They did not sing, but they rocked, and what he said still singing moved, leaving in the bohemian and romantic an air of orphans are still envelops the soul, so much so that has been lost of how much has been written about Marie Antoinette del Carmen Peregrino Alvarez, Tona La Negra, for whom torrents of admiration overflow when one of the most iconic voices to record not only the popular music of Mexico, but of our America .
an irresistible symbol presence significantly for millions of inhabitants of the subcontinent, this peerless woman, died November 19, 1982 in the capital of his country, planted feeling, and sowed it in such a way that when the news of his departure, fans wondered if the world could keep going without her. And yes, still walking, but wrong, to be clear, because when it comes to do the math about the female voices that have joined essence, awareness, quality and social sense of belonging to a people and a race, the unspent balance is favorable.
born October 17, 1912 in the district of La Huaca the port of Veracruz, and his arrival marked the entrance of the beautiful Mexican town tropical land on behalf of Cuba, son, rumba and danzon. Girl singing with family, his brother Manuel, The Black Pilgrim, who always made great musical couple, but as happened to Carmen Miranda, that immortal symbol of Brazilian popular music in the first half of the twentieth century mark arrived at a party destination. In case of Marie Antoinette, was present at the meeting Agustín Lara, who was beginning to knock on doors of fame and, as happens in these gatherings after three shots of tequila, someone said, "That song Tona", and sang , petrified and speechless, leaving the musician poet, who only managed to ask Where did that voice. From that moment, Lara seized her voice, because the merger of the two talents was the greatest thing that could have happened. He endorses the memory: "In 1932 I heard a young unknown singer. Open your mouth and open it I, stunned, was all one. When I heard her sing at the party I got to ask him who he was, where he had come. I said they called Tona La Negra, and it was a port district. Impressed, I invited her to lunch the next day to discover he had reached a new muse in my life. jarocho wrote 'sorry' just for her. " Antoinette
recalled that influenced by Manuel, his older brother, since he was eight he began to sing in festivals, contests and bazaars, sometimes alone and sometimes in duet with another girl, Celia Pacheco. At 17 years and was married to William Cházaro Ahumada, who took her to Mexico with her first child just two months old, which had its debut on July 16, 1929 at the cabaret "El Retiro", where was known as "The Pilgrim".
There are several versions of how they came to life Tona de Lara. Another story says he was walking one afternoon Boca del Rio, but the walk was interrupted by the voice of a brunette who washed clothes and sang one of his songs. "For life of God is a sin that someone with so much talent is here washing clothes, "said Augustine, and then talk with their parents and taken to the capital, leading it to victory after baptizing the nickname that would make famous, a fact that would dispute radio mogul Emilio Azcarraga Vidaurreta and his friend Enrique Contel, who have have heard it in 1929, during that first visit she made to Mexico City with her first husband.
Three years later, back to its home port actually appears in his life the composer and pianist who writes "Lamento Jarocho", "Veracruz", "Noche criolla", "Prayer Caribbean", "Palm" "Turning Blue" and "The cumbancha" which appeared in the drama "Esperanza Iris" in January 1933, so successfully that should prolong their season of performances.
However, La Negra had its own story to tell that was his brother Manuel who presented with Agustín Lara in 1930, during a tribute to his talent: "I sang for him shyly and, listening to 'In Love', was amazed, fascinated I would say. Then he began to write to me `Sorry` jarocho, the song that meant my post to fame. " Whatever the story was true, his career will always be linked to the musician's poet, who wrote to her their most famous compositions. The conquering
So, days after he turned twenty, Tona La Negra exclusive debut as a singer Agustín issues, and delirium came on stage crowded capital "Esperanza Iris" madness in the "Politeama" , the shock and the conquest of the heart of a Mexico that is rediscovered through this immortal duo.
He joined the cast of XEW, where Lara and sang accompanied by the orchestra of Alfredo Giron, offering lavish those plays and made recordings for RCA Victor, without doubt, today is one of the most precious legacies in the history of bolero pieces reaching invaluable for historians and collectors, by the accumulation of experiences that recreate the Mexico that left and never return.
"This love wild," Why deny, "" Obsession, "" Lying from you "" And yet I love you "," Noche criolla "," Sorrow, "" Vereda Tropical "," Every night love "" Angelitos negros "," Tears of Blood "," You're wrong "," Woman to Woman "," Like Swallows "," Ten Years "and" Ashes ", which says:" After the penalty therefore bear feel you have forgotten, after all I gave my poor broken heart, you're back to me so that I know of your misfortune, by the bitterness of a love like that I gave you .... "These are some of their titles spread over almost a hundred acetates.
In some of his interpretations, she, on behalf of blackness, begged for mercy for the suffering.
scandals did not need to promote nor to assume positions of diva to stand out, and Jarocho, Veracruz-as having been born in the joy of a port which was key and entry of English culture in Mexico in 1519 - what transpired with sweetness and hence its permanence.
Not only was an interpreter of Agustín Lara, but composers and poets who combined to do and say, including Rafael Hernandez, Sindo Garay, Gonzalo Curiel Ignacio Piñeiro, Pedro Flores and Andrés Eloy Blanco, while also assuming a distinct role for women in an era when women were denied to the vote, taking a role that went beyond childbearing and wait, and Maria Teresa hermanádose Vera, Rita Montaner, Omara Portuondo and other figures, and today Guadalupe D'Alessio and Paquita la del Barrio, saved all proportion, "proudly claiming their gender.
always Tenderness ...
only won her affection, asking nothing but receive over half a century of professional traffic exact, but after 1982 he no longer heard on the radio, in the privacy of home or an old record today a CD, always amazed at the permanence of his voice, and is, as is said of Carlos Gardel sings better every day. For its time it has not died, and that it has been more than two decades of a heart attack ended the life of the mulatto cinnamon color, rather, he died of tenderness. Tona
personal life was always a discreet, quiet, away from bright lights and scandals. He had three children with Cházaro Ahumada, marrying later with the jazz drummer and Victor Ruiz Pazos. In his later years, with frequent visits to friends and some health ailments, he lived almost retired party, scenarios.
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