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Agustín Lara

Agustín Lara is a figure who, as we delve into his music, reveals a very particular sound world. His style is strongly associated with the bolero, a genre he knew how to shape with unique sensitivity. Beyond being a performer, his skill as a composer allowed him to create melodies that resonated deeply, earning him nicknames like "El músico poeta" (The Poet Musician) and "El flaco de oro" (The Golden Skinny Man), which reflect the admiration for his talent. His work transcended borders, being highly appreciated in much of America and Spain.

The story of his origin has some layers of mystery, with different versions about his date and place of birth. He himself mentioned Tlacotalpan, Veracruz, in 1900 as his starting point, and that is the date that is read on his tomb today. However, later research suggests he was born in Mexico City in 1897, in an area that is now the Historic Center. What does seem clear is that, when he was very young, his family moved to Tlacotalpan, where he spent part of his childhood. His father, Joaquín Mario Lara, was originally from Tlatlauquitepec, Puebla, and his mother, María Aguirre, from Tlalnepantla de Baz, State of Mexico. The family settled in Mexico City in 1906. After his father's abandonment, Agustín lived with an aunt, where he had his first contact with music through the harmonium and demonstrated great skill with the piano from the age of seven. He had to leave his studies at the Liceo Fournier to help the family financially, working from the age of twelve as a pianist in nightclubs, often under the pretense of working telegraph shifts.

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Biography

His path led him to join the revolutionary movement in 1917, where he reached the rank of second captain and sustained leg injuries. During the 1920s, his activity as a pianist in bars, cafes, and silent cinemas allowed him to compose his first pieces, such as "Marucha," dedicated to a youthful love. In 1927, an incident in a cabaret left him with a scar on his face. It was in 1929 that he temporarily moved to Puebla, and there he began to collaborate with the tenor Juan Arvizu, who promoted his compositions. His first registered work was "La prisionera" in 1926. The year 1930 marked a turning point with the start of his radio program "La hora íntima de Agustín Lara" (Agustín Lara's Intimate Hour), which catapulted him to fame. In parallel, he composed music for films, such as "Santa" in 1931, based on the novel by Federico Gamboa. Later, at the XEW radio station, he participated in "La Hora Azul" (The Blue Hour) with artists like Toña la Negra and Pedro Vargas, also directing the Orquesta El Son Marabú. His tours in South America and compositions like "Solamente una vez" and "Veracruz" consolidated his recognition. In 1945, he married the actress María Félix, for whom he wrote songs like "María bonita" and "Aquel amor." His home in Las Lomas became a meeting point for artists and writers. His film career included appearances in films such as "Novillero" (1936) and "Coqueta perdida" (1949). Unfortunately, from 1968 onwards, his health began to deteriorate rapidly, and he passed away in 1970 after a stroke, and was buried in the Rotonda de las Personas Ilustres (Rotunda of Illustrious People) at the Panteón de Dolores.