José Alfredo Jiménez became friends with dozens of actors and singers from the Golden Age of Mexican cinema, as well as in later years. However, he confessed that he did not have a good relationship with Vicente Fernández, with whom he engaged in several discussions, mainly because of his compositions.
Jiménez always showed that Chente didn't like him, in fact, in the last tribute to the composer, Fernández remembered that he was very fond of José Alfredo, but it wasn't something reciprocal.
It was unknown at what point the enmity began, since the Charro de Huentitán only remembered that the discussions he had with José Alfredo always started because they got along badly despite the fact that they worked together on several occasions, however, Olga Wornat assured that he was treated for the love of a woman.
One of their fights that distanced them the most was during an Irma Serrano party. At that meeting, the master of composition would have shouted at Chente, marking a “line”, telling him that he could no longer cross it and would have also called him “asshole”.
However, they always managed to smooth out their rough edges to work together again, as they made one of the dumbbells of mariachi and rancher most applauded by the public.
The enmity of the two singers transcended even after Jiménez's death due to Las llaves de mi alma, a song that the composer supposedly, at some point in his last days of life, would have claimed responsibility from Vicente.
There was a version that Chente would have plagiarized or stolen the song Las llaves de mi alma by José Alfredo. The rumor that had been going on for several years was that Alicia Juárez, the last wife of El Rey, would have given Fernández one of the compositions that her husband had made.
However, several years later, the performer of Por tu cursed amor denied this version of what happened and explained that the song was requested by someone else. He would have received indications about the theme and the melody that should accompany it.
As Vicente recalled, José Alfredo Jiménez was one of the composers considered to write the lyrics, but it was he who quickly accepted the project. Even once he had finished writing the song, he would have shown it to his colleague to receive some criticism, but rather he only received congratulations.
She also revealed that on occasion she did write a song for Alicia Juárez, whom she called La Araña, but she would never have given him any composition by her husband. This song dedicated to the singer never came to light, but during the presentation of It Made Me Late Life she sang a small fragment.
Among his verses, he assured that La Araña, without directly mentioning its name, would not have corresponded to José Alfredo's love and that in reality it would only have been by his side out of interest, so, when he left, he would surely need a lot.
Although there was not much talk at the time about the bad relationship between Charro de Huentitán and the Master of Composition, Olga Wornat in her book The Last King delved into the history between these two singers and, as she found, the enmity would have arisen because of Alicia.
The journalist said that the colleagues would have fought because they were both looking for Juarez's love, but she chose to marry Jiménez.
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