriguez was considered a trailblazer in the country genre.
He was even inducted into the Texas Country Music Hall of Fame.
The singer's blend of English and Spanish helped him create buzz with fans.
In 1973, Johnny Rodriguez was nominated for the CMA's Male Vocalist of the Year.
Into the 1980s, Rodriguez released two more Top 10 hits in 1983 with Foolin' and How Could I Love Her So Much.
However, his career did slow down following his huge success in the 70s.
The country star did continue to tour throughout his life.
Fans remembered the star on news of his death.
'The world lost a great one tonight. God Bless you all,' one fan wrote.
'Sorry for yours and your families loss. Johnny was a great man,' another added.
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


Perth Now
19 hours ago
- Perth Now
Aussie star announces engagement to Olympic medallist
Tennis star Daria Kasatkina has capped off her first grand slam as an Australian by getting engaged to her partner Natalia Zabiiako, a Winter Olympic medallist. Kasatkina switched allegiances from Russia earlier this year, having previously said it was 'unsafe' for her to return home because of her sexuality and opposition to the war with Ukraine. 'For me, being openly gay, if I want to be myself, I have to make this step, and I did it,' the 28-year-old said in April ahead of her first match with an Aussie flag next to her name. How life has changed in the space of three months. Kasatkina appeared to be the one to pop the question, with a picture shared by the couple showing her off a diamond ring on Zabiiako's finger. 'And just like that,' they wrote. If you'd like to view this content, please adjust your . To find out more about how we use cookies, please see our Cookie Guide. Congratulations rolled in from around the tennis world. Arina Rodionova, a fellow Russian-born Australian tennis player, joked: 'I will be at the wedding regardless if you want it or not.' Alex de Minaur's partner Katie Boulter said: 'Ahh congrats.' Priscilla Hon: 'Awww congrats you two.' Rio 2016 Olympics gold medallist Monica Puig said: 'Congratulations!!!!!!!!' One-time Australian Open runner-up Jennifer Brady wrote: 'Congrats Dasha and Natalia!!!' Former figure skater Zabiiako, 30, competed for her birth nation Estonia before switching to Russia for the most successful period of her career. Her crowning achievement — a silver medal in the pairs figure skating at the 2018 Winter Olympics — came under the Olympic flag in the wake of the Russian doping scandal. She now supports Kasatkina on the tennis tour and the pair document their experiences on a popular YouTube channel. Freshly minted Australian Kasatkina is fresh off a run to the fourth round at the French Open. 'I felt super good to step on the court as an Australian player,' she said. 'To feel the support from the stands so many times. I don't know if everyone who was screaming, 'Aussie', were from Australia, but I felt this support. 'Also, on social media I'm getting a lot of support from the Australians that they are so happy to welcome me, and they're happy for me. 'So this is the kind of support which I honestly didn't have before, it feels like it's something new to me — but it feels so nice.' Daria Kasatkina on her way to reaching the last 16 in Paris in her first grand slam for Australia. Credit: AAP Kasatkina also reached the fourth round at the Australian Open in January before the secret process to become an Aussie unfolded. The busy tennis season has kept the world No.17 from flying back to Melbourne to begin setting up her life here. But plans have been hatched with the help of Australian tennis veteran Daria Saville, who became friends with Kasatkina when they were both juniors in Russia. Saville, formerly Gavrilova, moved to Melbourne as a teenager and married Australian tennis player Luke Saville in 2018. 'We've been friends for very, very long time and to have someone like that as a neighbour, as a teammate, it feels great, honestly,' Kasatkina said during the French Open. 'First of all, she's super happy for me, which was super nice. She's always asking 'when you moving?', sending me the locations, the houses and everything. 'So she's very excited to have a new neighbour, and I'm also very happy about that.'

Sydney Morning Herald
a day ago
- Sydney Morning Herald
‘As an older woman, courage starts to wobble': How Marta Dusseldorp finds her strength
This story is part of the June 8 edition of Sunday Life. See all 14 stories. Walking through the rainforest in the remote west of her adopted Tasmanian home, actor Marta Dusseldorp finds beauty and brutality along the banks that are home to rare Huon pine. At one junction, the clear water of one river meets the yellow, soupy water of another, poisoned by copper mining tailings. 'It's just extraordinary, the confluence of man and nature,' says Sydney-born and raised Dusseldorp, 52, who, more than seven years ago, moved to the island state with actor-director husband Ben Winspear and their two daughters, Grace and Maggie. Dusseldorp has just completed shooting the second season of ABC TV comedy-drama Bay of Fires, which she co-created, co-produced and stars. Filming took place again in the well-preserved main street of the small Tasmanian town of Zeehan, known for silver mining. But this spot, where the King and Queen rivers meet, proved a more elusive location. 'I tried to film there, but it's really hard to get to, and the safety issues weren't going to quite work.' Surrounding mountains and valleys have nonetheless provided picturesque settings for the appealing Tassie-noir, to which Dusseldorp's picaresque character Anika fled with her two children after death threats were made against her in her former corporate life in Melbourne. Anika took on the alias Stella, and hid among a cohort of eccentric, protected witnesses: there is heroin being cooked, a religious cult that has arranged marriages, and an assassin waiting for the aliens to descend. The second season has capitalism and greed on its themes as the townsfolk pressure Stella for more payouts from her corporate scam, which has already netted them $3.4 million, and inflationary pressures have pushed the price of bread to $23 a loaf. New threats may yet force Stella into the drug trade with her old foe Frankie (Kerry Fox), presumed dead by all at the end of the first season. Like the twists in her show, life in the smallest Australian state has delivered what Dusseldorp did not predict: fertile, imaginative ground. While her husband was born in Wagga Wagga, he'd grown up in Hobart, and they both wanted their children to experience the Tasmanian lifestyle. But they did not know how long they would stay. The couple found a network of like-minded actors, writers and directors, and started their own production company, Archipelago. Tasmania is also home to mycelium, the underground network of fungi threads that shares water and nutrients between trees, and which Dusseldorp says is a metaphor for the artist-community connections she's found in the state. The culture here appears to stimulate both artistic growth and biodiversity. Living here, says Dusseldorp, 'stops the clutter and gives you focus. You can get a lot done in Tassie as connections are just one step away.' Today, Dusseldorp is wearing a fawn trench coat in the lobby of her Sydney hotel and drinking lemongrass tea with honey. Several years ago, life was more frenetic as she dominated television screens in three popular series: Janet King, A Place to Call Home and Jack Irish. As if the pressures of playing the lead in the first two shows were not enough, Dusseldorp would also carve out three months each year between TV seasons to do a theatre play, including War of the Roses, The Crucible, Scenes from a Marriage and A Doll's House, Part 2. Theatre became her 'weird' way of researching what the public was feeling, she reflects now, which helped her decide when she went back onto a TV set if she was playing her long-running screen characters 'too tough or not tough enough'. '[Audiences] come as these beasts, and they sit as one, like in a colosseum, and then turn on you,' she observes. 'If they don't like [the play] or whatever, you have to work out a way to re-engage them, unite them, and give them something to go home with; it's like being a conductor. You find out politically where people are at and what's funny, because it changes depending on the climate.' The Australian playwright Benedict Andrews said Dusseldorp is a 'very brave and captivating and muscular actress'. (She played the eponymous lead in his 2016 play Gloria.) 'Oh my god,' says Dusseldorp when I remind her of performing this role in Sydney's tiny 105-seat Stables Theatre. ' Gloria was a very particular beast. She was basically a cry from me about what it felt like to be in the spotlight. Benedict did a really great job of showing the internal shattering of Gloria as a mother and a partner, and what the costs are of [fame]. 'I didn't want to fully acknowledge [the costs of fame], and when I don't want to acknowledge something, I do a play about it, so I can be somebody else, live it out, and go, 'Got that out of my system!' I would often go home and fall in a heap, but it was done. Theatre is like severance: there it is, I did that, and I went through it, and now I'm OK.' Dusseldorp met Winspear in 2003 when they were working on separate Sydney Theatre Company productions. 'He was like a ship: solid, unique,' Dusseldorp told me in a 2013 interview. The attraction was such that she 'had to splash cold water on my face'. Since moving to Tasmania, Winspear has directed Dusseldorp in the plays The Bleeding Tree, The Maids and Women of Troy. What's her take on their relationship now? 'We still walk side by side, which I really love,' she says. 'And there's an intent to be the custodians of our daughters forever, and make sure we guide them as best we can. Our work together is sacred, so we try to make sure it's filled with honesty, mutual respect, care.' In 2013, when I visited the couple's home in Sydney's Edgecliff, Winspear was preparing the evening meal for Grace, then almost 6, and Maggie, 3. He said he was mindful of how acting and directing obligations can invert family life, so they resisted employing childcare. 'His love of his family is his north star,' says Dusseldorp now. 'It comes down to mutual respect in a long-term relationship, understanding that people have their own ways of doing things, and trying to learn from that.' Grace is now 18 and has left Tasmania to live in Sydney. A budding writer, she is studying English literature. 'She's written a TV series about the family, which I have not seen yet,' Dusseldorp laughs, 'and I have the right to vet, I've told her! Sometimes when we have a family situation, I see her jotting things down and I'm like, 'What is that?'.' Maggie, now 15, and like her sister was often on the set of her mother's shows. 'My kids feel very comfortable socially with adults because they've always been around them.' Dusseldorp is mindful that with privilege comes responsibility. She is producing a film with a domestic-violence theme that is yet to go into production. She is also on the board of the Sydney-based charity, the Dusseldorp Forum, formed in 1989 by her late paternal grandfather, Dick Dusseldorp, founder of construction giant Lend Lease. The forum aims to improve education, health and social outcomes for children and their families through community-led projects. After our interview, Dusseldorp is going to visit her sister Teya, who is the forum's executive director. Her younger twin brothers Tom and Joe are also on the board. Missing from this story of tight siblings is brother Yoris, lost to cancer in infancy when Dusseldorp was eight. 'When I lost my brother, I realised that life comes for everyone in very unexpected ways, and that the person opposite you may have had a particular experience that you need to listen to and care about.' I ask Dusseldorp if she has a book in her. She laughs. 'If I do, it's just for me,' she says. 'I think it might help to put some stuff in order so I can work out what makes me creative, that way I can avoid losing courage. And maybe that's why people do it.' She reflects now on the road ahead; she hopes for a third season of Bay of Fires, and that the roles she plays, as well as creates, continue to have meaning; she doesn't want to just work for the sake of it. 'As an older woman, courage starts to wobble,' she says. 'I want to keep my courage until the very end, and I'm finding that right now I'm having to remind myself of that. That's partly because you become slightly invisible [as an older woman], less relevant possibly, and post-menopause, you need to redefine yourself.' Loading She adds women are finding strength in banding together post-menopause to 'bash through' the suffering of being ignored in this next stage of life. I suggest that shows such as Bay of Fires have proved there is an audience for engaging stories focused on older women. 'I think so,' she agrees. 'The courage to turn up is now something for me, but I want to have something to say. You've got to have a reason to be there, otherwise, shush!' Bay of Fires season two premieres on June 15 on ABC TV and iView.

The Age
a day ago
- The Age
‘As an older woman, courage starts to wobble': How Marta Dusseldorp finds her strength
This story is part of the June 8 edition of Sunday Life. See all 14 stories. Walking through the rainforest in the remote west of her adopted Tasmanian home, actor Marta Dusseldorp finds beauty and brutality along the banks that are home to rare Huon pine. At one junction, the clear water of one river meets the yellow, soupy water of another, poisoned by copper mining tailings. 'It's just extraordinary, the confluence of man and nature,' says Sydney-born and raised Dusseldorp, 52, who, more than seven years ago, moved to the island state with actor-director husband Ben Winspear and their two daughters, Grace and Maggie. Dusseldorp has just completed shooting the second season of ABC TV comedy-drama Bay of Fires, which she co-created, co-produced and stars. Filming took place again in the well-preserved main street of the small Tasmanian town of Zeehan, known for silver mining. But this spot, where the King and Queen rivers meet, proved a more elusive location. 'I tried to film there, but it's really hard to get to, and the safety issues weren't going to quite work.' Surrounding mountains and valleys have nonetheless provided picturesque settings for the appealing Tassie-noir, to which Dusseldorp's picaresque character Anika fled with her two children after death threats were made against her in her former corporate life in Melbourne. Anika took on the alias Stella, and hid among a cohort of eccentric, protected witnesses: there is heroin being cooked, a religious cult that has arranged marriages, and an assassin waiting for the aliens to descend. The second season has capitalism and greed on its themes as the townsfolk pressure Stella for more payouts from her corporate scam, which has already netted them $3.4 million, and inflationary pressures have pushed the price of bread to $23 a loaf. New threats may yet force Stella into the drug trade with her old foe Frankie (Kerry Fox), presumed dead by all at the end of the first season. Like the twists in her show, life in the smallest Australian state has delivered what Dusseldorp did not predict: fertile, imaginative ground. While her husband was born in Wagga Wagga, he'd grown up in Hobart, and they both wanted their children to experience the Tasmanian lifestyle. But they did not know how long they would stay. The couple found a network of like-minded actors, writers and directors, and started their own production company, Archipelago. Tasmania is also home to mycelium, the underground network of fungi threads that shares water and nutrients between trees, and which Dusseldorp says is a metaphor for the artist-community connections she's found in the state. The culture here appears to stimulate both artistic growth and biodiversity. Living here, says Dusseldorp, 'stops the clutter and gives you focus. You can get a lot done in Tassie as connections are just one step away.' Today, Dusseldorp is wearing a fawn trench coat in the lobby of her Sydney hotel and drinking lemongrass tea with honey. Several years ago, life was more frenetic as she dominated television screens in three popular series: Janet King, A Place to Call Home and Jack Irish. As if the pressures of playing the lead in the first two shows were not enough, Dusseldorp would also carve out three months each year between TV seasons to do a theatre play, including War of the Roses, The Crucible, Scenes from a Marriage and A Doll's House, Part 2. Theatre became her 'weird' way of researching what the public was feeling, she reflects now, which helped her decide when she went back onto a TV set if she was playing her long-running screen characters 'too tough or not tough enough'. '[Audiences] come as these beasts, and they sit as one, like in a colosseum, and then turn on you,' she observes. 'If they don't like [the play] or whatever, you have to work out a way to re-engage them, unite them, and give them something to go home with; it's like being a conductor. You find out politically where people are at and what's funny, because it changes depending on the climate.' The Australian playwright Benedict Andrews said Dusseldorp is a 'very brave and captivating and muscular actress'. (She played the eponymous lead in his 2016 play Gloria.) 'Oh my god,' says Dusseldorp when I remind her of performing this role in Sydney's tiny 105-seat Stables Theatre. ' Gloria was a very particular beast. She was basically a cry from me about what it felt like to be in the spotlight. Benedict did a really great job of showing the internal shattering of Gloria as a mother and a partner, and what the costs are of [fame]. 'I didn't want to fully acknowledge [the costs of fame], and when I don't want to acknowledge something, I do a play about it, so I can be somebody else, live it out, and go, 'Got that out of my system!' I would often go home and fall in a heap, but it was done. Theatre is like severance: there it is, I did that, and I went through it, and now I'm OK.' Dusseldorp met Winspear in 2003 when they were working on separate Sydney Theatre Company productions. 'He was like a ship: solid, unique,' Dusseldorp told me in a 2013 interview. The attraction was such that she 'had to splash cold water on my face'. Since moving to Tasmania, Winspear has directed Dusseldorp in the plays The Bleeding Tree, The Maids and Women of Troy. What's her take on their relationship now? 'We still walk side by side, which I really love,' she says. 'And there's an intent to be the custodians of our daughters forever, and make sure we guide them as best we can. Our work together is sacred, so we try to make sure it's filled with honesty, mutual respect, care.' In 2013, when I visited the couple's home in Sydney's Edgecliff, Winspear was preparing the evening meal for Grace, then almost 6, and Maggie, 3. He said he was mindful of how acting and directing obligations can invert family life, so they resisted employing childcare. 'His love of his family is his north star,' says Dusseldorp now. 'It comes down to mutual respect in a long-term relationship, understanding that people have their own ways of doing things, and trying to learn from that.' Grace is now 18 and has left Tasmania to live in Sydney. A budding writer, she is studying English literature. 'She's written a TV series about the family, which I have not seen yet,' Dusseldorp laughs, 'and I have the right to vet, I've told her! Sometimes when we have a family situation, I see her jotting things down and I'm like, 'What is that?'.' Maggie, now 15, and like her sister was often on the set of her mother's shows. 'My kids feel very comfortable socially with adults because they've always been around them.' Dusseldorp is mindful that with privilege comes responsibility. She is producing a film with a domestic-violence theme that is yet to go into production. She is also on the board of the Sydney-based charity, the Dusseldorp Forum, formed in 1989 by her late paternal grandfather, Dick Dusseldorp, founder of construction giant Lend Lease. The forum aims to improve education, health and social outcomes for children and their families through community-led projects. After our interview, Dusseldorp is going to visit her sister Teya, who is the forum's executive director. Her younger twin brothers Tom and Joe are also on the board. Missing from this story of tight siblings is brother Yoris, lost to cancer in infancy when Dusseldorp was eight. 'When I lost my brother, I realised that life comes for everyone in very unexpected ways, and that the person opposite you may have had a particular experience that you need to listen to and care about.' I ask Dusseldorp if she has a book in her. She laughs. 'If I do, it's just for me,' she says. 'I think it might help to put some stuff in order so I can work out what makes me creative, that way I can avoid losing courage. And maybe that's why people do it.' She reflects now on the road ahead; she hopes for a third season of Bay of Fires, and that the roles she plays, as well as creates, continue to have meaning; she doesn't want to just work for the sake of it. 'As an older woman, courage starts to wobble,' she says. 'I want to keep my courage until the very end, and I'm finding that right now I'm having to remind myself of that. That's partly because you become slightly invisible [as an older woman], less relevant possibly, and post-menopause, you need to redefine yourself.' Loading She adds women are finding strength in banding together post-menopause to 'bash through' the suffering of being ignored in this next stage of life. I suggest that shows such as Bay of Fires have proved there is an audience for engaging stories focused on older women. 'I think so,' she agrees. 'The courage to turn up is now something for me, but I want to have something to say. You've got to have a reason to be there, otherwise, shush!' Bay of Fires season two premieres on June 15 on ABC TV and iView.