Title: Alfredo Zitarrosa
Content:  Alfredo Zitarrosa (March 10, 1936 – January 17, 1989) was a Uruguayan singer-songwriter, poet and journalist. He specialized in Uruguayan and Argentinean folk genres such as zamba and milonga, and he became a chief figure in the nueva canción movement in his country. A staunch supporter of Communist ideals, he lived in exile between 1976 and 1984. He is widely regarded as one of the most influential singer-songwriters of Latin America.
Title: Alfredo Zitarrosa
Content:  banned in Argentina, Chile and Uruguay during the dictatorial regimes that ruled those countries. He lived then successively in Argentina, Spain and Mexico, starting from February 9, 1976. After the ban on his music was lifted, like that of so many in Argentina after the Falklands War, he settled again in Buenos Aires, where he gave three memorable concerts at the Arena Obras Sanitarias the first day of July 1983. Almost a year after he returned to his country, he had a massive reception in the historic concert of March 31, 1984, which was described by him as la experiencia más importante de mi vida ("the most important experience of my life").
Title: Alfredo Zitarrosa
Content:  early 1966, at recognized Festival of Cosquín, in Argentina, again in 1985. On February 29, 1968, he married Nancy Marino, with whom he had his eldest daughter Carla Moriana January 27, 1970, and his youngest daughter María Serena on December 12, 1973 From the beginning, he was established as one of the great voices of Latin American popular song, with clear leftist and folkloric roots. He cultivated a contemptuous and manly style, and his thick voice and a typical accompaniment of guitars gave his hallmark. He entered and adhered to the Frente Amplio of the Uruguayan left, fact which earned him ostracism and finally exile during the years of dictatorship. His songs 
Title: Alfredo Zitarrosa
Content:  Among the songs which became big hits are included Doña Soledad, (Miss Soledad), Crece desde el Pie (It grows from the foot), Recordándote (Remembering you), Stéfanie, Adagio a mi país (Adagio to my country), Zamba por vos (Zamba for you), Becho's violin and the poem by milonga Guitarra negra (Black Guitar). As a poet, he was honored by the Inspectorate of Montevideo with the Municipal Poetry Award of 1959, for the book Explicaciones (Explanations), which he never wanted to publish. In 1988 his storybook Por si el recuerdo (In case I remember), was published, containing stories written at various times during his life.
Title: Alfredo Zitarrosa
Content:  as a presenter and entertainer, librettist and informativist, or even as an actor. He was also a writer, poet, and journalist, working for the famous weekly newspaper Marcha. While he was in Peru, forced by circumstances and somewhat fortuitously, he made his professional debut as a singer. This occurred on February 20, 1964, in a program on Channel 13, Panamericana Television, thus beginning an uninterrupted career. Zitarrosa once recalled this experience: "No tenía ni un peso, pero sí muchos amigos. Uno de ellos, César Durand, regenteaba una agencia de publicidad y por sorpresa me incluyó en un programa de TV, y me obligó a cantar. Canté dos temas y cobré 50 dólares. 
Title: Alfredo Zitarrosa
Content:  Fragment Guitarra Negra (Black Guitar): ""Hoy anduvo la muerte revisando los ruidos del teléfono, distintos bajo los dedos índices, las fotos, el termómetro, los muertos y los vivos, los pálidos fantasmas que me habitan, sus pies y manos múltiples, sus ojos y sus dientes, bajo sospecha de subversión... Y no halló nada... No pudo hallar a Batlle, ni a mi padre, ni a mi madre, ni a Marx, ni a Arístides, ni a Lenin, ni al Príncipe Kropotkin, ni al Uruguay ni a nadie... ni a los muertos Fernández más recientes... A mí tampoco me encontró... Yo había tomado un ómnibus al Cerro e iba sentado 
Title: Alfredo Zitarrosa
Content:  Like any artist, Alfredo Zitarrosa's work is nourished by several sources, however, when regarding Zitarrosa, the highly autobiographical nature of his compositions is a vital consideration. For example,Pájaro rival (Rival Bird), where he reflects a deep existential concern and even has a premonition of his approaching death, which occurred shortly after the end of the record. The recording is included on birds and souls, published posthumously in 1989: That wound which speaks beyond doubt existential common to any human being, has to do with his particular personal history, which is reflected in Explicación de mi amor (Explanation of my love), a song which brings together elements 
Title: Alfredo Zitarrosa
Content:  glasses, which he did not need for the purpose of increasing his apparent age. Over time, and in his profession as a singer, he always presented himself in his performances, somewhere outside, dressed in the traditional manner, wearing a suit and a tie and having a strictly formal appearance. Shown elements and circumstances relating to this stage of his life in several songs, one of them is Coplas del canto (Poems of the song), where states: And in one of his most recognized songs, Candombe del olvido (Candombe of oblivion), composed many years later, which is based almost entirely on the evocation of that time:
Title: Alfredo Zitarrosa
Content:  Zitarrosa was born as the illegitimate son of 19-year-old Jesusa Blanca Nieve Iribarne (Blanca), at The Pereira Rossell Hospital, Montevideo. Shortly after being born, Blanca handed over her son to be raised by Carlos Durán, a man of many trades, and his wife, Doraisella Carbajal, then employed at the Council for Children, becoming Alfredo "Pocho" Durán. They lived in several cities neighbourhoods, and moved between 1944 and the end of 1947, they moved to the town of Santiago Vázquez. They frequently visited the countryside near Trinidad, capital city of the Flores Department, where Alfredo's adoptive mother was born. This childhood experience stayed with him forever, notably in his repertoire, the majority of 
Title: Alfredo Zitarrosa
Content:  contains rhythms and songs of peasant origin, mainly milongas. Alfredo briefly returned with his adoptive family, to Montevideo and in early adolescence, moved on to live with his biological mother and her husband, the Argentine Alfredo Nicolás Zitarrosa, who would eventually give him his surname. Together with his newborn sister, they lived in the area now known as Rincón de la Bolsa, at km. 29.50 of the old route to Colonia, San José Department. Based there, he commuted to study at the High School in Montevideo, where he eventually moved into his early youth. First he lived with the Duráns and then in Mrs. Ema's pension, located at Colonia and Medanos (today 

Question: Verify the following claims with "True" or "False": Yeah, Alfredo Zitarrosa's musical genre is Deathbeat.
Answer: False