Entre a Mi Mundo (English:Enter My World) 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.
The assemblage of tracks featured on the album encompassed lyrics inspired by a myriad of personal experiences and tribulations,delving into themes such as unrequited love,teen romance,women empowerment,and heartbreaks. Entre a Mi Mundo was supported by its singles,including the career-propelling "La Carcacha",the career-defining track "Como la Flor",the crowd-pleaser "¿QuéCreías?",and Selena's ode to guitarist Chris Pérez,"Ámame". Two of the most popular singles,"La Carcacha" received critical acclaim for its quintessential representation of Selena's style,while "Como la Flor" burgeoned as Selena's signature song and her "trademark",serving as both her posthumous epithet and swan song. The song's ubiquity has enshrined it among her most esteemed works,solidifying its stature within the Texas musical canon and rendering it one of the most renowned songs recorded by an artist of Mexican descent in the United States. The preponderance of contemporary reviews lauded Entre a Mi Mundo,conferring widespread critical acclaim. Music critics discerned the album as Selena's "breakthrough album".
Selena promulgated Entre a Mi Mundo through an array of performances and public engagements. In July 1992,EMI Latin president JoséBehar organized a press tour for Selena in Monterrey,Mexico,attracting a multitude of Mexican entertainment journalists. Despite initial concerns about her limited Spanish proficiency and the perception of Tejanos in Mexico,Selena's approachable demeanor won over the press,who labeled her "an artist of the people". EMI Latin capitalized on the growing popularity of "¿QuéCreías?" and Entre a Mi Mundo,leading to several concert bookings in Mexico. Amid a concert in Monterrey,a sudden influx of attendees precipitated an exigent evacuation of the ensemble to sequester in the tour bus. Selena ultimately re-emerged on stage,asking for calm to enable the band to resume their performance. This occurrence was later portrayed in the 1997 biopic about Selena,starring Jennifer Lopez. Analogously,Selena's participation in Veronica Castro's Y Vero América ¡Va!,broadcast throughout Latin America,was subsequently depicted in Netflix's two-part limited drama Selena:The Series (2020–21),starring Christian Serratos. At the 1993 Lo Nuestro Awards,Selena shared the accolade for Best Regional Mexican Album for Entre a Mi Mundo with La Mafia's Estas Tocando Fuego,while the album procured Album of the Year—Orchestra at the 1993 Tejano Music Awards.
Entre a Mi Mundo peaked at number one on the US BillboardRegional Mexican Albums chart,for eight consecutive months. Critics praised the achievement while Entre a Mi Mundo ended 1993 as the best-selling Regional Mexican Album in the US. The album shattered the record for the longest stay at number one by a female Tejano artist,and it became the inaugural album by a Tejano woman to exceed sales milestones of 100,000,200,000,and 300,000 units. Entre a Mi Mundo became the second all-time best-selling regional Mexican album in the US since Nielsen SoundScan began tracking sales in 1991. On March 31,1995,Selena was murdered and Entre a Mi Mundo re-entered the Top Latin Albums and Regional Mexican Albums chart at the fourth position,superseded solely by other Selena releases. It eventually peaked at number 91 on the US Billboard 200 chart. By 1997,Entre a Mi Mundo had amassed 385,000 units in Mexico,marking the highest sales figure by a female Tejano artist within the country. In 2017,Entre a Mi Mundo was certified Diamond (Latin) by the Recording Industry Association of America (RIAA) denoting 600,000 album-equivalent units sold in the US. As of 2018,Entre a Mi Mundo has garnered a cumulative sales total of 1,000,000 copies across the US and Mexico.
Production and development
Following initial reservations from Abraham Quintanilla,Chris Pérez joined the group in 1988,briefly left,and returned in 1991. Entre a Mi Mundo became his inaugural collaborative effort with the band.
In 1988,Chris Pérez replaced Roger Garcia as the guitarist of Selena y Los Dinos. Pérez developed an admiration for the ensemble subsequent to experiencing their album Preciosa (1988),becoming particularly enamored with A. B. Quintanilla's musical production.[1] Pérez elected to join Selena y Los Dinos,and abandoned his recently formed rock band.[2] In 1990,Pérez temporarily departed the group,leading to Joe Ortega's recruitment. However,upon his wife's insistence,Ortega relinquished his position after their marriage,resulting in Pérez's return to the ensemble in the summer of 1991.[3]
Initially,Abraham Quintanilla—the group's manager and father of A. B.,drummer Suzette Quintanilla,and Selena—dismissed Pérez,perceiving him as more of a rocker and deeming him ill-suited for a Tejano band. Writing for People magazine,Betty Cortina asserted that Pérez contradicted Abraham's "clean cut good kids" image.[4] A. B. convinced Abraham that Pérez was proficient in performing Tejano music,maintaining that Pérez's rocker image was innocuous.[4] In 1989,EMI Latin hesitated to let A. B. maintain his role as the group's producer. However,given the uncertainty of the genre's future,the company acquiesced,allowing A. B. to stay on as producer but cautioning that failure would result in his replacement by a company-approved candidate.[5] After Selena's 1989 self-titled album surpassed the performance of other female Tejano artists' releases,[6][7] A. B. secured his position.[8] The group's second studio album,Ven Conmigo (1990),achieved a top-five ranking on the United States BillboardRegional Mexican Albums chart. Consequently,EMI Latin,bolstered by this and other albums from Tejano artists,became the second most successful regional label in the nation.[9] The company's mission for Selena's next album was to expand the singer's popularity within the Latin music market in the US.[10]
Pérez was taken back at the group's work ethic throughout the entire production of Entre a Mi Mundo,[11] which was the inaugural album on which he collaborated with the ensemble.[12] During pre-production,keyboardist Ricky Vela would sequence the music—Pérez was taken aback by the emphasis placed on this aspect—while A. B. would collaborate with Vela to resolve any technical issues they encountered and select the compositions for Selena's recording.[11] EMI Latin hired Argentine producer Bebu Silvetti to assist A. B. during the production of Entre a Mi Mundo.[13] The group would convene at A. B.'s residence during pre-production to refine their musical elements,while Selena familiarized herself with the songs chosen by A. B. Pérez marveled at Selena's ability to learn songs autonomously. He observed this consistency during the production of Entre a Mi Mundo,where Selena would enter the studio and "add so much personality and liveliness to the song",which he believed facilitated listeners' connection to the recording.[11] Vela also praised Selena's capacity to promptly comprehend the phrasing,the significance,and the essence of what the song aimed to convey,likening it to a cinematic performance. Pérez revealed that during production,Vela would be present from the onset of each recording day until its conclusion to address any issues that emerged as he was the individual to rectify them. Vela noted that during post-production,the band would frequently desire to modify a particular verse or lyric at the last minute;Selena would then arrive,incorporating her distinct musical flair to those adjustments and elevating the piece beyond its original intent.[11]
The recording of Entre a Mi Mundo transpired at the San Antonio studio owned by Tejano music producer Manny Guerra,with Brian "Red" Moore,Guerra's in-house music engineer,supervising the process as A. B. assumed the roles of producer and arranger,directing the operation.[14] The writing process commenced in early 1991.[15] During the selection of tracks,Vela presented A. B. with multiple songs he had penned,including an incomplete piece titled "Si La Quieres". Though the song consisted merely of fragments,A. B. appreciated its existing chorus. Vela drafted a verse that failed to captivate A. B.,compelling him to spend hours crafting verses and melodies until the unrequited love theme for the song garnered approval. In 1982,within the band's first year as a group,A. B. noticed a family selling illuminated plastic flowers at a Sacramento concert and resolved to compose a song about a flower someday. A decade later,while showering at a Bryan,Texas hotel,a catchy melody struck him,prompting him to hastily exit the shower and collaborate with Pete Astudillo on the song. Assembling the music required 20 minutes,while Astudillo spent an additional hour penning the lyrics for "Como la Flor".[11]
Vela admitted to utilizing a thesaurus and dictionary to compete with Astudillo when composing "Yo Te Sigo Queriendo". Astudillo's collaborative efforts persisted with "¿QuéCreias?",a track conceived in the back seat of a car during a challenge from A. B. to create a song before the band's arrival in Las Vegas from their concert in California.[11] Tejano artist David Lee Garza contributed his emotive accordion style to the piece.[16] A. B. penned "La Carcacha" after he and keyboardist Joe Ojeda encountered a dilapidated vehicle at a Uvalde,Texas restaurant. When A. B. inquired about the Spanish term for a broken-down car,Ojeda supplied the word "carcacha". A. B. spent six months developing the song,inspired by an incident where,after collecting food in his newly acquired BMW,he grew irritated by a worker's incessant questions about the car and eavesdropped on a woman expressing her desire to date the car's owner. Astudillo became aware of A. B.'s concept for "La Carcacha" after a friend of Selena mocked a couple for arriving at a dance in their battered vehicle in Eagle Pass,Texas. Astudillo aspired to craft lyrics centered around a woman devoid of materialistic inclinations,whose acquaintances may deride her and engage in mockery,yet she remains unperturbed by her partner's possession of a battered car,showing that the paramount sentiment is the significance of love.[11]
The album's sole English-language track,"Missing My Baby",was composed and recorded to highlight Selena's multifaceted musical abilities and enrich the album's assortment of musical genres.[17] Selena aspired to include an English-language song on the album,believing it would persuade EMI Records of her readiness to release a crossover album.[11][18] A. B. spent a week crafting "Missing My Baby",which was recorded three weeks later in late 1991 in Sun Valley,Los Angeles. The record company sought to have R&B duo Full Force create a remixed rendition of the track. A. B. and Selena convened with the duo at Full Force's Brooklyn recording studio,whereupon the group consented to contribute backing vocals,which they recorded within two days.[11] Pérez and Selena began dating after confessing their mutual affection,despite her father's disapproval.[19] In response to her feelings for Pérez and their covert liaison,Selena created "Ámame",enlisting Astudillo's help with the lyrics.[20] Abraham described Selena's commitment to recording the song as her investing "every ounce of energy" into it.[21]
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.[22]
At the time of its release, Entre a Mi Mundo showcased the band's most inventive auditory landscape.[23] The group's diverse backgrounds contributed to the album's eclectic influences; Vela devised songs with intricate arrangements, Pérez infused rock and roll, Ojeda integrated "traditional street music", Astudillo introduced sophisticated lyrics and melodies with numerous chords, A. B. further refined his production skills, and Selena imbued her music with soul and adaptability.[24] The album featured a multifaceted musical style, a formula that evidently succeeded, according to Patoski.[25] According to Joey Guerra of the Houston Chronicle, the band demonstrated profound reverence for the various genres they modernized on the album.[26]Entre a Mi Mundo encapsulated Selena's quintessential sound, characterized by engaging tunes harmonized with her distinctive, plaintive vocals and a relaxed, danceable cumbia beat, as noted by Leila Cobo.[27]Entre a Mi Mundo is primarily a Tejano cumbia album.[28] The recording encompassed a wide range of musical influences, including power-pop, synth-driven Tejano cumbia,[29] traditional Tejano,[28]R&B, disco,[30] rock, and funk music.[16]
Selena's biographer, Joe Nick Patoski, described "La Carcacha" as an exemplary piece of contemporary music, characterized by its dynamic cumbia rhythm accentuated by call-and-response chants, exuberant shouts, whistles, and Pérez's guitar fills. The song showcases Selena's "mesmerizing snake-charmer vocals"; oscillating between exhilarating and impassioned growls, as she awaits her lover's arrival in his ramshackle vehicle. The narrative encapsulates a story of love amidst adversity, a theme with which A. B. "knew well".[14] Selena frequently recorded songs depicting experiences she had not personally encountered, as with "La Carcacha", which delves into themes of "barrio teen romance".[31] Tejano music often suffered from simplistic and generic lyrical content; however, A. B. and Astudillo overcame this stereotype by crafting songs such as "La Carcacha" that rendered vibrant depictions of life in the barrio.[32] Ramiro Burr asserted that Selena imbued her music with more emotion and soul in "La Carcacha".[29] Burr, acknowledging A. B.'s significantly enhanced songwriting, noted that the band drew inspiration from sax-cumbia singer Fito Olivares when they recorded "La Carcacha", praising the song as a "marvelous [and] "danceable cumbia" track.[29]
A. B. initially requested Pérez to perform "Las Cadenas" in a rock style but later opted for a conjunto (small band) style. Pérez was nevertheless delighted to record the song, as the conjunto nature evoked childhood nostalgia. He also believed that Selena's vocals would complement the song—a conjunto track about an exuberant protagonist regaining control of her life after feeling confined in a relationship.[11] Incorporating the squeezebox,[28] Mario Tarradell of The Dallas Morning News deemed the song well-crafted, catchy, and skillfully executed.[33]
The ranchera track "¿Qué Creias?" portrays a woman indignantly confronting her lover, reminding female listeners of the tendency for men to take them for granted. The "spirited mariachi kiss-off anthem",[14] chronicles an unrepentant woman who declines to reconcile with an unfaithful partner.[11] Patoski perceived "¿Qué Creias?" as an anomaly in Selena's cumbia repertoire, noting its characteristics of traditional mariachi and bordering on "an outright theft."[25] He further emphasized the song's demonstration of her unrestrained vocal range and forceful delivery of lyrics, reminiscent of Lucha Villa's gritty passion,[34] characterizing it as brimming with sass and fire.[16] Selena, in describing the song, avers that it embodies women on a collective scale.[35]
The lyrics in "Como la Flor" describe a woman witnessing her former lover with another and accepting the need to move forward, wishing them well and comparing her past relationship to a withered flower.[23] 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.[22] Pérez describes the lyrics as "aching",[23] while Wallace finds them plaintive, bringing even "the toughest hombres" to tears.[36] Scholar Deborah 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.[37] During Selena's emotional proclamations of unrequited love, "Como la Flor" exerts a "tensive pull" on the listener.[37] Selena's "teardrop vocals" capture and convey what Roland Barthes referred to as "the grain of Selena's voice".[38]
According to Patoski, "Missing My Baby" exemplifies modern pop,[25] while J. R. Reynolds of Billboard perceives it as an enchanting ballad that blends an R&B-infused tune with Selena's distinctive pop vocal style.[39] Tim Baker of Newsweek found it to be avant-garde for its era.[40] Lyrically, "Missing My Baby" delves into a poignant exploration of longing and reminiscence. The song's narrative centers around a protagonist who mourns the absence of her lover, as she nostalgically recalls the idyllic and rapturous moments once shared between them.[11] Jerry Johnston of the Deseret News commented that Selena exhibited a "Lesley Gore baby-voice" in "Missing My Baby" and displayed remarkable vocal agility.[41]The Virginian-Pilot noted that the song's hooks evoke Diana Ross's "Missing You", a tribute to Marvin Gaye, and the Beach Boys' "Good to My Baby".[42] Tarradell suggested that "Missing My Baby" and other tracks were incorporated into Entre a Mi Mundo as a beneficial addition.[43] Guerra discerned impassioned club rhythms within the music of "Ámame".[44] In "Vuelve a Mí", characterized as a polka,[45] expresses Selena's yearning for a former lover to return. In a recitative preamble accompanied by the auditory backdrop of a thunderstorm, Selena remarks that the precipitation evokes memories of the day her lover departed, drawing a parallel between the raindrops and her own tears.[18]
Release
Marketing
Entre a Mi Mundo preceded Pérez's encounters with law enforcement, his separate involvement in a vandalized hotel room,[46] and his elopement with Selena on April 2, 1992. Upon witnessing Selena and Pérez's intimate interaction on the tour bus, Abraham stopped the vehicle and engaged in a heated dispute with them. He threatened to dissolve the group if the relationship persisted.[47] Selena and Pérez acquiesced; Abraham dismissed Pérez from the band and barred Selena from departing with him. However, the pair secretly continued their relationship. Within hours, the media divulged their elopement, prompting Selena's family to search for her. Abraham initially reacted poorly to the news and distanced himself.[48] He later approached Pérez, offered an apology, accepted the marriage, and reinstated Pérez in the band.[49] In February 1992, EMI Latin enlisted Al Rendon to capture photographs for Entre a Mi Mundo after a previous photographer's images were met with disapproval. Rendon secured a studio and engaged John MacBurney for makeup, despite Abraham's frequent disagreements with MacBurney. MacBurney privately expressed to EMI Latin that Abraham was challenging to work with, yet both Rendon and MacBurney found Selena amenable. Selena selected her outfit and pose for the cover image, choices that visibly perturbed Abraham.[50] Selena had designed the outfit she wore for the artwork.[30] In 1998, the attire she donned for the album cover was displayed at the Selena museum in Corpus Christi, Texas.[51]Entre a Mi Mundo was released in the United States on May 6, 1992.[52] To commemorate Selena's 20th year in the music industry, the album was reissued and made accessible for physical and digital purchase on September 22, 2002.[53] The limited edition featured Selena's duet with Salvadoran singer Álvaro Torres on their 1991 single "Buenos Amigos", a 1989 cover of Air Supply's Russell Hitchcock's solo single "Where Did the Feeling Go?", music videos for "La Carcacha" and "Buenos Amigos", as well as spoken liner notes containing commentary and recollections of each track provided by the singer's family, friends, and band.[53]
Entre a Mi Mundo's lead single, "La Carcacha" was released in April and ascended to the top spot on Radio & Records Tejano Singles chart on the week ending May 30, 1992.[54] The song played a pivotal role in propelling Selena to prominence within the Tejano music industry,[55] while it increased Selena's fanbase in Mexico.[56] The Recording Industry Association of America (RIAA) has certified "La Carcacha" triple Platinum (Latin), denoting 180,000 units consisting of sales and on-demand streaming in the US.[57] "Como la Flor" was released as the second single in June 1992.[58] It peaked at number six on the US BillboardHot Latin Songs chart for the week ending October 24, 1992.[59] Suzette Fernandez of Billboard stated that the song was Selena's first commercially successful single in the US and that it had made a statement in her musical career.[60][Note 1] The success of "Como la Flor" boosted sales of Entre a Mi Mundo.[25] "Como la Flor" was the most-played song on Tejano radio stations in Texas, according to a survey conducted by the Austin American-Statesman.[63] The song was also one of the most-played tracks on radio stations in Houston, Dallas, and San Francisco.[64] The song finished 1992 as the 31st-best-performing song on the Hot Latin Songs chart while topping indie music charts in Texas.[65][66]
In July 1992, EMI Latin president José Behar organized a high-profile press tour for Selena in Monterrey, Mexico, attracting a significant number of Mexican entertainment journalists. Despite initial challenges due to Selena's limited Spanish proficiency and the perception of Tejanos in Mexico, the growing popularity of "¿Qué Creías?" and Entre a Mi Mundo helped Selena connect with the Mexican press and audiences.[67] As a result, "Como la Flor" climbed the Mexican Grupera chart,[68] becoming one of the most-played songs on Mexican radio stations in 1992 and early 1993.[69] "Como la Flor" became one of the most popular songs recorded by an artist of Mexican descent in the US.[70] It is widely considered to be Selena's signature song and her "trademark", "Como la Flor" has become a posthumous epithet and swan song,[71][72] as well as her most popular recording.[73][74][75] This was a surprise, according to Red, because the group believed "La Carcacha" would have been the most successful song off of Entre a Mi Mundo.[76] "Como la Flor" and "La Carcacha" marked Selena's career and cemented her in the public conscious.[77]
The RIAA has certified "Como la Flor" 9× Platinum (Latin), denoting 540,000 units consisting of sales and on-demand streaming in the US.[78] "¿Qué Creías?" entered at number 38 on the Billboard Hot Latin Songs chart on the week ending November 28, 1992.[79] It peaked at number 14 on the issue dated February 6, 1993.[80] The song was certified gold (Latin) by the RIAA, signifying 30,000 units consisted of sales and on-demand streaming.[81] "Ámame" debuted at number 40 on the Billboard Hot Latin Songs chart on the week ending April 24, 1993.[82] "Ámame" peaked at number 27 on the Hot Latin Songs chart in the week ending May 22, 1993.[83] The recording was the third-highest charting Tejano single on the Hot Latin Songs chart for the week, following La Mafia's chart-topper "Me Estoy Enamorado" and Mazz "¿Qué Será?" at number 17.[84] Songs on the album became the first recording by a Tejano singer to achieve massive radio airplay.[85] Selena, alongside Bronco, La Mafia, and Liberación, became one of the most-played artists on Mexican radio stations in 1992.[86]
Performances
By 1992, Selena's appearances in Corpus Christi, Texas, have been sell-outs.[87] Within the initial week of Entre a Mi Mundo's release, Selena performed at Caesar's Palace during the 1992 Premio Lo Nuestro on May 14.[88] She also "captivated" attendees at the Los Angeles Fiesta Broadway, the largest Cinco de Mayo celebration in the US, according to biographer Himilce Novas.[89] In June, Selena made her debut appearance on the Orale Primo music program.[14] In October, she headlined a benefit concert in Houston for victims of Hurricane Andrew, drawing a crowd of 21,000, with proceeds directed toward aiding those affected in Florida.[34] In December, Más, a celebrity magazine targeting the Hispanic market, featured a cover story on Selena. Photographer John Dyer recounted Selena's active involvement in the entire photoshoot, highlighting her amicable demeanor. However, he noted that Selena insisted on a specific style for her eyebrows, fearing her father's disapproval if changed, and found that she "wasn't cynical, standoffish, or haughty; not what'd expect from someone of her stature."[90] At the 1993 Houston Astrodome, Selena performed to a crowd of 57,894 attendees, breaking the matinee record set by La Mafia and Texas Tornados in 1992, and received critical acclaim for her performance.[91] Selena performed at the annual Cinco de Mayo celebration in Fort Worth's Marine Park, attracting an estimated 26,000 attendees. Writing in the Fort Worth Star-Telegram, Elizabeth Campbell lauded Selena's performance who consistently danced across the stage, acknowledging her fans, and believed the standout moment during the show was when Selena and A. B., performed a duet to "Ven Conmigo" (1990). Campbell wrote how Selena received thunderous applause when she performed "Como la Flor",[92] while contributor Thomas Korosec, noted that people lined up that day, had stretched nearly a city block shortly before Selena went on stage.[93]
Subsequent to her July 1992 Mexico press conference, Selena "played her cards right" earning accolades from Mexican newspapers as "an artist of the people".[16] Her refreshing presence diverged from the typical fair-skinned, blond-haired, and green-eyed Mexican telenovela actors. As a result, she secured bookings for numerous concerts throughout Mexico, including a critically acclaimed performance at Festival Acapulco in May 1993, where Patoski dubbed her "the only and absolute queen of the festival."[16] Selena's concert at La Feria de Nuevo León on September 17, 1993, drew 70,000 attendees, and her return on October 5 solidified her status as the preeminent Tejano act in Mexico.[94] In that same month, she appeared on Siempre en Domingo, which helped increased her popularity, as did her subsequent appearance on Veronica Castro's Y Vero América ¡Va!, which was shown throughout Latin America through Televisa.[66] Writing for Vogue México y Latinoamérica, Esteban Villaseñor felt that Selena displayed "charisma, genuineness and talent" during her appearance on Castro's show.[95]
During a performance in Monterrey, a sudden surge of attendees prompted Abraham to order everyone to hide in the tour bus, as he tried unsuccessfully to pacify the unruly crowd. Selena eventually returned to the stage, appealing for calm so the band could continue performing. Pérez described the concert as attended by "tens of thousands", and noted "the craziest, the most zealous fans" the band had were in Mexico. This incident was dramatized by Jennifer Lopez, who played Selena, in the 1997 Warner Bros.biopic about the singer.[96] Oscar Flores, the band's Mexican tour manager, advised Selena and Pérez to conceal their marriage to preserve Selena's image. Despite their reluctance, they complied, believing Flores and Abraham were acting in their best interest. However, Selena eventually resolved to be truthful about her marriage in October 1993.[97][66] In one instance, as she introduced Pérez as her husband, the crowd jeered, to which she responded that if she were married to one of them, they wouldn't boo. The crowd subsequently erupted in laughter and applause.[97]
Commercial performance
Entre a Mi Mundo sold 50,000 units in pre-sale copies,[98][99] and made its debut at number nine on the US Billboard Regional Mexican Albums chart for the week ending June 13, 1992.[100] Tejano music columnist, Rene Cabrera, described the album's Billboard debut as having ascended the chart with "soaring" momentum.[101] On September 5, 1992, it peaked at number one, supplanting La Mafia's Estas Tocando Fuego.[102] Cabrera regarded the event as a remarkable accomplishment, observing that Selena unseated La Mafia, one of the preeminent Tejano groups. He remarked on the distinctiveness of Selena within the Tejano music landscape, asserting that she is the foremost female artist in the genre.[87] The album maintained the number one position for eight consecutive months,[103][104] effectively preventing international artists Vicente Fernandez, Ana Gabriel, and Bronco from claiming the chart's apex.[105] Writing for El Paso Times, Pifas Silva identified Selena as one of the genre's most commercially successful artists in the US.[98] Regarding her success on the Billboard charts and in record sales, Selena expressed her astonishment, noting that the sustained presence on the charts likely indicated a continued interest in purchasing her album.[66]Entre a Mi Mundo finished 1992 as the sixth best-selling US Regional Mexican Album.[106] On July 10, 1993, the album made its entrance at number 10 on the newly established US BillboardTop Latin Albums chart.[107] It ended 1993 as the best-selling US regional Mexican album.[108]
In a 1992 recap, Entre a Mi Mundo contributed to the surpassing sales of the genre's "classic days" of the 1970s.[109] The album became the first recording by a female Tejano singer to reach sales of 100,000,[110] 200,000 units (December 1992),[111] and 300,000 units by December 1993.[112][113]Entre a Mi Mundo outperformed any prior female Tejano singer in terms of sales.[114] and became the second all-time best-selling regional Mexican album in the US since Nielsen SoundScan began tracking sales in 1991.[115]Entre a Mi Mundo became the first album by a Tejano woman to outsell men in the genre.[116]Entre a Mi Mundo reached sales of 385,000 units by April 1994, and sold 200,000 units in Mexico.[117]Entre a Mi Mundo spent at number one on the Regional Mexican Albums chart for 36 consecutive weeks by May 1993, breaking the record for most weeks at number one by a female Tejano artist.[118]
On March 31, 1995, Selena was shot and killed.[119] Media attention had helped increased sales of Entre a Mi Mundo as well as her back catalogue.[115] Record stores were unable to meet demand,[28] and as a result, EMI Latin increased the production of the singer's albums at their Los Angeles, California, and Greensboro, North Carolina plants.[120] It was the fifth best-selling Latin album in southern California in the days following her death.[121]Entre a Mi Mundo and Amor Prohibido (1994), rose 1,250% in sales in the eight weeks following her murder.[122]Entre a Mi Mundo re-entered the Top Latin Albums chart, peaking at number four, all behind other Selena releases.[115] It debuted at number 179 on the Billboard 200, and peaked at number 97 on May 6, 1995.[123] In June, the album was certified Gold by the RIAA, for shipping 500,000 units in the country.[124] It ended 1995 as the seventh best-selling US Latin album, while it was the fourth best-selling US Regional Mexican album, behind other releases by Selena.[125] By 1997, Entre a Mi Mundo had sold 385,000 units in Mexico,[126] the most sold by a female Tejano artist in the country.[127] As of November 2017, Entre a Mi Mundo has been certified Diamond (Latin), denoting 600,000 album-equivalent units sold in the US.[128] As of 2018, Entre a Mi Mundo has sold a combined 1,000,000 copies in the US and Mexico.[129]
The preponderance of contemporary reviews lauded the album, bestowing widespread critical acclaim.[132][133][40] Music critics identified the record as Selena's "breakthrough album",[27][134][135][136] that catapulted her popularity to unprecedented heights across the United States and Mexico.[12]Entre a Mi Mundo was Selena's "coming of age" album, along with its successor Amor Prohibido.[137] Isabelia Herrera of Pitchfork opined that Entre a Mi Mundo helped dispel skepticism, from those who cast aspersions on Tejano music who deemed it excessively antiquated, blue-collar, or catering excessively to non-Latino audiences, by contemporizing the genre's conventions while upholding its loyalty to the working-class.[138] Frida Garza of Texas Monthly felt that the album's release provided audiences invitation to enter the singer's world, as the title implies.[139] Tim Baker in Newsweek believed Selena made a significant advancement from Ven Conmigo to Entre a Mi Mundo. He opined that Entre a Mi Mundo unveiled Selena's ability to adeptly encompass an extensive array of styles within a single endeavor, though retaining its foundation in Latin pop. Baker asserted that Entre a Mi Mundo mirrors its dramatic roots through emotionally evocative compositions and an emergent penchant for experimentation.[40] Fiona Ortiz in The Oregonian said that Selena had "cranked the volume up" on Entre a Mi Mundo.[140]
Joe Galván, writing in Texas Monthly, wrote how he devoted months to repeatedly listening to the album and was captivated by the agile keyboard foundations of the songs on the album.[141] Cabrera called it a "barn-burner" recording.[87] Bruce Tomaso of The Dallas Morning News attributed Selena's appeal to a "sizable audience" to her distinct Tejano pop and vocal prowess.[142] Ramiro Burr from the San Antonio Express-News opined that Entre a Mi Mundo fortified the "Selena juggernaut",[143] and felt her vocal technique, which he believed to be a fusion of Gloria Estefan's emotive tremors and Debbie Gibson's youthful timbre, has enhanced in scope and profundity.[66] Guerra expressed how he was instantly captivated by "Selena's brand" of Tejano music and deemed the album a "diverse collection", attributing the singer's "transformation into a Latin music icon" to the record.[144] Guerra felt that Entre a Mi Mundo contained more pop influences as Selena demonstrated growth as a singer and adeptness in interpreting songs on the album,[145] while it became a milestone for the singer,[12] that has retained its innovative sound well into the 21st century.[146]David Browne, an editor for Entertainment Weekly, characterized the album as a "tentative potpourri of both modern and traditional styles".[131] According to Jeremy Simmonds in his book The Encyclopedia of Dead Rock Stars (2012), songs in Entre a Mi Mundo could be perceived as rather unremarkable in nature.[147] Domino Renee Perez, writing in the Houston Chronicle, posited that Entre a Mi Mundo "[served] as a gateway" for Selena's subsequent releases.[148]
Entre a Mi Mundo brought in pop fans unfamiliar with Tejano music.[132] According to Tarradell, Selena successfully fulfilled her potential in the album, which was designed to present her to a global audience.[13] Tarradell concurred that the album marked Selena's foray into the Latin pop music market and served as a "star-making turn" for the solo artist.[134][43]Entre a Mi Mundo made Selena "a superstar",[28] and is featured on The History of Texas Music's recommended listen list.[149]
Credits adapted from the liner notes of Entre a Mi Mundo, while all songs featured on the album were produced by A. B. Quintanilla unless specified.[11]
↑ Selena's first commercially successful single in the United States is her version of "La Bamba",[61] which peaked at number 19 on Billboard's Hot Latin Songs chart on the week ending August 8, 1987.[62]
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.
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.
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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.
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".
Momentos Intimos is a compilation album by American singer Selena and released posthumously on March 23, 2004, through EMI Latin. The album contains 24 tracks, though the last eight are spoken liner notes provided by the singer's family, friends, and her Los Dinos band. The songs on the album range from "Como Te Quiero Yo A Ti" (1988), a re-recorded version modernized and remixed on the album, to "Puede Ser", an unreleased duet with Nando "Guero" Dominguez, recorded two weeks before Selena was shot and killed in March 1995. Following Selena's death, her father Abraham Quintanilla expressed his interest in persevering his daughter's memory through her works. Selena's family has been criticized by fans and the media for exploiting the singer and cannibalizing her murder by commercializing her repertoire.
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"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.
"Ámame" is a song by American singer Selena, taken from her third studio album, Entre a Mi Mundo (1992). Selena and Chris Pérez began secretly dating subsequent to Pérez's reintegration into Selena y Los Dinos in the summer of 1991, despite her father's objections. The song was written by Selena and conveys her sentiments towards Pérez as they concealed their liaison from familial scrutiny. Pete Astudillo contributed to the lyrical development of the composition, while A. B. Quintanilla handled production. It was released as the fourth and final single from the album in April 1993.
"¿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.
"Como la Flor" 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 cumbia torch 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.
"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".
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.
Baker, Tim (2018). "The Life and Legacy of Tejano's Queen". Newsweek (100). A great leap forward compared to Ven Conmigo, Entre a Mi Mundo revealed Selena could tackle a wide variety of styles in a single project. While still composed of Latin pop tracks, the album delivers a diverse track list that won acclaim from critics. Traditionally flavored Mexican ballads like "Que Creias" appear alongside reggae influenced fare such as "La Carcacha". "Missing My Baby" was noticeably ahead of its time. Entre a Mi Mundo reflects its dramatic origins with emotionally charged music and a newfound love of experimentation.
Barkley, Roy (2003). The Handbook of Texas Music. Austin, Texas: Texas State Historical Association in cooperation with the Center for Studies in Texas History at the University of Texas at Austin. ISBN0876111932.
Cohen, Howard (March 27, 1997). "Music Review". Springfield News-Sun. Retrieved April 24, 2023.
Chirinos, Fanny S (March 27, 2005). "Selena Fans Flock to City". Corpus Christi Caller-Times. Retrieved March 31, 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.
Galván, Joe (April 2021). "In Selena, Queer Tejanos See Themselves as Brilliantly Transfigured and Free to Love Grandly". Texas Monthly. ProQuest2544571844– via ProQuest.
Garza, Frida (April 2021). "Selena Embraced Her Heritage and Championed Its Evolution in Style". Texas Monthly. ProQuest2544571779– via ProQuest.
Jones, Veda Boyd (2013). Selena. Infobase Learning. ISBN9781438146379.
Jimenez, Abel (March 16, 2010). "15 Anos Sin Selena Consequimos Su Portafolios Nunca Visto". TvNotas. 11 (689). En este disco se incluiria su cancion mas importante: "Como la Flor", asi como "La Carcacha", temas que marcaron su carrera y la consolidaron en el guesto del publico.
Kanellos, Nicolás (2023). Latino almanac: from early explorers to corporate leaders. Visible Ink Press. ISBN9781578597536.
Koster, Rick (2000). Texas Music (1sted.). St. Martin's Griffin. ISBN9780312254254.
Oliva, John (August 25, 2022). "Selena: 11 deep cuts from the Queen of Tejano you should be listening to". Corpus Christi Caller-Times. ProQuest2706102503– via ProQuest.
San-Juan, Rocio (December 1992). "Selena y Los Dinos: La Revelacion del '92". Norteña Musical (23). (1) Entro fuerte y con el pie derecho cantando su "Carcacha", cancion que le dio el exito definintivo entre el publico Mexicano. (2) Selena, Bronco, La Mafia, y Liberacion, fueron los grupos que mas sonaron en la radio durante 1992.
Stacy, Lee (2002). Mexico and the United States. New York: Marshall Cavendish. ISBN0-7614-7402-1.
Silva, Pifas (September 11, 1993). "Paso Del Norte's Musical Lineup". Corpus Christi Caller-Times. Retrieved March 31, 2023– via Newspapers.com.
Simmonds, Jeremy (2012). The encyclopedia of dead rock stars: heroin, handguns, and ham sandwiches (Seconded.). Chicago Review Press. ISBN9781613744789.
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