Laura maria agustin biography definition
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Agustín Lara
Mexican composer (1897–1970)
Ángel Agustín María Carlos Fausto Mariano Alfonso del Sagrado Corazón de Jesús Lara y Aguirre del Pino[7] (Spanish pronunciation:[aɣusˈtinˈlaɾa]; ['aŋxelaɣus'tinma'ɾi.a'kaɾlos'fawstoma'ɾjanoal'fonsoð̞elsa'ɣɾað̞okoɾa'sondexe'sus'laɾaia'ɣireð̞el'pino]; October 30, 1897 – November 6, 1970),[8] known as Agustín Lara, was a Mexican composer and performer of songs and boleros. He is recognized as one of the most popular songwriters of his era. His work was widely appreciated not only in Mexico but also in Central and South America, the Caribbean and Spain. After his death, he has also been recognized in the United States, Italy, and Japan. His 1958 bolero album Rosa has been rated as one of the top 25 albums in the history of Latin American music.[9]
Notable performers of his work include Pedro Vargas who was a friend, Juan Arvizu, Nestor Mesta Chayres, Pedro Infante, Javier Solís, Julio Iglesias, Manuel Mijares, Vicente Fernández, Luis Miguel, Pérez Prado, Chavela Vargas, and Natalia Lafourcade among others.
Outside the Spanish speaking world, his most famous songs are Granada, Solamente Una Vez (You Belong to My Heart) and Piensa en mí, which have both been recorded by numero
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Forget victimisation: Granting agency to migrants
There is a growing tendency to victimise poor people, weak people, uneducated people and migrant people. The trend, which began as a way of drawing attention to specific forms of violence committed against women, has now become a way of describing everyone on the lower rungs of power. Routinely, supporters position them as victims in order to claim rights for them, but this move also turns them into victims, and victims need help, need saving—which gives a primary role to supporters. Much rhetoric about migration has fallen into this pattern: migrants, it turns out, are not only vulnerable to exploitation, a patent truth, but they are ‘victims’.
The other choice, according to sensationalist media treatments, is criminal. Since news on migrants is reported only when disasters befall them, or when they are caught in something ‘illegal’, they can only be positioned in one of these two ways: as past victims of poverty or conflict in their home states and present victims of criminal bands, or as criminals who take advantage of such victims. The victims need to be saved, and the criminals to be punished. This reductionism encourages the idea that there is something inherently dangerous about being a migrant. Since migrants
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