"Como la Flor" ("Like the Flower") is a song recorded by American singer Selena. Written by A. B. Quintanilla and Pete Astudillo, it was released as the second single from her third studio album Entre a Mi Mundo (1992). The song was written by Quintanilla, who was inspired by a family selling illuminated plastic flowers at a concert in Sacramento, California, in 1982. A decade later, Quintanilla was seized with an infectious melody and abruptly dashed out of the shower in a hotel room in Bryan, Texas, to recreate it on a keyboard with Astudillo. He completed the music in just 20 minutes, while Astudillo took another hour to complete the lyrics. "Como la Flor" is an up-tempo, Tejano cumbiatorch song that blends tropical cumbia rhythms with hints of reggae and pop music. Its lyrics describe the feelings of a female protagonist addressing her former lover, who abandoned her for another partner. The narrator is uncertain of her ability to love again, while at the same time, wishing her former partner and his new lover the best.
"Como la Flor" received widespread acclaim from music critics, who lauded Selena's powerful performance of the song's poignant lyrics about heartbreak and loss. At the Premio Lo Nuestro 1993, the song won Regional Mexican Song of the Year. It was nominated for Single of the Year at the 1993 Tejano Music Awards but was removed in preliminaries; a move music critic Rene Cabrera criticized. The song peaked at number six on the US BillboardHot Latin Songs chart and became one of the most-played songs on Latin music radio stations in Texas. After Selena's press tour in Monterrey, Mexico, organized by music executive José Behar, "Como la Flor" climbed to number three on Mexico's Grupera Songs chart, marking her first major commercial breakthrough in the country.
Following its inclusion in Selena's live set list, "Como la Flor" quickly gained popularity and became a staple in her concert repertoire, often serving as the opening or closing number. During her performances, Selena would often deliver the song in a slow, mournful tempo while performing a flamenco-inspired floreo hand gesture. As she transitioned to the upbeat section, she would exclaim "como me duele" ("how it hurts me") while beating her chest, imbuing the song with a powerful emotional resonance. Selena's stage presence, choreography, and nuanced delivery of the song's themes of heartbreak and resilience were hailed by music critics and scholars alike, who praised her ability to capture the essence of Latino mournfulness in her performances. "Como la Flor" was the closing number of Selena's final live performance in Bryan on March 19, 1995; she was shot to death in cold blood by Yolanda Saldivar on March 31. The song has since been regarded as Selena's signature and "trademark", serving as both her posthumous epithet and swan song. Its popularity has placed it among her most celebrated works and cemented its position in the Texas musical canon.
It took 10 years for A. B. Quintanilla(pictured) to write "Como la Flor", after conceptualizing the song in 1982.
Following the 1981 recession in Texas, former musician Abraham Quintanilla, sought to promote his children's band Selena y Los Dinos as a way to make ends meet after being evicted from their home.[2][3] In 1982, Selena y Los Dinos, along with three other Mexican bands, performed at a nightclub in Sacramento, California.[4] Following their performance, A. B. Quintanilla caught sight of a family vending illuminated plastic flowers.[5] Struck by inspiration, A. B. conceived a repetitive rhythm and the working title "flor" ("flower"), though he found the term "plastic flower" lyrically unappealing.[5] With the vision of someday crafting a song about a flower, he vowed to himself to turn his inspiration into a reality.[6]
In 1992, after a live performance, the band spent the night at a hotel in Bryan, Texas before their scheduled travel to Houston the following day.[5] While staying at the hotel, A. B. was seized by an irresistible melody that he could not silence. He sprang out of the shower, grabbed a keyboard, and started working on the tune with backup vocalist Pete Astudillo and keyboardist Joe Ojeda.[6][7] A. B. had a ten-year-old concept for a song, and he shared it with Astudillo, who initially proposed a different idea based on his own life experience.[8] Astudillo believed that the lyrics would resonate more deeply with audiences if they were based on genuine emotions. Despite this, A. B. remained committed to his vision of a song about someone receiving a wilting flower from their lover as an analogy for the end of a relationship. The two decided to write about a despondent woman who wished her former partner well rather than portraying someone better off without them. Astudillo linked the song to a Spanish-language version that predated Adele's 2012 single "Someone like You".[9]
A. B. took 20 minutes to compose the music and another hour for Astudillo to complete the lyrics. According to keyboardist Ricky Vela, the song was finished in his absence while he was out for dinner.[5] During the recording sessions, Selena left the studio before completing the backing vocals. A. B. lamented, "homegirl just bounced on me, she said, 'I'm out of here, I'm going to the mall." Nevertheless, he revised the melody and added the finishing touches by recording the backing vocals himself.[7] Keyboardist Joe Ojeda also provided instrumental arrangement for "Como la Flor".[10] A. B. developed a simple formula for writing songs like "Como la Flor", which emphasized melody lines, synth hooks, and basic instrumentation,[11] believing that simplicity is "what sells".[12] The recording took place at Manny Guerra's AMEN Studios.[13]
Musically, "Como la Flor" is primarily a Tejano cumbiatorch song,[16][17] which American scholar Deborah Parédez described as a transnational fusion that melds tropical and cumbia rhythms with reggae and pop music.[18] Tejano music journalist Ramiro Burr referred to the track as a "pop polka",[19] that incorporates pop, disco, and R&B.[20] Although "Como la Flor" is "equally catchy" as "La Carcacha", it is performed at a slower tempo.[21] Mike Hazelwood of Tulare Advance - Register called "Como la Flor" an infectious Tejano recording that is appealing to a broad audience beyond its genre.[22] The song is written in the key of B♭ major and composed in 4 4 time signature,[23] with a moderate "lively tempo" of 92 beats per minute.[24][25] Selena's vocals range from F3 to B♭4,[24] highlighting her "trademark cumbia rhythm."[26] The melody of the song is simple yet melancholic, making it a "heart-wrenching ballad" according to Chris Pérez, the widower of Selena.[27] Parédez also described it as a "captivating ballad",[25] while Nathan Smith of Texas Music Magazine called it a "heartfelt, pop-tinged Tejano ballad."[28] The call-and-response lyrics of the song's chorus invite audience participation.[29][30] The bassline is described as "emphatic" and the beat is "irresistible" according to Christian Wallace of Texas Monthly.[31] "Como la Flor" evokes "beauty and ephemerality", a connection that scholars Rosana Blanco-Cano and Rita E. Urquijo-Ruiz consider clichéd because of its title.[32] Joey Guerra of the Houston Chronicle praised "Como la Flor" for its unique sound compared to other Spanish-language songs.[33] It contains a danceable, synthesizer-based, pop-cumbia beat,[15] and a banda keyboard sound.[34] Selena "mixes pop vocalism"[34] and displays a "boo-hooing cadence" that is consistent with ranchera songs.[35] Writing for the San Antonio Express-News, Burr enjoyed the song's "memorable melodic hook" that he felt "had listeners whistling along".[36]Soraya Nadia McDonald of The Washington Post called "Como la Flor" an "ear-wormy goodness" track.[37]
In the lyrics of "Como la Flor", the protagonist directs her words to her former lover who has terminated their relationship.[35] She expresses her desire for her ex-lover to find happiness in his new relationship, something that she was unable to provide.[38] The protagonist uses the metaphor of a wilting flower to describe the end of their relationship, which she finds painful.[39][40] Uncertain of her ability to love again, the narrator reveals that she gave all of her love to her former partner and wishes him and his new partner the best.[41] The lyrics delve into the complexities of romantic relationships.[42] Selena portrays a hopeless romantic who finds solace in being able to say that she had loved, even if it meant losing the relationship. According to Erika Ramirez of Billboard, Selena's performance of "Como la Flor" and "No Me Queda Más" (1994) was so passionate and devoted that it left listeners feeling either nostalgic or transported to a fantasy world.[14] Pérez describes the lyrics as "aching",[27] while Wallace finds them plaintive, bringing even "the toughest hombres" to tears.[31] Peralta describes the lyrics as lovelorn, and a "clean pop [offering]" that echoes the works of Chelo Silva.[17] Parédez characterizes the lyrics as self-abnegating after an unsuccessful relationship, in stark contrast to the themes of typical cumbia, salsa, and dance songs in Latin music; its lyrics more closely resemble those of pop music.[15] According to Jessica Roiz of Billboard, "Como la Flor" teaches a life lesson about maturely ending a relationship and being the bigger person, wishing the new couple well.[38] She finds the lyrics empowering and positive.[43]
According to Parédez, "Como la Flor" exemplifies a pop-cumbia composition that caters to a broad range of Latino musical preferences.[44] The song's themes of yearning and anguish are palpable,[45] and the recording possesses a "residue of materiality".[46] The song's melodic shifts successfully evoke Selena's presence in an elegy that marks her absence, providing a multi-layered "emotional register and communal sensibility".[47] During Selena's emotional proclamations of unrequited love, "Como la Flor" exerts a "tensive pull" on the listener.[15] Selena's "teardrop vocals" capture and convey what Roland Barthes referred to as "the grain of Selena's voice".[48] "Como la Flor" furnishes "emotionally useful modalities" akin to Jill Dolan's "utopian performatives" or Josh Kun's "audiotopias". Blanco-Cano and Urquijo-Ruiz assert that "Como la Flor" is capable of measuring and directing "the affective labor of Latinidad".[49] Pérez extols Selena's emotive vocal delivery, which elevated "Como la Flor" and found other performances of the song by other artists as lacking Selena's emotional delivery.[27] Sertan Sanderson of Deutsche Welle asserts that the song can be appreciated even by non-Spanish speakers.[50] "Como la Flor" was included in the posthumously released album Dreaming of You (1995), which was remixed by A. B who mixed the song to match the way the band would have performed it live.[51] It diluted Selena's ethnic sound so that it would appeal to a wider mainstream audience, incorporating additional percussions to enhance the track's appeal, according to Burr in Billboard.[52]
Commercial and critical performance
Upon its radio release in June 1992, "Como la Flor" entered at number 36 on the US BillboardHot Latin Songs chart for the week ending July 18, 1992.[53] The song entered the top 10 on the Hot Latin Songs chart on September 19, 1992, rising to number nine.[54] Rene Cabrera of the Corpus Christi Caller-Times called it "a giant leap", noting the dominance of Selena and other Tejano recording artists on Billboard's music charts.[55] "Como la Flor" peaked at number six for the week ending October 24, 1992.[56] Suzette Fernandez of Billboard stated that the song was Selena's first commercially successful single in the United States and that it had made a statement in her musical career.[41][Note 1] The success of "Como la Flor" boosted sales of its parent album, Entre a Mi Mundo, which replaced La Mafia's Ahora y Siempre at number one on the Regional Mexican Albums chart.[21] "Como la Flor" was the most-played song on Tejano radio stations in Texas, according to a survey conducted by the Austin American-Statesman.[59] The song was also one of the most-played tracks on radio stations in Houston, Dallas, and San Francisco.[60] In Los Angeles, California, "Como la Flor" was the most-played song on Latin music radio stations for three weeks starting from October 13 through the week of October 29, 1992.[Note 2] The song finished 1992 as the 31st-best-performing song on the Hot Latin Songs chart while topping indie music charts in Texas.[64][65]
In July 1992,[66]EMI Latin president José Behar arranged a high-profile press tour for Selena in Monterrey, Mexico. The event attracted twice as many Mexican entertainment journalists as those from the US, highlighting the enormous potential of the Mexican music market,[21] which was valued at US$267million according to a 1992 market report. Selena was not commercially successful in Mexico; a music reporter from El Sol de Monterrey showed Mexicans did not accept Selena's music.[67] At the time, the perception was that Tejanos were "hayseed pochos", a term that carries a derogatory connotation towards those of lower social class and racial background.[68] Faced with Selena's limited Spanish proficiency, EMI Latin executives feared negative media coverage.[69] However, the record company seized the opportunity to capitalize on the growing popularity of "¿Qué Creías?" (1992) and Entre a Mi Mundo, Selena's first recordings to gain traction in Mexico.[68] Selena's approachable demeanor endeared her to the Mexican press, who hailed her as "an artist of the people", and she was booked for several concerts in the country.[68] As a result of the tour, "Como la Flor" climbed to number five on Mexico's Grupera chart before peaking at number three on October 12, 1992.[70][71] According to a music report by El Siglo de Torreón, "Como la Flor" was one of the most-played songs on Mexican radio stations in 1992 and early 1993,[72] and the most popular "grupero" (group) song in Mexico City.[73] The song's popularity helped Selena's commercial growth in Mexico,[5][74] where it was regarded as "very popular".[75] "Como la Flor" marked Selena's "breakthrough hit",[76] earning her fame with Mexican audiences and paving the way for her first "international hit song".[77][76]
At the Premio Lo Nuestro 1993 awards, "Como la Flor" won Regional Mexican Song of the Year.[78] It was nominated for Single of the Year at the 1993 Tejano Music Awards.[79] "Como la Flor" was dropped during preliminaries, which was considered a surprise according to music critic Rene Cabrera, who expected Selena to win the category.[80] The track was nominated for Song of the Year at the 1993 Pura Vida Hispanic Awards, but lost to Emilio Navaira's "Como Le Haré".[81] "Como la Flor" was recognized as one of the award-winning songs at the first BMI Latin Awards in 1994.[82] Tom Whitehurst Jr of the Corpus Christi Caller-Times compared A. B.'s "famous songwriting" of the song to that of Jerry Jeff Walker's fame after writing "Mr. Bojangles" (1970).[83] In 1993, the commercial success of "Como la Flor" led to A. B. being contracted with EMI Latin as one of their top songwriters, inking a deal worth $250,000 (1993 USD) in 1993.[84] Following the murder of Selena on March 31, 1995, "Como la Flor" debuted and peaked at number nine on the Regional Mexican Songs chart for the week ending April 15, 1995.[85] It was the most-requested song, along with "La Carcacha", on radio stations in Mexico following the announcement of her death.[86] Elsewhere on Billboard, "Como la Flor" peaked at number three on the US Billboard TouchTunes Latin Songs chart, which ranks the top-selling jukebox spins in the US, for the week ending December 14, 2002.[87] "Como la Flor" peaked at number one on the US Regional Mexican Digital Song Sales chart following the 20th anniversary of Selena's death for the week ending April 18, 2015.[88] The song peaked at number four on the Latin Digital Song Sales chart on the tracking week of December 16, 2020.[89] As of March 31, 2020, "Como la Flor" has been streamed on Spotify 1.83million times,[90] and continues to receive airplay on Tejano music radio stations.[91] The Recording Industry Association of America (RIAA) has certificated "Como la Flor" 9× Platinum (Latin), denoting 540,000 units consisting of sales and on-demand streaming in the US.[92]
Live performances and other versions
During Selena's live performances of "Como la Flor", she frequently incorporated a flamenco-inspired hand gesture called a floreo. She could be seen "turning her wrist in three backbonning[sic] waves, elbow to fingertips twisting in a serpentine motion, fingers elongated" as she "languorously croons" the title of the song.[93] Selena's opening of "Como la Flor" was characterized by a languid, mournful cadenza, marked by a downtempo, seductive, and emotional delivery, where she would take several breaths before the song transitioned into an upbeat cumbia.[94] The song's initial slow, emotive opening was reminiscent of the melancholic and booming voices of Mexican ranchera singers, who performed with a melodramatic flair.[45] Selena's vocal performance was "achingly melodic",[23] and according to Elijah Wald of The New York Times, she "[emphasized] the heartache of the lyric, slowly drawing out the lines about a lover leaving, her face contorted in pain".[95] Selena's dramatic pauses were comparable to the flin styles of bolero singers Chavela Vargas and La Lupe.[45]
During one performance, Selena was seen "smiling and even laughing" during a dramatic pause, which Wald said was Selena "reminding the audience they are all watching and enjoying this together" before her enunciation of agony and "beating her chest, murmuring the final words, como me duele ("how it hurts me").[95] When the song transitioned into an upbeat cumbia, Selena would sway her hips to the beat.[95] According to Parédez, Selena's performances of the song provided audiences with "valedictory reverence, pleasurable engagement, and gestures of identification across the space of Selenidad".[25] Parédez called Selena's performances of the song "ebullient" and equating to the "emotional register" of Latino mournfulness.[96] Scholars Blanco-Cano and Urquijo-Ruiz agreed with Parédez's assertion, saying Selena's performance of "Como la Flor" exemplified "the emotional register and cultural codes of Latinidad".[49] Wald noted Selena's repetitive acts on stage whenever she sang "Como la Flor", saying the performances still "feel authentic".[95] Blanco-Cano and Urquijo-Ruiz said Selena's performances of "Como la Flor" matched the Latino expressions of longing and belonging, as well as grief and survival, noting her "easy charisma, choreographic virtuosity, [and] velvety voice" as evidence.[49] "Como la Flor" is one of the most popular re-enactments of Selena by drag queens.[49]
Following the growing popularity of the song, "Como la Flor" became a staple in Selena's set lists and she often opened or closed her concerts with it.[27] According to Pérez, it was likely her favorite song to perform.[27] However, A. B. had a differing opinion, citing Selena's annoyance at constantly playing the song at every concert. Selena expressed her frustration to A. B., stating, "I don't wanna play that song anymore, I am sick of singing [that song]". In response, A. B. argued that, just as concertgoers expect to hear "Billie Jean" at a Michael Jackson show, Selena's fans expect to hear "Como la Flor" at her concerts.[97] On February 26, 1995, Selena closed her Houston Astrodome concert with "Como la Flor" to positive reviews; Jennifer Machin of Billboard lauded the performance as one of Selena's best,[98] and the Corpus Christi Caller-Times' Natalie Contreras called it Selena's "finest rendition".[35] According to Blanco-Cano and Urquijo-Ruiz, the song provided the audience with "the sounds of Latino desire [and witnessed] the improvised steps marking Latino loss". They noted that the song's placement as the closing number "underscores its special status" in Selena's repertoire.[49] Selena's final performance of "Como la Flor" was on March 19, 1995, in Bryan, Texas, where A. B. and Astudillo wrote the song, it was her closing performance.[7] In "Cumbia Medley", a live medley on the Selena movie soundtrack (1997), Selena performs the song in a "soothing, elongated tempo".[26] In the San Antonio Express-News, Burr hailed the song as a "prime cut", finding it "electrifying and bursting with energy", and seeing it as a "crowning achievement" for Selena.[99] The greatest hits album Ones (2002) includes "Con Tanto Amor Medley", a three-song medley that features a remix of "Como la Flor" with new arrangements by A. B. The track was created to fit an array of Latin music radio formats, with "Como la Flor" appealing to regional Mexican music radio stations with the addition of mariachi-style trumpets, as stated by Cobo writing for Billboard.[100]
In 1996, Jennifer Peña performed "Como la Flor", which impressed music executives in attendance.[101] "Como la Flor" was the closing song on the Broadway musical Selena Forever (2000), starring Veronica Vasquez as Selena,[102] and in the Mexican musical Selena, El Musical (2006), which featured Lidia Ávila.[103] The recording is also the closing song of Selena ¡VIVE! (2005).[26] Olivia Tallet and Larry Rodarte of Mi Gente magazine called it the climax of the show.[104] Other performances include David Archuleta at the 2010 Tejano Music Awards;[105] and Becky G at the 2018 Fiesta de la Flor.[106] Cover versions include American actress Jackie Cruz who received a positive reception from Billboard magazine;[107] and Angela Aguilar on her EP homage to Selena in 2020.[108] Country singer Kacey Musgraves received critical acclaim for her redention of "Como la Flor" at one of her concerts.[109] Elia Esperanza's performance of "Como la Flor" during her audition on the eleventh season of The Voice debuted and peaked at number 21 on the Billboard Latin Digital Song Sales chart, while Selena's version re-entered the same chart at number 12.[110] Esperanza wanted to perform "Como la Flor" to showcase her musical abilities. Adam Levine turned first, before Blake Shelton and Miley Cyrus did, with Levine thanking her for "being different".[111]Cristian Castro's version, a duet with Selena that was created for Enamorada de Ti (2012),[112] received mixed reviews from music critics.[113] The duet debuted and peaked at number 25 on the Billboard Regional Mexican Digital Song Sales chart.[114] Castro promoted the song at the 2012 Billboard Latin Music Awards.[115]Jennifer Lopez, who played Selena in the 1997 biopic, performed a four-song medley at the 2015 Billboard Latin Music Awards that included "Como la Flor", gaining positive reviews.[116]Aimee Garcia performed "Como la Flor" as part of her audition to play Selena in the biopic.[117] English YouTube video producers the Kabs Family uploaded a video of their four-year-old daughter singing "Como la Flor", which went viral in March 2021. The staff of Billboard magazine described Kabs' singing as having "so much emotion".[118] In 2006, Uruguayan-American YouTuberEl Bananero released a parody of the song titled "Como una flor".[119]
Legacy and impact
Jennifer Lopez(pictured) starred in the 1997 biopic film. Lopez's dramatization of Selena's live performances was considered a highlight of the film.
A. B. believed that "Como la Flor" was ahead of its time.[5] When writing for Selena's album Amor Prohibido (1994), he said he found meeting expectations after the commercial success of Entre a Mi Mundo and "Como la Flor" challenging.[74][121] A. B. encountered pressure from record executives in New York City and Nashville to create another hit song. However, he recognized that trying to surpass the success of "Como la Flor" was not feasible and instead chose to focus on writing a new hit.[122]
Widely considered to be Selena's signature song and her "trademark", "Como la Flor" has become a posthumous epithet and swan song,[123][49] as well as her most popular recording.[124][125][126] The song has enjoyed international success,[127][128] and is credited for Selena's domination of the Latin charts.[121] It is one of her "most celebrated" songs and has become part of the Texas musical cannon.[28] "Como la Flor" became one of the most popular songs recorded by an artist of Mexican descent in the US.[129] It became the singer's breakout recording that catapulted her to fame in Mexico and Latin America.[130] According to a Santa Ana Orange County Register, "Como la Flor" is a Cinderella story that has lyrical parallels to Selena's life that "by the time she blossomed, her life was cut short".[131] Cathy Ragland of the Austin American Statesman agreed, comparing "Como la Flor" to Selena as being "a metaphor for her life—a beautiful, delicate creature",[132] as did Raul Reyes of USA Today.[133] As Roiz points out, "Como la Flor", along with "Dreaming of You" (1995) and "Bidi Bidi Bom Bom" (1994), has "universal appeal".[38] Burr also said "Como la Flor" and other recordings by Selena, has "instant appeal".[36] The singer acknowledged that "Como la Flor" was her "very first big record and the one that started making things click [for her and the band]".[134] Following the song's release, Selena's popularity skyrocketed.[20] According to Parédez, "Como la Flor" resonated with Latinos.[135] It established Selena in the Tejano music market, which previously dismissed her works.[136] Along with "La Carcacha" and "Bidi Bidi Bom Bom", "Como la Flor" launched Selena's commercial Tejano career,[76] and brought her fame in the Tejano,[137] and Latin pop music markets.[138] This was a surprise, according to Brian "Red" Moore who oversaw the production of Entre a Mi Mundo, because the group believed "La Carcacha" would have been the most successful song off the album.[139]
According to Music executive Cameron Randle of Arista Records, the use of cumbia music in "Como la Flor" served as a "musical passport" for Selena, opening up opportunities for her.[15] The Tejano cumbia style is characterized by a simple, accordion-driven, conjunto style of cumbia music. Selena innovated and transculturated Tejano cumbia by introducing ska, reggae, hip-hop, and funk into her repertoire.[15] The incorporation of African-American music into Tejano cumbia allowed Selena to explore the cultural similarities between Mexican-Americans and African-Americans, exploiting this previously under-explored territory.[15] According to essayist Ilan Stavans, "Como la Flor" along with "Baila Esta Cumbia" (1990) and "Bidi Bidi Bom Bom", helped bridge Tejano music and Latin pop, bringing Tejano music into the public consciousness and paving the way for Latin pop.[140]Leila Cobo described "Como la Flor" and "La Carcacha" as examples of Selena's best work.[141] Throughout the 1990s, the songs were played constantly at parties in Latino communities in the US and Mexico.[142] By blending her Mexican-American roots with her American heritage, Selena was able to "conquer Mexico" in the 1990s with songs such as "Como la Flor" and "La Carcahca".[143][144] In recognition of its cultural significance, "Como la Flor" has been considered a possible contender for the official Texas state song.[31]Atlanta Journal-Constitution writers Shane Harrison, Nick Marino, and Sonia Murray selected "Como la Flor" as one of Texas' contributions to popular music.[145]
In 1996, Joe Nick Patoski, a writer for The New York Times published an acclaimed biography of Selena titled Selena: Como la Flor,[146] which literary critics lauded as "the most insightful portrayal [of Selena]".[147] The city of Corpus Christi erected a life-size, bronze statue called Mirador de la Flor; years after its inception, the city erected speakers that play "Como la Flor" above the statue.[148] The 1997 Warner Bros. film Selena, starring Jennifer Lopez in the title role, features a scene in which Selena manages a rowdy crowd at a fair by performing a downtempo rendition of "Como la Flor". Lopez's portrayal captures Selena's live performances of the song, as she gradually sings the chorus, savoring each phrase before pulling away the microphone on the final line and dramatically pausing to "cast[s] her performative spell".[120][32]Billboard named this scene one of the film's top-eight moments.[120] In an interview with the BBC, director Gregory Nava stated that people in Europe would have been singing along to "Como la Flor" had Selena lived longer.[149]Selena Etc., Selena's boutique and beauty salon, released a perfume bottle bearing the name of the song in April 1997, featuring scents selected by Selena prior to her death.[150] Music critic Roiz hailed "Como la Flor" as a "must-have" on anyone's playlist,[43] while the 2016 Selena collection from MAC Cosmetics includes a lipstick named after the song. Suzette Quintanilla, Selena's sister, remarked that the lipstick is a "beautiful red-tone color, a signature color that my sister would wear when performing onstage".[151] The influence of "Como la Flor" extends to other artists, with Greg Gonzalez, singer-songwriter of Cigarettes After Sex, citing the song as an inspiration for "Kiss It Off Me" (2019).[152] More recently, in December 2020, to promote its streaming video series Selena: The Series with Christian Serratos as the title role,[153]Netflix asked people to upload videos of themselves lip-syncing to "Como la Flor" with the hashtag "TodosComoLaFlor". Participants began uploading their videos on TikTok, reaching 250 videos per hour, a Guinness World Record.[1] The song was used in the second season of the HBO television drama Euphoria (2021).[154]
‡ Sales+streaming figures based on certification alone.
Notes
↑ Selena's first commercially successful single in the United States is her version of "La Bamba",[57] which peaked at number 19 on Billboard's Hot Latin Songs chart on the week ending August 8, 1987.[58]
↑ For the week of October 13,[61] October 21,[62] and October 29, 1992.[63]
Related Research Articles
Selena Quintanilla Pérez was an American singer. Referred to as the "Queen of Tejano Music", her contributions to music and fashion made her one of the most celebrated Mexican-American entertainers of the late 20th century. In 2020, Billboard magazine put her in third place on their list of "Greatest Latino Artists of All Time", based on both Latin albums and Latin songs chart. Media outlets called her the "Tejano Madonna" for her clothing choices. She also ranks among the most influential Latin artists of all time and is credited for catapulting the Tejano genre into the mainstream market.
Amor Prohibido is the fourth studio album by American singer Selena, released on March 22, 1994, by EMI Latin. Having reached a core fan base, the label aimed to broaden her appeal with the next studio release. Finding it challenging to write a follow-up hit after "Como la Flor" (1992), Selena's brother A. B. Quintanilla enlisted the assistance from band members Ricky Vela and Pete Astudillo with writing the album's songs. The resulting album has a more mature sound featuring experimental production that blends diverse musical styles from ranchera to hip-hop music. Amor Prohibido is a Tejano cumbia album modernized with a synthesizer-rich delivery using a minimalist style that was quintessential in early 1990s Tejano music.
Ven Conmigo is the second studio album by American singer Selena, released on November 12, 1990, by EMI Latin. The singer's brother, A.B. Quintanilla III remained her principal record producer and songwriter after her debut album's moderate success. Selena's Los Dinos band composed and arranged seven of the album's ten tracks; local songwriter Johnny Herrera also provided songs for Selena to record. Ven Conmigo contains half cumbias and half rancheras, though the album includes other genres. Its musical compositions are varied and demonstrate an evolving maturity in Selena's basic Tejano sound. The album's structure and track organization were unconventional compared with other Tejano music albums. The songs on Ven Conmigo are mostly love songs or songs following a woman's struggles after many failed relationships.
Entre a Mi Mundo is the third studio album by American singer Selena, released on May 6, 1992, by EMI Latin. The label endeavored to bolster Selena's popularity within the Latin music market in the United States with this release. Selena's brother, A. B. Quintanilla kept his role as the singer's producer and, in collaboration with Selena y Los Dinos members Pete Astudillo and Ricky Vela, composed tracks for the album. The ensuing recording encompassed an eclectic array of songs, attributable to the members' diverse backgrounds, which facilitated the modernization of the many genres they explored. Entre a Mi Mundo is a Tejano cumbia album that encapsulated Selena's quintessential sound, characterized by engaging tunes harmonized with her distinctive, plaintive vocals and a relaxed, danceable cumbia beat. The album incorporates musical inspirations from power pop, R&B, disco, rock, funk, and synthesized Tejano music.
Selena is the debut studio album by American Tejano singer Selena, released on October 17, 1989, by EMI Latin. Its music incorporates a range of contemporary genres with a mix of cumbia and regional styles of Mexican music. The album was released following company president Jose Behar's failed crossover request for the singer. The project was denied by the heads of EMI Records' pop division, believing the singer should first strengthen her fanbase. Selena's brother and principal record producer and songwriter, A.B. Quintanilla III fought to remain the singer's producer. The band introduced Pete Astudillo and Joe Ojeda, who contributed to the album's experimental production and songwriting. Aside from A.B., Selena worked with two Mexican songwriters, Alejandro Montealegre and Reinaldo Ornelas.
Live! or Selena Live! is a live album by American Tejano pop singer Selena, which was released on May 4, 1993, by EMI Latin. The album was re-released on September 22, 2002, as being part of the Selena: 20 Years of Music collection; which included spoken liner notes by her family, friends and her former band members Selena y Los Dinos. Live! includes three cumbia-influenced studio tracks, while the rest of the album consists of live versions of previously released songs. The album was recorded during a free concert at the Memorial Coliseum in Corpus Christi, Texas, on February 7, 1993. It was certified gold by the Recording Industry Association of America in its first year, double platinum in 1995, and 8× platinum in 2017.
Mis Mejores Canciones – 17 Super Éxitos is a greatest hits album by American singer Selena released on September 17, 1993, through EMI Latin. Beginning in January 1993, the label released a comprehensive collection that spotlighted its Latin music artists as part of its Latin Classics series. Mis Mejores Canciones – 17 Super Exitos encompasses 17 tracks, ranging from songs recorded on her debut album with EMI Latin, to songs present in Entre a Mi Mundo (1992). The album received a positive response from music critics who enjoyed the label's catalog releases and praised the tracks on the album for showcasing Selena's early popular recordings. Following the shooting death of Selena on March 31, 1995, Mis Mejores Canciones – 17 Super Exitos debuted at number one on the US Billboard Top Catalog Albums chart, the first Spanish-language recording to do so. The Recording Industry Association of America (RIAA) certified the album diamond (Latin), denoting 600,000 units shipped in the United States.
All My Hits: Todos Mis Éxitos Vol. 2 is a greatest hits album by American singer Selena that was released on February 29, 2000, through EMI Latin. After Selena's murder in 1995, her father Abraham Quintanilla stated his commitment to preserving her music and EMI Latin pledged ongoing support for her releases. In 1999, the label's president José Behar acknowledged Selena, who remained the label's top-selling artist, for her contributions to establishing EMI Latin as "the house that Selena built". In March 1999, to commemorate the label's tenth anniversary, it released All My Hits: Todos Mis Éxitos; it achieved commercial success and a sequel was announced. All My Hits: Todos Mis Éxitos Vol. 2 contains 16 songs ranging from tracks featured on Selena's Muñequito de Trapo (1987) to the posthumous 1997 club remix of "Enamorada de Ti" (1990).
Ones is a compilation album by American singer Selena, released in the United States on October 1, 2002 by EMI Latin. It was released on November 11, 2002 in Spanish-speaking countries, while the limited edition included a bonus DVD of her music videos. Ones was released building on the popularity of the 1997 biographical film Selena. The album was aimed at Selena's new generation of fans, and its release marked the singer's twentieth year in the music industry. Ones features six number one singles namely, "Amor Prohibido", "Bidi Bidi Bom Bom", "No Me Queda Más", "Fotos y Recuerdos", and her duets with Álvaro Torres on "Buenos Amigos" and the Barrio Boyzz on "Donde Quiera Que Estés".
Pedro Astudillo, known as Pete Astudillo, is an American singer-songwriter, record producer, and dancer. Referred to as "the Latino Babyface" by The Daily Journal, he is regarded as the architect behind Selena's sound, as he collaborated or coauthored the singer's top-selling and most popular recordings that cemented him into music history. Astudillo wrote or collaborated on some of the most popular Tejano music songs of the 1990s and was inducted into the Tejano Roots Hall of Fame in 2019. His impact on the United States Latin music scene lies in his role as a songwriter collaborator, according to Billboard magazine.
"Techno Cumbia" is a song recorded by American singer Selena for her fourth studio album, Amor Prohibido (1994). It was posthumously released as the b-side track to "Dreaming of You" through EMI Latin on August 14, 1995. Techno Cumbia would be put on her fifth and final studio album Dreaming of You (1995) and would be the fourth single for Dreaming Of You. "Techno Cumbia" was written by Pete Astudillo and co-written and produced by Selena's brother-producer A.B. Quintanilla. The song is a dance-pop and tecnocumbia recording with influences of dancehall, rap, Latin dance, and club music. Lyrically, Selena calls on people to dance her new style the "techno cumbia" and calls out those who cannot dance.
"Amor Prohibido" is the title song of American Tejano singer Selena's fourth studio album of the same name (1994). Released as the lead single through EMI Latin on April 13, 1994, it was written by Selena, her brother and music producer A.B. Quintanilla III, and her band's backup vocalist Pete Astudillo. A popular interpretation compares it to Romeo and Juliet.
Las Reinas del Pueblo is a compilation album by American Tejano music singer Selena and Mexican banda singer Graciela Beltrán. It was released on April 4, 1995, by EMI Latin in the wake of Selena's death on March 31, 1995. The decision to produce a compilation album featuring Beltrán emerged after her tribute to the singer at a Houston memorial. The title was inspired by Mexican newspapers that referred to Selena as "an artist of the people" during a 1992 press tour in the nation and subsequently dubbed her "La Reina del Pueblo" in the aftermath of her death. Las Reinas del Pueblo encompasses six tracks by Selena and six by Beltrán, encapsulating their respective tenures with EMI Latin. Las Reinas del Pueblo peaked at number four on the US Billboard Top Latin Albums and Regional Mexican Albums chart, both behind other Selena releases. The recording peaked at number 147 on the American Billboard 200 chart. The album peaked at number ten on the Spanish albums chart in 2010. Beltrán's participation in the album yielded substantial promotional and sales enhancements.
"¿Qué Creías?" is a song by American singer Selena, taken from her third studio album, Entre a Mi Mundo (1992). It was written by Pete Astudillo and A. B. Quintanilla; the composition was a result of a challenge issued by A. B. to Astudillo to create a song before they arrived in Las Vegas from California. Astudillo drew inspiration from the works of Mexican singer Juan Gabriel, culminating in a mariachi ballad. Selena, in describing the song, avers that it embodies women on a collective scale. It is the singer's torch song and the lyrics elucidate Selena's inflexible stance on refusing to absolve an unfaithful partner. She directly addresses her former lover who had taken her for granted, informing him of her capability to exist without him. Critics acclaimed Selena's emotional vocal range and her poetic expression with a distinctly feminine cadence.
"La Carcacha" is a song recorded by American singer Selena for her third studio album, Entre a Mi Mundo (1992). The song was written by A.B. Quintanilla and Pete Astudillo. It was inspired by a dilapidated car and an experience in which A.B. observed a woman's willingness to court the owner of a luxury car. The song, characterized by its rhythmic melodies and satirical portrayal of life in the barrio, highlights the importance of love and genuine connection over material wealth. It is a Tejano cumbia song that is emblematic of Selena's typical style, while music critics found it to be musically similar to "Baila Esta Cumbia".
"Ya Ves" is a song recorded by American singer Selena on her second studio album Ven Conmigo. The song was written by A. B. Quintanilla and Pete Astudillo. "Ya Ves" was released as the lead single off Ven Conmigo in September 1990 and received critical acclaim from music critics, who recognized its significant contribution to the rise of Selena's popularity across the United States, Mexico, and Latin America. Following the unveiling of the United States Postal Service's commemorative Forever Stamps featuring Selena, "Ya Ves" debuted and peaked at number 20 on the US Billboard Regional Mexican Digital Song Sales chart in April 2011. In 2005, Bobby Pulido performed the song at the Selena ¡Vive! benefit concert.
"Baila Esta Cumbia" is a song recorded by American Tejano singer Selena for her second studio album, Ven Conmigo (1990). It was released as the second single by EMI Latin on August 28, 1990, behind "Ya Ves". It was composed by her brother–producer A.B. Quintanilla, and Selena y Los Dinos backup dancer, Pete Astudillo. The recording is an up-tempo Mexican cumbia song. It was well received by music critics who enjoyed its cumbia-feel and rhythm.
"Besitos" is a song recorded by American singer Selena on her eponymous debut album with EMI Latin. It was composed by A. B. Quintanilla and Pete Astudillo. Upon signing a recording contract with EMI Latin, A. B. was cautioned that failure to produce a successful album would result in his replacement by a company-approved candidate. The group Los Bad Boyz, composed of Astudillo and keyboardist Joe Ojeda, initially opened for Selena y Los Dinos before integrating themselves into the band's lineup. Astudillo's songwriting debut came in the form of "Besitos", a composition in which the lyrics convey a longing for the protagonist's lover's kisses and a desire to be their source of happiness.
American singer Selena released twenty-four official singles, seven promotional singles. Her career began as the lead vocalist of Los Dinos in 1980. Her albums with Los Dinos on indie labels failed to achieve any chart success. In 1987, her remake of Ritchie Valens' "La Bamba" peaked at number 19 on the United States Billboard Hot Latin Songs chart, her first entry. She signed with EMI Latin nine years later as a solo artist though her band continued to tour with her. Selena appeared on "Buenos Amigos" with Salvadoran singer Álvaro Torres. The track peaked at number one on the U.S. Hot Latin Songs chart in 1991, the singer's first number one song. Subsequent singles, "Baila Esta Cumbia" and "Como la Flor", became popular songs on Mexican radio, with "Como la Flor" launching the singer's career in that country. "Como la Flor" peaked at number six on the Hot Latin Songs chart, despite popular culture claims that it was the singer's first number one single. The track has charted on the U.S. Regional Mexican Digital Songs list since its inception in 2010 and remains the singer's signature number and most popular recording.
"El Hit Parade de Esta Semana". El Informador. Vol.76, no.285. October 12, 1993. p.44.
"Listas Mas Populares". El Siglo de Torreón. March 2, 1993.
"Dan a Conocer Selena y Los Dinos Sus Exitos". El Siglo de Torreón. September 28, 1993. La agrupacion realiza actualmente una gria internacional y es probable que en breve se encuentre de nueva cuenta en Mexico, como en julio pasado que recorrio las zonas del centro y el Pacifico, para concluir en el Distrio Federal, para promocionar su mas reciente produccion, en la que recopila sus grandes exitos. (for second reference) Otros temas que se incluyen en el disco son "La carcacha" y "Baila esta cumbia", que junto con los ya citados, han llevado a los musicos a conquistar su primer disco de plainto y doble disco de oro por las altas ventas de u compact "Baila esta cumbia", produccion con la que el ano pasado dieron a conocer su original estilo en Mexico, durante su primera vista, donde han consolidado su popularidad.
Waliszewski, Bob; Smithouser, Bob (1997). Chart Watch. Wheaton, Illinois: Tyndale House Publishers. ISBN978-1-56179-628-1.
"Los Premios Latinos de BMI"(PDF). Billboard. Vol.106, no.12. Nielsen Media. March 19, 1994. Archived(PDF) from the original on October 28, 2021. Retrieved October 28, 2021.
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Carrillo, Elvira (March 2006). "Un Ano Mas Sin Selena". Correo del Migrante (in Spanish). 1 (3). Quien no ha bailado al ritmo de Como la Flor y La Carcacha. Canciones que en la decada de los noventas sonaban en la radio y todas las fiestas tanto de barrios latinos en estados unidos como en mexico entero, donde la fama de la cantante comenzaba a extebderse.
Chirinos, Fanny S (March 27, 2005). "Selena Fans Flock to City". Corpus Christi Caller-Times. Retrieved March 31, 2022– via Newspapers.com.
Cobo, Leila (April 14, 2001). "Reviews & Previews". Billboard. Vol.113, no.15. p.84. Archived from the original on April 1, 2022. Retrieved March 21, 2022.
Cobo, Leila (September 14, 2002). "Vital Reissues". Billboard. Vol.114, no.37. p.96. Archived from the original on April 1, 2022. Retrieved March 25, 2022.
Cobo, Leila (October 19, 2002). "Reviews & Previews". Billboard. Vol.114, no.42. p.100. Archived from the original on April 1, 2022. Retrieved March 26, 2022.
Del Toro, Jesus (March 31, 2005). "Selena 10 Anos". Rumbo de San Antonio. Lo mejor de Selena paso por las manos de Red. "Fue una sorpresa", recuerda Red. "Muchos pensaban que la que iba a pegar fuerte era "La Carcacha". Pero la cancion que toco el corazon de todos fue "Como la Flor". Esa cancion convirtio a Selena en la numero uno". Pero vendrian mas. "Todo el disco Amor Prohibido lo grabamos en dos semanas". "La primera noche hicimos las secuencias de las partes de teclados hasta las 4 am." Despues grabamos a los musicos y por ultimo, Selena grabo su parte en tiempo record: era maravillosa. El martes de la segunda semana me llama Abraham y me disc "Estare en San Antonio este fin de semana Puedes traerme una mezcla que pueda oir?" Entonces, terminamos todo, le llevamos la mezcla y el nos hacia sugerencias. Pero le encanto inmediatamente y yo me puse muy feliz." En plena entrevista entra Abraham al estudio. Al ver a Red, sonrie. "Red!", grita Abraham, abrazandolo. "El Rojo, El Colorado...A este tenemos que vestirlo de vikin go. Es un heroe.
Martinez, Katynka Zazueta (2003). The 'Latin explosion,' media audiences, and the marketing of Latino panethnicity: 'Latina' magazine and the Latin Grammys in a post -Selena América (Thesis). ProQuest305340730.
Perry, Kevin EG (October 18, 2019). "I hear: 'So, what's our song gonna be?' a lot". i. ProQuest2306412230.
Edward James Olmos (narrator), Jose Behar (executive producer), Abraham Quintanilla (executive producer), Claribel Cuevas (associate producer), Randal J. Edwards (associate producer), Ila von Hasperg (editor), Jeffrey Coulter (producer), Cecelia Miniucchi (director) (April 1, 1997). Selena Remembered (Documentary) (in English and Spanish). Corpus Christi, Texas: EMI Latin Productions, Q-Productions. Event occurs at 20:40. Archived from the original(DVD, VHS) on April 1, 2022. Retrieved March 17, 2022.
Quintanilla, Selena (2002). Entre a Mi Mundo (Media notes). A.B. Quintanilla (producer), Suzette Quintanilla (spoken liner notes producer). EMI Latin.
Quintanilla, Selena (2002). Dreaming of You (Media notes). A.B. Quintanilla (producer), Suzette Quintanilla (spoken liner notes producer). EMI Latin.
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