He was born in Añatuya, Santiago del Estero, on November 1^st, 1907. His real name was Homero Nicolás Manzione Prestera and he was the sixth of eight children the marriage composed by Luis Manzione and Angel Prestera had. He lived in Santiago del Estero until he was nine, when he was sent to Buenos Aires to live with his brother Luis. He already showed skills for writing. When he was fourteen he participated in theatres near his house, besides he already had written the verses for a song: “Por qué no me besas” (“Why don´t you kiss me”), a vals by Francisco Caso. At the age of seventeen he began to feel interested in politics, and he opened an atheneum of the “Unión Cívica Radical” party.  The influence his brother Luis had on him, made him devote more strongly to literature. As he became closer to his friend Cátulo Castillo´s father, he understood much better the suburb´s feelings. When he was nineteen he entered Law School and worked as a history and Spanish teacher. The coup d´Etat that took place on September 6^th, 1930 had unpleasant consequences for Manzi: because of his political strong opinions he was separated from his teaching employments and expelled from Law School. Naturally gifted for poetry as he was, he started writing tangos, valses and milongas and became well known in that circle. He also began writing cinematographic scripts and working in radio stations. In 1934 he began using the pseudonymous which would accompany him during his entire career: Homero Manzi. Around that same time he met Sebastián Piana. To this duet we have to thank for milonga´s revalorization, since its popularity had been decaying. Some of their titles are: “Viejo ciego” (“Old blind man”), “Milonga sentimental”    (“Sentimental milonga”), “Milonga del 900” (“Milonga from the 1900s”), “Milonga del Puente Alsina” (“Alsina Bridge milonga”) and many others. About his participation in the film industry, we could say that the scripts he wrote became better and better, producing some of the most honoured films of that time. On the whole, he participated in twenty films. His biggest achievement was the creation of the “Fundación de Artistas Argentinos Asociados” (AAA) (“Argentine Associated Artists Foundation”), with artists such as Enrique Muiño, Angel Magaña, Francisco Petrone, Sebastián Chiola and producer García Smith. That organization produced the best-quality films of that time. Manzi devoted all his life to defend authors from producers and publishers. He also incurred in professional journalism: he founded a magazine, “Micrófono” (“Microphone”) and directed “Radiolandia” (“Radioland”) until 1938. In 1948 he won the elections to be President of  S.A.D.A.I.C. (Argentine Authors Association), and was re-elected in 1950. He was still holding this position when he died. He did his latest works in collaboration with Aníbal Troilo. Some of them are: “Sur” (“South”), “Discepolín”, dedicated to Enrique Santos Discépolo, and “Che, bandoneón” (“Hey, bandoneon”). He died from cancer on May 3^rd, 1951, when he was just 44 years old. He left a great deal of unpublished songs (“Magdalena”, “Old song”, “Reminiscences” and “Elegy”), poems for his book and some unfinished cinematographic projects.