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Entre a Mi Mundo
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 "¿Qué Creías?", 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 José Behar 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 "¿Qué Creías?" 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 Billboard Regional 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.
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. Pérez elected to join Selena y Los Dinos, and abandoned his recently formed rock band. 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.
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. A. B. convinced Abraham that Pérez was proficient in performing Tejano music, maintaining that Pérez's rocker image was innocuous. 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. After Selena's 1989 self-titled album surpassed the performance of other female Tejano artists' releases, A. B. secured his position. The group's second studio album, Ven Conmigo (1990), achieved a top-five ranking on the United States Billboard Regional 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. The company's mission for Selena's next album was to expand the singer's popularity within the Latin music market in the US.
Pérez was taken back at the group's work ethic throughout the entire production of Entre a Mi Mundo, which was the inaugural album on which he collaborated with the ensemble. 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. EMI Latin hired Argentine producer Bebu Silvetti to assist A. B. during the production of Entre a Mi Mundo. 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. 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.
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. The writing process commenced in early 1991. 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".
Entre a Mi Mundo
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 "¿Qué Creías?", 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 José Behar 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 "¿Qué Creías?" 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 Billboard Regional 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.
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. Pérez elected to join Selena y Los Dinos, and abandoned his recently formed rock band. 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.
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. A. B. convinced Abraham that Pérez was proficient in performing Tejano music, maintaining that Pérez's rocker image was innocuous. 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. After Selena's 1989 self-titled album surpassed the performance of other female Tejano artists' releases, A. B. secured his position. The group's second studio album, Ven Conmigo (1990), achieved a top-five ranking on the United States Billboard Regional 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. The company's mission for Selena's next album was to expand the singer's popularity within the Latin music market in the US.
Pérez was taken back at the group's work ethic throughout the entire production of Entre a Mi Mundo, which was the inaugural album on which he collaborated with the ensemble. 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. EMI Latin hired Argentine producer Bebu Silvetti to assist A. B. during the production of Entre a Mi Mundo. 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. 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.
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. The writing process commenced in early 1991. 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".