fbpx
Wikipedia

Entre a Mi Mundo

February 26, 2024

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 sustained 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 sundry 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.

Entre a Mi Mundo
Studio album by
Selena
ReleasedMay 6, 1992 (1992-05-06)
Recorded1991-1992
StudioAMEN Studio
GenreTejano cumbia
Length34:16
Language
  • Spanish
  • English
LabelEMI Latin
Producer
Selena chronology
Ven Conmigo
(1990) 		Entre a Mi Mundo
(1992) 		Selena Live!
(1993)
Selena studio album chronology
Ven Conmigo
(1990) 		Entre a Mi Mundo
(1992) 		Amor Prohibido
(1994)
Singles from Entre a Mi Mundo
  1. "La Carcacha"
    Released: April 1992
  2. "Como la Flor"
    Released: June 1992
  3. "¿Qué Creias?"
    Released: November 1992
  4. "Amame"
    Released: April 1993

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-pleasure "¿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 acclamation. 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, entreating tranquility 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.

Production and development edit

 
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 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.[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]

Writing and recording edit

 
It took a decade for A. B. Quintanilla (pictured) to write "Como la Flor", after conceptualizing the idea in 1982.

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 "¿Qué Creias?", 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]

Composition edit

 
"Como La Flor"
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]
Problems playing this file? See media help.

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 edit

Marketing edit

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 Billboard Hot 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 edit

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 edit

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 Billboard Top 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]

Critical reception edit

Reviews edit

Professional ratings
Review scores
SourceRating
AllMusic     [130]
Entertainment WeeklyB[131]
Spin4/10[28]

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]

Accolades edit

At the 1993 Lo Nuestro Awards, Selena tied with La Mafia's Estas Tocando Fuego for Best Regional Mexican Album for Entre a Mi Mundo. At the awards ceremony, "Como la Flor" won Regional Mexican Song of the Year.[150] At the 1993 Tejano Music Awards, "Como la Flor" was nominated for Song of the Year but was dropped during preliminaries, which was considered a surprise according to Cabrera, who expected Selena to win the category. "La Carcacha" was nominated for Single of the Year, but was too, dropped.[151] Selena's duet with Astudillo on "Siempre Estoy Pensando En Ti" was nominated for Vocal Duo of the Year.[152] Entre a Mi Mundo won Album of the Year — Orchestra, and Selena was awarded Female Vocalist and Female Entertainer of the Year, which she had done the previous year as well.[153]

Track listing edit

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]

No.TitleWriter(s)Length
1."Si La Quieres"Ricky Vela3:10
2."Como la Flor"
3:02
3."Yo Te Sigo Queriendo"
  • A. B.
  • Vela
3:08
4."¿Qué Creias?"
  • A. B.
  • Astudillo
3:30
5."Las Cadenas"
  • A. B.
  • Vela
3:54
6."Vuelve A Mí"
  • A. B.
  • Astudillo
3:37
7."La Carcacha"
  • A. B.
  • Astudillo
4:09
8."Siempre Estoy Pensando En Ti"
  • A. B.
  • Astudillo
3:01
9."Missing My Baby"A. B.3:48
10."Ámame"
  • Selena
  • Astudillo
3:37
Total length:34:16
2002 re-release bonus tracks
No.TitleWriter(s)Producer(s)Length
11."Buenos Amigos" (featuring Álvaro Torres)Álvaro TorresEnrique Elizondo4:44
12."Where Did the Feeling Go?"Michael Masser, Norman Saleet
  • Masser
  • A. B.
3:44
13."Spoken Liner Notes" (commentary recollections provided by Selena's family, friends, and her band.)Nir SeroussiSuzette Quintanilla12:42
14."La Carcacha" (music video)
  • A. B.
  • Astudillo
 4:09
15."Buenos Amigos" (music video)Torres 4:44

Credits and personnel edit

Credits adapted from the liner notes of Entre a Mi Mundo.[11]

Instruments
Technical and production credits

Charts edit

Weekly charts edit

Year-end charts edit

Year-end chart performance for Entre a Mi Mundo
Chart (1992) Position
US Regional Mexican Albums (Billboard)[106] 6
Chart (1993) Position
US Regional Mexican Albums (Billboard)[108] 1
Chart (1994) Position
US Top Latin Albums (Billboard)[154] 30
Chart (1995) Position
US Top Latin Albums (Billboard)[125] 7
US Regional Mexican Albums (Billboard)[125] 4

Certifications and sales edit

Certifications and sales for Entre a Mi Mundo
Region Certification Certified units/sales
Mexico — 385,000[126]
United States (RIAA)[128] Diamond (Latin) 600,000‡

‡ Sales+streaming figures based on certification alone.

See also edit

Notes edit

  1. ^ 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]

References edit

  1. ^ Pérez 2012, p. 22.
  2. ^ Pérez 2012, p. 24.
  3. ^ Patoski 1996, p. 90.
  4. ^ a b Anon. 2007.
  5. ^ Quintanilla & 2002 (a).
  6. ^ Peña 2002, p. 205.
  7. ^ Stacy 2002, p. 746.
  8. ^ Quintanilla & 2002 (b).
  9. ^ Cabrera & 1992 (a), p. 60.
  10. ^ Quintanilla 2002, p. 2.
  11. ^ a b c d e f g h i j k l m n Quintanilla 2002.
  12. ^ a b c Guerra 2019.
  13. ^ a b Tarradell 2015.
  14. ^ a b c d Patoski 1996, p. 100.
  15. ^ Pérez 2012, p. 53.
  16. ^ a b c d e Patoski 1996, p. 113.
  17. ^ Burr 1993.
  18. ^ a b Oliva 2022.
  19. ^ Pérez 2012, pp. 30, 39.
  20. ^ Pérez 2012, pp. 76–77.
  21. ^ Quintanilla 1998, p. 9.
  22. ^ a b Ramirez & 2015 (a).
  23. ^ a b c Pérez 2012, p. 111.
  24. ^ Pérez 2012, p. 113.
  25. ^ a b c d Patoski 1996, p. 101.
  26. ^ Guerra 2005, p. 7.
  27. ^ a b Cobo 2002, p. 26.
  28. ^ a b c d e f Anon. & 1995 (a), p. 96.
  29. ^ a b c Burr 1999, p. 188.
  30. ^ a b Romo 2018, pp. 1, 6.
  31. ^ Patoski 1996, p. 118.
  32. ^ Burr & Shannon 2003, p. 91.
  33. ^ Tarradell 2001.
  34. ^ a b Patoski 1996, p. 102.
  35. ^ Garcia 1993, p. 1.
  36. ^ Wallace 2016, p. 92.
  37. ^ a b Parédez 2009, p. 1089.
  38. ^ Parédez 2009, pp. 51, 1125.
  39. ^ Reynolds 1995, p. 96.
  40. ^ a b c Baker 2018, p. 39.
  41. ^ Johnston 1995.
  42. ^ Anon. & 1995 (b).
  43. ^ a b Tarradell 2000.
  44. ^ Guerra 2020.
  45. ^ Saldana 1995.
  46. ^ Pérez 2012, pp. 56–58, 98.
  47. ^ Pérez 2012, p. 79.
  48. ^ Pérez 2012, pp. 93, 99.
  49. ^ Pérez 2012, p. 105.
  50. ^ Patoski 1996, pp. 96–97.
  51. ^ Burr 1998, p. 1G.
  52. ^ Erlewine & n.d. (a).
  53. ^ a b Erlewine & n.d. (b).
  54. ^ Cabrera 1998, p. 67.
  55. ^ Chirinos 2005, p. 1.
  56. ^ San-Juan 1992, p. 2.
  57. ^ Anon. & n.d. (a).
  58. ^ Anon. & 1992 (k), p. 33.
  59. ^ Anon. & 1992 (l), p. 40.
  60. ^ Fernandez 2020.
  61. ^ Patoski 1996, p. 66.
  62. ^ Anon. 1987.
  63. ^ Anon. & 1992 (h), p. 93.
  64. ^ Anon. & 1992 (j), p. 60.
  65. ^ Anon. & 1992 (i), p. YE-54.
  66. ^ a b c d e Burr & 1993 (a), p. 86.
  67. ^ Patoski 1996, pp. 101–102.
  68. ^ Anon. & 1993 (f), p. 40.
  69. ^ Anon. & 1993 (g), p. 43.
  70. ^ Tamayo 2020.
  71. ^ Parédez 2009, pp. 1034, 1053.
  72. ^ Blanco-Cano & Urquijo-Ruiz 2011, p. 227.
  73. ^ Ragland 1996.
  74. ^ Márquez 2001, p. 20.
  75. ^ Mottola 2016, p. 105.
  76. ^ Del Toro 2005, p. 23.
  77. ^ Jimenez 2010, p. 8.
  78. ^ Anon. & n.d. (b).
  79. ^ Anon. & 1992 (d), p. 36.
  80. ^ Anon. & 1993 (h), p. 47.
  81. ^ Anon. & n.d. (c).
  82. ^ Lannert & 1993 (a), p. 29.
  83. ^ Lannert & 1993 (b), p. 73.
  84. ^ Cabrera 1993, p. 83.
  85. ^ Koster 2000, p. 237.
  86. ^ San-Juan 1992, p. 82.
  87. ^ a b c Cabrera & 1992 (c), p. 94.
  88. ^ Patoski 1996, p. 99.
  89. ^ Novas 1995, p. 58.
  90. ^ Patoski 1996, pp. 106–107.
  91. ^ Cabrera & 1993 (c), p. 73.
  92. ^ Campbell & Korosec 1993, p. 27.
  93. ^ Campbell & Korosec 1993, p. 24.
  94. ^ Patoski 1996, p. 103.
  95. ^ Villaseñor 2021.
  96. ^ Pérez 2012, pp. 123–124.
  97. ^ a b Pérez 2012, pp. 123–128.
  98. ^ a b Silva 1993, p. 45.
  99. ^ Anon. & 1993 (e), p. 10.
  100. ^ Anon. & 1992 (e).
  101. ^ Cabrera & 1992 (b), p. 88.
  102. ^ a b Anon. & 1992 (f).
  103. ^ Anon. & 1992 (g).
  104. ^ Kanellos 2023.
  105. ^ Cabrera & 1992 (d), p. 81.
  106. ^ a b Anon. & 1992 (c), p. YE-54.
  107. ^ Anon. & 1993 (c), p. 26.
  108. ^ a b Anon. & 1993 (d), p. YE-58.
  109. ^ Burr 1992, p. 50.
  110. ^ Burr 1993, p. 50.
  111. ^ Cabrera & 1992 (e), p. 96.
  112. ^ Bruns 2008, p. 463.
  113. ^ Barkley 2003, p. 285.
  114. ^ Hartman 2008, p. 52.
  115. ^ a b c d e Lannert, Bronson & Mayfield 1995, p. 72, 80, 82.
  116. ^ Cohen 1997, p. 9.
  117. ^ Burr 1994, p. 30.
  118. ^ Burr & 1993 (b), p. 16.
  119. ^ Verhovek 1995, p. 1.
  120. ^ Mejias-Rentas 1995, p. 31.
  121. ^ Anon. & 1995 (g), p. 62.
  122. ^ Peoples 2010.
  123. ^ Anon. & 1995 (f).
  124. ^ Lannert & 1995 (b), p. 47.
  125. ^ a b c Anon. & 1995 (d), pp. YE-65-66.
  126. ^ a b Arrarás 1997, p. 104.
  127. ^ Anon. 2020.
  128. ^ a b Anon. & n.d. (d).
  129. ^ McDonnell 2018.
  130. ^ Bogdanov 2001, p. 933.
  131. ^ a b Browne 1995.
  132. ^ a b Doeden 2017, p. 38.
  133. ^ Jones 2013.
  134. ^ a b Tarradell 1995.
  135. ^ a b Anon. & 1995 (e).
  136. ^ Burr 1995.
  137. ^ Maldonado 1996, p. 9.
  138. ^ Herrera 2022.
  139. ^ Garza 2021.
  140. ^ Ortiz 1995, p. D01.
  141. ^ Galván 2021.
  142. ^ Tomaso 1995.
  143. ^ Burr 1996.
  144. ^ Guerra 2005, p. 9.
  145. ^ Guerra 2000, p. 14.
  146. ^ Guerra 2018, p. D008.
  147. ^ Simmonds 2012, p. 333.
  148. ^ Perez 2015.
  149. ^ Hartman 2008, p. 55.
  150. ^ Anon. & 1993 (i), pp. 10, 121.
  151. ^ Cabrera & 1993 (b), p. 83.
  152. ^ Anon. & 1992 (m), p. 58.
  153. ^ Anon. & n.d. (e).
  154. ^ Anon. & 1994 (d), p. 57.

Bibliography edit

  • "RIAA Gold & Platinum ("La Carcacha")". RIAA.com. Archived from the original on March 30, 2023. Retrieved March 17, 2022.
  • "RIAA Gold & Platinum ("Como la Flor")". RIAA.com. Archived from the original on March 30, 2023. Retrieved March 17, 2022.
  • "RIAA Gold & Platinum ("Que Creias")". RIAA. Archived from the original on April 10, 2022. Retrieved April 10, 2022.
  • "RIAA Gold & Platinum (Entre a Mi Mundo)". RIAA.com. Archived from the original on March 31, 2023. Retrieved March 30, 2023.
  • . Texas Talent Association. Archived from the original on September 30, 2000. Retrieved December 16, 2011.
  • "Hot Latin Songs > August 8, 1987". Billboard. August 8, 1987. Archived from the original on April 2, 2022. Retrieved April 2, 2022.
  • "Billboard Year-end Charts > 1992" (PDF). Billboard. Vol. 104, no. 52. December 26, 1992. p. YE-40. Retrieved May 21, 2017.
  • "Hot Latin Songs > November 28, 1992". Billboard. Vol. 104, no. 48. November 28, 1992. p. 36. Retrieved May 21, 2017.
  • "Regional Mexican Albums > June 13, 1992". Billboard. Retrieved May 22, 2017.
  • "Regional Mexican Albums > September 5, 1992". Billboard. Retrieved May 22, 2017.
  • "Regional Mexican Albums > May 15, 1993". Billboard. Retrieved May 22, 2017.
  • "Top Tejano Singles". Austin American Statesman. September 2, 1992. Archived from the original on April 1, 2022. Retrieved March 27, 2022 – via Newspapers.com.
  • "1992, The Year in Music" (PDF). Billboard. Vol. 104, no. 52. December 26, 1992. ISSN 0006-2510. Retrieved March 21, 2022.
  • "Discos Mas Populares > October 2, 1992". El Siglo de Torreón. October 2, 1992. Archived from the original on May 12, 2022. Retrieved May 12, 2022.
  • "Hot Latin Songs > July 18, 1992" (PDF). Billboard. Vol. 104, no. 29. July 18, 1992. ISSN 0006-2510. Archived from the original (PDF) on April 1, 2022. Retrieved March 21, 2022.
  • "Hot Latin Songs > October 24, 1992" (PDF). Billboard. Vol. 104, no. 43. October 24, 1992. ISSN 0006-2510. Retrieved March 21, 2022.
  • "Top Latin Albums > July 10, 1993". Billboard. Retrieved May 22, 2017.
  • "1993 Tejano Music Award Nominess". El Paso Times. December 11, 1992. Retrieved March 31, 2023 – via Newspapers.com.
  • "Billboard Year-end Chart > 1993" (PDF). Billboard. Vol. 105, no. 52. December 25, 1993. p. YE-58. Retrieved May 22, 2017.
  • "Selena Appeals to fans in U.S. and Mexico". New Braunfels Herald-Zeitung. April 4, 1993. Retrieved June 2, 2017.
  • "Mexico Groupera Songs > January 26, 1993". El Siglo de Terron (in Spanish). January 26, 1993. Archived from the original on March 30, 2023. Retrieved March 30, 2023 – via Elsiglodeterron.mx.
  • "Listas Mas Populares". El Siglo de Torreón. March 2, 1993.
  • "Hot Latin Songs > November 28, 1992". Billboard. Vol. 104, no. 48. November 28, 1992. p. 36. ISSN 0006-2510. Retrieved March 17, 2022.
  • "Nominations for Lo Nuestro Awards, 1993" (PDF). Billboard. Vol. 105, no. 11. March 13, 1993. ISSN 0006-2510. Retrieved March 21, 2022.
  • "1994: The Year in Music". Billboard. Vol. 106, no. 52. December 24, 1994. p. 60. Retrieved September 19, 2015.
  • "Records". Spin. 11 (5). August 1995. Retrieved August 19, 2016.
  • "Daily Break". The Virginian-Pilot. August 11, 1995. Retrieved November 18, 2011.
  • "1995: The Year in Music" (PDF). Billboard. Vol. 107, no. 51. December 23, 1995. p. 78. Retrieved May 13, 2015.
  • "Record company planning Selena retrospective". Fort Worth Star-Telegram. April 12, 1995. Retrieved November 18, 2011.
  • "Billboard 200 > May 6, 1995". Billboard. Retrieved May 22, 2017.
  • "The Charts Selena Forever". The Los Angeles Times. April 9, 1995. ProQuest 293134870.
  • Anon. (November 26, 2008). "Selena: Biography". Biography. 60 minutes in. A&E.
  • "Selena: 25 años sin la reina del Tex-Mex". El Porvenir. March 30, 2020. Archived from the original on April 1, 2023. Retrieved April 1, 2023.
  • Arrarás, María Celeste (1997). Selena's Secret: The Revealing Story Behind Her Tragic Death. Simon and Schuster. ISBN 0-684-83193-7.
  • 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. ISBN 0876111932.
  • Bogdanov, Vladimir (2001). All Music Guide: The Definitive Guide to Popular Music (4th ed.). San Francisco, CA: Backbeat Books. ISBN 0-87930-627-0.
  • Browne, David (May 12, 1995). "Selena: Crossover Dreams". Entertainment Weekly. p. 2. from the original on November 6, 2016. Retrieved August 19, 2016.
  • Blanco-Cano, Rosana; Urquijo-Ruiz, Rita E. (2011). Global Mexican cultural productions (1st ed.). Palgrave Macmillan. ISBN 978-0-230-37039-5.
  • Bruns, Roger (2008). Icons of Latino America : Latino Contributions to American Culture (1st ed.). Westport, CT: Greenwood Press. ISBN 978-0-313-34087-1.
  • Burr, Ramiro (February 25, 1993). "Selena poised for pop success". Retrieved January 22, 2012.
  • Burr, Ramiro (December 18, 1992). "1992 The Year Modern Tex-Mex Ecliped Classic Days of the '70s". El Paso Times. Retrieved March 31, 2023 – via Newspapers.com.
  • Burr, Ramiro (February 23, 1993). "Selena Poised for Pop Success". Austin American Statesman. Retrieved March 27, 2022 – via Newspapers.com.
  • Burr, Ramiro (May 16, 1993). "Top salsa and pop performers to vie for Latin Music Awards". Houston Chronicle. Archived from the original on March 31, 2023. Retrieved March 31, 2023 – via Newsbank.
  • Burr, Ramiro (April 23, 1994). "Tejano music". Billboard. Vol. 106, no. 17. p. 104. Retrieved November 18, 2011.
  • Burr, Ramiro (July 18, 1995). "Selena crosses over to pop – Posthumous release a reminder of talent cut short". San Antonio-Express News. Retrieved November 18, 2011.
  • Burr, Ramiro (March 26, 1996). "Selena hits gold on, off stage – Singer's wedding, break-through album highlight of 1990". San Antonio Express-News. Retrieved November 18, 2011.
  • Burr, Ramiro (June 12, 1998). "Auction of Selena's car triggers family rift". San Antonio Express-News. Retrieved June 2, 2017.
  • Burr, Ramiro (1999). The Billboard Guide to Tejano and Regional Mexican Music. Billboard Books. ISBN 0-8230-7691-1.
  • Burr, Ramiro; Shannon, Doug (2003). Encyclopedia Latina. Scholastic Library Publishing. ISBN 0717258157.
  • Cabrera, Rene (January 3, 1992). "More and More Mazz is Top Tejano Band". Corpus Christi Caller-Times. Retrieved March 31, 2023 – via Newspapers.com.
  • Cabrera, Rene (June 19, 1992). "La Mafia, Tiger Diaz in Concert Friday". Corpus Christi Caller-Times. Retrieved March 31, 2023 – via Newspapers.com.
  • Cabrera, Rene (September 4, 1992). "Labor Day Weekend Packed with Top Latin Acts". Corpus Christi Caller-Times. Retrieved March 31, 2023 – via Newspapers.com.
  • Cabrera, Rene (September 18, 1992). "Selena, La Mafia, Mazz Topping the Charts". Corpus Christi Caller-Times. Retrieved March 31, 2023 – via Newspapers.com.
  • Cabrera, Rene (December 25, 1992). "Top Groups End Year With Area Performances". Corpus Christi Caller-Times. Retrieved March 31, 2023 – via Newspapers.com.
  • Cabrera, Rene (May 21, 1993). "Tejano Acts Moving Up the Billboard Charts". Corpus Christi Caller-Times. Retrieved July 24, 2022 – via Newspapers.com.
  • Cabrera, Rene (February 26, 1993). "Mazz, Navaira Top Tejano Award Nominees". Corpus Christi Caller-Times. Retrieved March 27, 2022 – via Newspapers.com.
  • Cabrera, Rene (March 5, 1993). "Selena, David Lee Draw Crowd in Houston". Corpus Christi Caller-Times. Retrieved March 31, 2023 – via Newspapers.com.
  • Cabrera, Rene (May 29, 1998). "Double Bill on Saturday in Alice; Selena Still Atop Chart with Boxed Set". Corpus Christi Caller-Times. Retrieved March 31, 2022 – via Newspapers.com.
  • Campbell, Elizabeth; Korosec, Thomas (April 26, 1993). "Tejano Musicians Celebrate Good Times at Cinco de Mayo". Fort Worth Star-Telegram. Retrieved March 31, 2023 – via Newspapers.com.
  • Cobo, Leila (October 19, 2002). "Singles Review". Billboard. Vol. 114, no. 42. p. 20. Retrieved August 14, 2015.
  • 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.
  • Doeden, Matt (2017). American Latin Music: Rumba Rhythms, Bossa Nova, and the Salsa Sound. Twenty-First Century Books. ISBN 978-1-4677-0147-1.
  • Erlewine, Stephen Thomas. "Amor Prohibido > Album Review". Allmusic. Retrieved August 18, 2016.
  • Erlewine, Stephen Thomas. "Amor Prohibido > List of releases". Allmusic. Retrieved August 18, 2016.
  • Fernandez, Suzette (March 26, 2020). "Selena's First U.S. Hit 'Como La Flor' Compares a Withering Flower With Losing Love: See English Lyrics". Billboard. Archived from the original on April 1, 2022. Retrieved March 26, 2022.
  • Garcia, Gus (July 26, 1993). "Selena, Sunny wow crowd A Review". Del Rio News Herald. Retrieved June 2, 2017.
  • Galván, Joe (April 2021). "In Selena, Queer Tejanos See Themselves as Brilliantly Transfigured and Free to Love Grandly". Texas Monthly. ProQuest 2544571844 – via ProQuest.
  • Garza, Frida (April 2021). "Selena Embraced Her Heritage and Championed Its Evolution in Style". Texas Monthly. ProQuest 2544571779 – via ProQuest.
  • Guerra, Joey (March 25, 2005). "Collective recordings of Selena span a number of genres". Houston Chronicle. Retrieved August 25, 2016.
  • Guerra, Joey (March 26, 2000). "Selena's Music Over the Years". Houston Chronicle. Retrieved March 31, 2023 – via Newsbank.
  • Guerra, Joey (August 10, 2018). "Cover Story; The 50 Greatest Texas Musicians ever". Houston Chronicle. Retrieved March 31, 2023 – via Newsbank.
  • Guerra, Joey (August 16, 2019). "The new Selena merch collection features a photo taken in Houston". Laredo Morning Times. Archived from the original on April 24, 2023. Retrieved April 24, 2023.
  • Guerra, Joey (March 27, 2020). "These 24 Selena songs don't get played enough". Houston Chronicle. Retrieved July 24, 2022.
  • Hartman, Gary (2008). The History of Texas Music (1st ed.). College Station: Texas A & M University Press. p. 55. ISBN 978-1603443944.
  • Herrera, Isabelia (March 26, 2022). "Selena: Amor Prohibido Album Review". Pitchfork. Archived from the original on April 24, 2023. Retrieved April 24, 2023.
  • Johnston, Jerry (September 8, 1995). . Deseret News. Archived from the original on April 2, 2015. Retrieved August 6, 2012.
  • Jones, Veda Boyd (2013). Selena. Infobase Learning. ISBN 9781438146379.
  • 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. ISBN 9781578597536.
  • Koster, Rick (2000). Texas Music (1st ed.). St. Martin's Griffin. ISBN 9780312254254.
  • Lannert, John (April 24, 1993). "Hot Latin Songs > April 24, 1993" (PDF). Billboard. Vol. 105, no. 17. p. 92. Retrieved July 24, 2022.
  • Lannert, John (May 22, 1993). "Hot Latin Songs > May 22, 1993". Billboard. Vol. 105, no. 22. p. 131. Retrieved July 24, 2022.
  • Lannert, John (June 3, 1995). "Posthumous Certifications For Selena". Billboard. Vol. 107, no. 22. Retrieved August 19, 2016.
  • Maldonado, Vilma (March 31, 1996). "Remembering Selena One Year Later". The Monitor. Retrieved March 31, 2023.
  • Mejias-Rentas, Antonio (April 13, 1995). "Selena, numero uno". La Opinión. 69 (210). Retrieved January 17, 2021.
  • Márquez, Herón (2001). Latin Sensations. Minneapolis: Lerner Publishing Group. ISBN 978-0-8225-4993-2.
  • Mottola, Tommy (2016). A New America: How and Music Reshaped the Culture and Future of a Nation and Redefined My Life. Penguin Books. p. 105. ISBN 978-0451467782.
  • McDonnell, Evelyn (2018). Women who rock : Bessie to Beyoncé, girl groups to riot grrrl (First ed.). Running Press. ISBN 9780316558860.
  • Lannert, John; Bronson, Fred; Mayfield, Geoff (April 15, 1995). "Selena's Tragedy Echoed in Charts". Billboard. Vol. 107, no. 15. pp. 72, 80, 82. Retrieved August 19, 2016.
  • Novas, Himilce (1995). Remembering Selena (1st ed.). Sagebrush Education Resources. ISBN 0-613-92637-4.
  • Oliva, John (August 25, 2022). "Selena: 11 deep cuts from the Queen of Tejano you should be listening to". Corpus Christi Caller-Times. ProQuest 2706102503 – via ProQuest.
  • Ortiz, Fiona M. (April 19, 1995). "Latin Pop 101". The Oregonian. ProQuest 416861748 – via ProQuest.
  • Parédez, Deborah (2009). Selenidad: Selena, Latinos, and the Performance of Memory. Duke University Press. ISBN 978-0-8223-9089-3.
  • Patoski, Joe Nick (1996). Selena: Como La Flor. Boston: Little Brown and Company. ISBN 0-316-69378-2.
  • Peña, Manuel (2002). Música Tejana. Texas A&M University. ISBN 978-0-89096-888-8.
  • Pérez, Chris (2012). To Selena, with Love. Penguin Books. ISBN 978-1-101-58026-4.
  • Perez, Domingo Renee (March 27, 2015). "Perez: For Americans of Mexican descent, Selena's music helped us tell our story". Houston Chronicle. Retrieved May 21, 2017.
  • Peoples, Glenn. "A Year Later: Michael Jackson's Massive Sales Impact". Billboard. Retrieved July 7, 2017.
  • Quintanilla, Selena (1998). Anthology (Media notes). Abraham Quintanilla (written biography). EMI Latin. 7243494110.
  • Quintanilla, Selena (2002). Selena (Media notes). A.B. Quintanilla (producer), Suzette Quintanilla (spoken liner notes producer). EMI Latin. 724354099403.
  • Quintanilla, Selena (2002). Ven Conmigo (Media notes). A.B. Quintanilla (producer), Suzette Quintanilla (spoken liner notes producer). EMI Latin.
  • Quintanilla, Selena (2002). Entre a Mi Mundo (Media notes). A.B. Quintanilla (producer), Suzette Quintanilla (spoken liner notes producer). EMI Latin.
  • Ragland, Kathy (March 24, 1996). "With Respect". Austin American Statesmen. Retrieved March 26, 2022 – via Newspapers.com.
  • Ramirez, Erika (March 31, 2015). "Selena's Legacy: Remembering the Singer on the 20th Anniversary of Her Death". Billboard. Archived from the original on April 1, 2022. Retrieved March 26, 2022.
  • Reynolds, J. R. (August 19, 1995). "The Rhythm and the Blues". Billboard. Vol. 107, no. 33. Retrieved January 22, 2012.
  • Romo, Ricardo (April 15, 2018). "Remembering Selena Quintanilla". La Prensa. ProQuest 2036686119 – via ProQuest.
  • Saldana, Hector (October 27, 1995). "'Storm' in Liberty Band's musical forecast". San Antonio Express-News. Retrieved November 18, 2011.
  • 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. ISBN 0-7614-7402-1.
  • 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 (Second ed.). Chicago Review Press. ISBN 9781613744789.
  • Tamayo, Martin (June 23, 2020). "Conoce las canciones mexicanas más famosas de la de la historia en los EU". El Sol de Sinaloa. Archived from the original on April 1, 2023. Retrieved April 1, 2023.
  • Tarradell, Mario (April 1, 1995). "Singer soared beyond traditional limits on Tejano music". The Dallas Morning News. Retrieved November 18, 2011.
  • Tarradell, Mario (January 25, 2001). "Stampede knifes through struggling Tejano scene". The Dallas Morning News. Retrieved November 18, 2011.
  • Tarradell, Mario (March 30, 2000). "A Decade of Selena: 10 albums showcase the music behind the legend". The Dallas Morning News. Retrieved January 22, 2012.
  • Tarradell, Mario (April 13, 2015). "On what would've been her 44th birthday, Selena's legend endures". The Dallas Morning News. Archived from the original on March 31, 2023. Retrieved March 31, 2023.
  • Tomaso, Bruce (April 1, 1995). "Tejano superstar Selena slain in Corpus Christi". The Dallas Morning News. Retrieved November 18, 2011.
  • Villaseñor, Esteban (May 4, 2021). "La historia de una memorable entrevista de Selena Quintanilla en México". Vogue México y Latinoamérica (in Spanish). Archived from the original on April 1, 2023. Retrieved April 1, 2023.
  • Verhovek, Sam Howe (April 1, 1995). "Grammy-Winning Singer Selena Killed in Shooting at Texas Motel". The New York Times. p. 1. from the original on July 20, 2016. Retrieved August 18, 2016.
  • Wallace, Christian (February 25, 2016). "Texas, My Texas, You Deserve a New State Song". Texas Monthly. Gale A445117357.

External links edit

  • Entre a Mi Mundo at AllMusic
  • Entre a Mi Mundo at Discogs (list of releases)


February 26, 2024
entre, mundo, english, enter, world, third, studio, album, american, singer, selena, released, 1992, latin, label, endeavored, bolster, selena, popularity, within, latin, music, market, united, states, with, this, release, selena, brother, quintanilla, sustain. 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 sustained 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 sundry 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 amp B disco rock funk and synthesized Tejano music Entre a Mi MundoStudio album by SelenaReleasedMay 6 1992 1992 05 06 Recorded1991 1992StudioAMEN StudioGenreTejano cumbiaLength34 16LanguageSpanishEnglishLabelEMI LatinProducerA B Quintanilla Bebu Silvetti Jorge A PinoSelena chronologyVen Conmigo 1990 Entre a Mi Mundo 1992 Selena Live 1993 Selena studio album chronologyVen Conmigo 1990 Entre a Mi Mundo 1992 Amor Prohibido 1994 Singles from Entre a Mi Mundo La Carcacha Released April 1992 Como la Flor Released June 1992 Que Creias Released November 1992 Amame Released April 1993The 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 pleasure Que Creias and Selena s ode to guitarist Chris Perez Amame 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 acclamation 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 Jose 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 Que Creias 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 entreating tranquility 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 America 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 Contents 1 Production and development 2 Writing and recording 3 Composition 4 Release 4 1 Marketing 4 2 Performances 5 Commercial performance 6 Critical reception 6 1 Reviews 6 2 Accolades 7 Track listing 8 Credits and personnel 9 Charts 9 1 Weekly charts 9 2 All time charts 9 3 Year end charts 10 Certifications and sales 11 See also 12 Notes 13 References 14 Bibliography 15 External linksProduction and development edit nbsp Following initial reservations from Abraham Quintanilla Chris Perez 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 Perez replaced Roger Garcia as the guitarist of Selena y Los Dinos Perez developed an admiration for the ensemble subsequent to experiencing their album Preciosa 1988 becoming particularly enamored with A B Quintanilla s musical production 1 Perez elected to join Selena y Los Dinos and abandoned his recently formed rock band 2 In 1990 Perez 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 Perez 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 Perez perceiving him as more of a rocker and deeming him ill suited for a Tejano band Writing for People magazine Betty Cortina asserted that Perez contradicted Abraham s clean cut good kids image 4 A B convinced Abraham that Perez was proficient in performing Tejano music maintaining that Perez 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 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 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 Perez 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 Perez 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 Perez 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 Perez 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 Writing and recording edit nbsp It took a decade for A B Quintanilla pictured to write Como la Flor after conceptualizing the idea in 1982 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 Que Creias 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 amp 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 Perez and Selena began dating after confessing their mutual affection despite her father s disapproval 19 In response to her feelings for Perez and their covert liaison Selena created Amame 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 Composition edit nbsp Como La Flor source source According to Erika Ramirez of Billboard Selena s performance of Como la Flor and No Me Queda Mas 1994 was so passionate and devoted that it left listeners feeling either nostalgic or transported to a fantasy world 22 Problems playing this file See media help 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 Perez 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 amp 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 Perez 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 Perez to perform Las Cadenas in a rock style but later opted for a conjunto small band style Perez 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 Que 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 Que 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 Mas 1994 was so passionate and devoted that it left listeners feeling either nostalgic or transported to a fantasy world 22 Perez describes the lyrics as aching 23 while Wallace finds them plaintive bringing even the toughest hombres to tears 36 Scholar Deborah Paredez 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 amp 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 Amame 44 In Vuelve a Mi 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 editMarketing edit Entre a Mi Mundo preceded Perez 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 Perez 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 Perez acquiesced Abraham dismissed Perez 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 Perez offered an apology accepted the marriage and reinstated Perez 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 Alvaro 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 amp 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 Billboard Hot 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 Jose 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 Que Creias 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 Que Creias 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 Amame debuted at number 40 on the Billboard Hot Latin Songs chart on the week ending April 24 1993 82 Amame 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 Que Sera 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 Liberacion became one of the most played artists on Mexican radio stations in 1992 86 Performances edit 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 Mas 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 Leon 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 America Va which was shown throughout Latin America through Televisa 66 Writing for Vogue Mexico y Latinoamerica Esteban Villasenor 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 Perez 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 Perez 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 Perez 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 editEntre 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 Billboard Top 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 Critical reception editReviews edit Professional ratingsReview scoresSourceRatingAllMusic nbsp nbsp nbsp nbsp nbsp 130 Entertainment WeeklyB 131 Spin4 10 28 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 Galvan 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 Accolades edit At the 1993 Lo Nuestro Awards Selena tied with La Mafia s Estas Tocando Fuego for Best Regional Mexican Album for Entre a Mi Mundo At the awards ceremony Como la Flor won Regional Mexican Song of the Year 150 At the 1993 Tejano Music Awards Como la Flor was nominated for Song of the Year but was dropped during preliminaries which was considered a surprise according to Cabrera who expected Selena to win the category La Carcacha was nominated for Single of the Year but was too dropped 151 Selena s duet with Astudillo on Siempre Estoy Pensando En Ti was nominated for Vocal Duo of the Year 152 Entre a Mi Mundo won Album of the Year Orchestra and Selena was awarded Female Vocalist and Female Entertainer of the Year which she had done the previous year as well 153 Track listing editCredits 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 No TitleWriter s Length1 Si La Quieres Ricky Vela3 102 Como la Flor A B Quintanilla Pete Astudillo3 023 Yo Te Sigo Queriendo A B Vela3 084 Que Creias A B Astudillo3 305 Las Cadenas A B Vela3 546 Vuelve A Mi A B Astudillo3 377 La Carcacha A B Astudillo4 098 Siempre Estoy Pensando En Ti A B Astudillo3 019 Missing My Baby A B 3 4810 Amame Selena Astudillo3 37Total length 34 16 2002 re release bonus tracksNo TitleWriter s Producer s Length11 Buenos Amigos featuring Alvaro Torres Alvaro TorresEnrique Elizondo4 4412 Where Did the Feeling Go Michael Masser Norman SaleetMasser A B 3 4413 Spoken Liner Notes commentary recollections provided by Selena s family friends and her band Nir SeroussiSuzette Quintanilla12 4214 La Carcacha music video A B Astudillo 4 0915 Buenos Amigos music video Torres 4 44Credits and personnel editCredits adapted from the liner notes of Entre a Mi Mundo 11 Vocal creditsSelena vocals background vocals composer Pete Astudillo background vocals A B Quintanilla background vocals Visuals and imagerySuzette Quintanilla stylist Al Rendon photography Lisette Lorenzo art direction Lisy artwork and design Ramon Hernandez re issue photography InstrumentsSuzette Quintanilla drums Chris Perez electric guitar A B Quintanilla bass guitar Joe Ojeda keyboards Ricky Vela keyboards David Lee Garza accordion Manny Guerra accordion Joel Guzman trumpet Rodney B guitar Technical and production creditsA B Quintanilla composer executive producer programmer mixer arranger Ricky Vela composer programmer Jorge A Pino re issue executive producer Brian Red Moore engineering Nir Seroussi editor Guillermo J Page reissue producer Manny Guerra engineer Suzette Quintanilla spoken liner notes producerCharts editWeekly charts edit 1992 95 Weekly chart performance for Entre a Mi Mundo Chart 1992 95 PeakpositionUS Billboard 200 135 97US Top Latin Albums Billboard 115 4US Regional Mexican Albums Billboard 102 1 All time charts edit All time chart performance for Entre a Mi Mundo Chart 1994 PeakpositionUS Regional Mexican Albums Billboard 115 2 Year end charts edit Year end chart performance for Entre a Mi Mundo Chart 1992 PositionUS Regional Mexican Albums Billboard 106 6Chart 1993 PositionUS Regional Mexican Albums Billboard 108 1Chart 1994 PositionUS Top Latin Albums Billboard 154 30Chart 1995 PositionUS Top Latin Albums Billboard 125 7US Regional Mexican Albums Billboard 125 4Certifications and sales editCertifications and sales for Entre a Mi Mundo Region Certification Certified units salesMexico 385 000 126 United States RIAA 128 Diamond Latin 600 000 Sales streaming figures based on certification alone See also edit nbsp Latin music portal1992 in Latin music Selena albums discography Latin American music in the United States Billboard Regional Mexican Albums Year end Chart 1990s List of number one Billboard Regional Mexican Albums of 1992 List of number one Billboard Regional Mexican Albums of 1993 Women in Latin musicNotes edit 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 References edit Perez 2012 p 22 Perez 2012 p 24 Patoski 1996 p 90 a b Anon 2007 Quintanilla amp 2002 a Pena 2002 p 205 Stacy 2002 p 746 Quintanilla amp 2002 b Cabrera amp 1992 a p 60 Quintanilla 2002 p 2 a b c d e f g h i j k l m n Quintanilla 2002 a b c Guerra 2019 a b Tarradell 2015 a b c d Patoski 1996 p 100 Perez 2012 p 53 a b c d e Patoski 1996 p 113 Burr 1993 a b Oliva 2022 Perez 2012 pp 30 39 Perez 2012 pp 76 77 Quintanilla 1998 p 9 a b Ramirez amp 2015 a a b c Perez 2012 p 111 Perez 2012 p 113 a b c d Patoski 1996 p 101 Guerra 2005 p 7 a b Cobo 2002 p 26 a b c d e f Anon amp 1995 a p 96 a b c Burr 1999 p 188 a b Romo 2018 pp 1 6 Patoski 1996 p 118 Burr amp Shannon 2003 p 91 Tarradell 2001 a b Patoski 1996 p 102 Garcia 1993 p 1 Wallace 2016 p 92 a b Paredez 2009 p 1089 Paredez 2009 pp 51 1125 Reynolds 1995 p 96 a b c Baker 2018 p 39 Johnston 1995 Anon amp 1995 b a b Tarradell 2000 Guerra 2020 Saldana 1995 Perez 2012 pp 56 58 98 Perez 2012 p 79 Perez 2012 pp 93 99 Perez 2012 p 105 Patoski 1996 pp 96 97 Burr 1998 p 1G Erlewine amp n d a a b Erlewine amp n d b Cabrera 1998 p 67 Chirinos 2005 p 1 San Juan 1992 p 2 Anon amp n d a Anon amp 1992 k p 33 Anon amp 1992 l p 40 Fernandez 2020 Patoski 1996 p 66 Anon 1987 Anon amp 1992 h p 93 Anon amp 1992 j p 60 Anon amp 1992 i p YE 54 a b c d e Burr amp 1993 a p 86 Patoski 1996 pp 101 102 Anon amp 1993 f p 40 Anon amp 1993 g p 43 Tamayo 2020 Paredez 2009 pp 1034 1053 Blanco Cano amp Urquijo Ruiz 2011 p 227 Ragland 1996 Marquez 2001 p 20 Mottola 2016 p 105 Del Toro 2005 p 23 Jimenez 2010 p 8 Anon amp n d b Anon amp 1992 d p 36 Anon amp 1993 h p 47 Anon amp n d c Lannert amp 1993 a p 29 Lannert amp 1993 b p 73 Cabrera 1993 p 83 Koster 2000 p 237 San Juan 1992 p 82 a b c Cabrera amp 1992 c p 94 Patoski 1996 p 99 Novas 1995 p 58 Patoski 1996 pp 106 107 Cabrera amp 1993 c p 73 Campbell amp Korosec 1993 p 27 Campbell amp Korosec 1993 p 24 Patoski 1996 p 103 Villasenor 2021 Perez 2012 pp 123 124 a b Perez 2012 pp 123 128 a b Silva 1993 p 45 Anon amp 1993 e p 10 Anon amp 1992 e Cabrera amp 1992 b p 88 a b Anon amp 1992 f Anon amp 1992 g Kanellos 2023 Cabrera amp 1992 d p 81 a b Anon amp 1992 c p YE 54 Anon amp 1993 c p 26 a b Anon amp 1993 d p YE 58 Burr 1992 p 50 Burr 1993 p 50 Cabrera amp 1992 e p 96 Bruns 2008 p 463 Barkley 2003 p 285 Hartman 2008 p 52 a b c d e Lannert Bronson amp Mayfield 1995 p 72 80 82 Cohen 1997 p 9 Burr 1994 p 30 Burr amp 1993 b p 16 Verhovek 1995 p 1 Mejias Rentas 1995 p 31 Anon amp 1995 g p 62 Peoples 2010 Anon amp 1995 f Lannert amp 1995 b p 47 a b c Anon amp 1995 d pp YE 65 66 a b Arraras 1997 p 104 Anon 2020 a b Anon amp n d d McDonnell 2018 Bogdanov 2001 p 933 a b Browne 1995 a b Doeden 2017 p 38 Jones 2013 a b Tarradell 1995 a b Anon amp 1995 e Burr 1995 Maldonado 1996 p 9 Herrera 2022 Garza 2021 Ortiz 1995 p D01 Galvan 2021 Tomaso 1995 Burr 1996 Guerra 2005 p 9 Guerra 2000 p 14 Guerra 2018 p D008 Simmonds 2012 p 333 Perez 2015 Hartman 2008 p 55 Anon amp 1993 i pp 10 121 Cabrera amp 1993 b p 83 Anon amp 1992 m p 58 Anon amp n d e Anon amp 1994 d p 57 Bibliography edit RIAA Gold amp Platinum La Carcacha RIAA com Archived from the original on March 30 2023 Retrieved March 17 2022 RIAA Gold amp Platinum Como la Flor RIAA com Archived from the original on March 30 2023 Retrieved March 17 2022 RIAA Gold amp Platinum Que Creias RIAA Archived from the original on April 10 2022 Retrieved April 10 2022 RIAA Gold amp Platinum Entre a Mi Mundo RIAA com Archived from the original on March 31 2023 Retrieved March 30 2023 Tejano Music Past Award Winners Texas Talent Association Archived from the original on September 30 2000 Retrieved December 16 2011 Hot Latin Songs gt August 8 1987 Billboard August 8 1987 Archived from the original on April 2 2022 Retrieved April 2 2022 Billboard Year end Charts gt 1992 PDF Billboard Vol 104 no 52 December 26 1992 p YE 40 Retrieved May 21 2017 Hot Latin Songs gt November 28 1992 Billboard Vol 104 no 48 November 28 1992 p 36 Retrieved May 21 2017 Regional Mexican Albums gt June 13 1992 Billboard Retrieved May 22 2017 Regional Mexican Albums gt September 5 1992 Billboard Retrieved May 22 2017 Regional Mexican Albums gt May 15 1993 Billboard Retrieved May 22 2017 Top Tejano Singles Austin American Statesman September 2 1992 Archived from the original on April 1 2022 Retrieved March 27 2022 via Newspapers com 1992 The Year in Music PDF Billboard Vol 104 no 52 December 26 1992 ISSN 0006 2510 Retrieved March 21 2022 Discos Mas Populares gt October 2 1992 El Siglo de Torreon October 2 1992 Archived from the original on May 12 2022 Retrieved May 12 2022 Hot Latin Songs gt July 18 1992 PDF Billboard Vol 104 no 29 July 18 1992 ISSN 0006 2510 Archived from the original PDF on April 1 2022 Retrieved March 21 2022 Hot Latin Songs gt October 24 1992 PDF Billboard Vol 104 no 43 October 24 1992 ISSN 0006 2510 Retrieved March 21 2022 Top Latin Albums gt July 10 1993 Billboard Retrieved May 22 2017 1993 Tejano Music Award Nominess El Paso Times December 11 1992 Retrieved March 31 2023 via Newspapers com Billboard Year end Chart gt 1993 PDF Billboard Vol 105 no 52 December 25 1993 p YE 58 Retrieved May 22 2017 Selena Appeals to fans in U S and Mexico New Braunfels Herald Zeitung April 4 1993 Retrieved June 2 2017 Mexico Groupera Songs gt January 26 1993 El Siglo de Terron in Spanish January 26 1993 Archived from the original on March 30 2023 Retrieved March 30 2023 via Elsiglodeterron mx Listas Mas Populares El Siglo de Torreon March 2 1993 Hot Latin Songs gt November 28 1992 Billboard Vol 104 no 48 November 28 1992 p 36 ISSN 0006 2510 Retrieved March 17 2022 Nominations for Lo Nuestro Awards 1993 PDF Billboard Vol 105 no 11 March 13 1993 ISSN 0006 2510 Retrieved March 21 2022 1994 The Year in Music Billboard Vol 106 no 52 December 24 1994 p 60 Retrieved September 19 2015 Records Spin 11 5 August 1995 Retrieved August 19 2016 Daily Break The Virginian Pilot August 11 1995 Retrieved November 18 2011 1995 The Year in Music PDF Billboard Vol 107 no 51 December 23 1995 p 78 Retrieved May 13 2015 Record company planning Selena retrospective Fort Worth Star Telegram April 12 1995 Retrieved November 18 2011 Billboard 200 gt May 6 1995 Billboard Retrieved May 22 2017 The Charts Selena Forever The Los Angeles Times April 9 1995 ProQuest 293134870 Anon November 26 2008 Selena Biography Biography 60 minutes in A amp E Selena 25 anos sin la reina del Tex Mex El Porvenir March 30 2020 Archived from the original on April 1 2023 Retrieved April 1 2023 Arraras Maria Celeste 1997 Selena s Secret The Revealing Story Behind Her Tragic Death Simon and Schuster ISBN 0 684 83193 7 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 ISBN 0876111932 Bogdanov Vladimir 2001 All Music Guide The Definitive Guide to Popular Music 4th ed San Francisco CA Backbeat Books ISBN 0 87930 627 0 Browne David May 12 1995 Selena Crossover Dreams Entertainment Weekly p 2 Archived from the original on November 6 2016 Retrieved August 19 2016 Blanco Cano Rosana Urquijo Ruiz Rita E 2011 Global Mexican cultural productions 1st ed Palgrave Macmillan ISBN 978 0 230 37039 5 Bruns Roger 2008 Icons of Latino America Latino Contributions to American Culture 1st ed Westport CT Greenwood Press ISBN 978 0 313 34087 1 Burr Ramiro February 25 1993 Selena poised for pop success Retrieved January 22 2012 Burr Ramiro December 18 1992 1992 The Year Modern Tex Mex Ecliped Classic Days of the 70s El Paso Times Retrieved March 31 2023 via Newspapers com Burr Ramiro February 23 1993 Selena Poised for Pop Success Austin American Statesman Retrieved March 27 2022 via Newspapers com Burr Ramiro May 16 1993 Top salsa and pop performers to vie for Latin Music Awards Houston Chronicle Archived from the original on March 31 2023 Retrieved March 31 2023 via Newsbank Burr Ramiro April 23 1994 Tejano music Billboard Vol 106 no 17 p 104 Retrieved November 18 2011 Burr Ramiro July 18 1995 Selena crosses over to pop Posthumous release a reminder of talent cut short San Antonio Express News Retrieved November 18 2011 Burr Ramiro March 26 1996 Selena hits gold on off stage Singer s wedding break through album highlight of 1990 San Antonio Express News Retrieved November 18 2011 Burr Ramiro June 12 1998 Auction of Selena s car triggers family rift San Antonio Express News Retrieved June 2 2017 Burr Ramiro 1999 The Billboard Guide to Tejano and Regional Mexican Music Billboard Books ISBN 0 8230 7691 1 Burr Ramiro Shannon Doug 2003 Encyclopedia Latina Scholastic Library Publishing ISBN 0717258157 Cabrera Rene January 3 1992 More and More Mazz is Top Tejano Band Corpus Christi Caller Times Retrieved March 31 2023 via Newspapers com Cabrera Rene June 19 1992 La Mafia Tiger Diaz in Concert Friday Corpus Christi Caller Times Retrieved March 31 2023 via Newspapers com Cabrera Rene September 4 1992 Labor Day Weekend Packed with Top Latin Acts Corpus Christi Caller Times Retrieved March 31 2023 via Newspapers com Cabrera Rene September 18 1992 Selena La Mafia Mazz Topping the Charts Corpus Christi Caller Times Retrieved March 31 2023 via Newspapers com Cabrera Rene December 25 1992 Top Groups End Year With Area Performances Corpus Christi Caller Times Retrieved March 31 2023 via Newspapers com Cabrera Rene May 21 1993 Tejano Acts Moving Up the Billboard Charts Corpus Christi Caller Times Retrieved July 24 2022 via Newspapers com Cabrera Rene February 26 1993 Mazz Navaira Top Tejano Award Nominees Corpus Christi Caller Times Retrieved March 27 2022 via Newspapers com Cabrera Rene March 5 1993 Selena David Lee Draw Crowd in Houston Corpus Christi Caller Times Retrieved March 31 2023 via Newspapers com Cabrera Rene May 29 1998 Double Bill on Saturday in Alice Selena Still Atop Chart with Boxed Set Corpus Christi Caller Times Retrieved March 31 2022 via Newspapers com Campbell Elizabeth Korosec Thomas April 26 1993 Tejano Musicians Celebrate Good Times at Cinco de Mayo Fort Worth Star Telegram Retrieved March 31 2023 via Newspapers com Cobo Leila October 19 2002 Singles Review Billboard Vol 114 no 42 p 20 Retrieved August 14 2015 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 Doeden Matt 2017 American Latin Music Rumba Rhythms Bossa Nova and the Salsa Sound Twenty First Century Books ISBN 978 1 4677 0147 1 Erlewine Stephen Thomas Amor Prohibido gt Album Review Allmusic Retrieved August 18 2016 Erlewine Stephen Thomas Amor Prohibido gt List of releases Allmusic Retrieved August 18 2016 Fernandez Suzette March 26 2020 Selena s First U S Hit Como La Flor Compares a Withering Flower With Losing Love See English Lyrics Billboard Archived from the original on April 1 2022 Retrieved March 26 2022 Garcia Gus July 26 1993 Selena Sunny wow crowd A Review Del Rio News Herald Retrieved June 2 2017 Galvan Joe April 2021 In Selena Queer Tejanos See Themselves as Brilliantly Transfigured and Free to Love Grandly Texas Monthly ProQuest 2544571844 via ProQuest Garza Frida April 2021 Selena Embraced Her Heritage and Championed Its Evolution in Style Texas Monthly ProQuest 2544571779 via ProQuest Guerra Joey March 25 2005 Collective recordings of Selena span a number of genres Houston Chronicle Retrieved August 25 2016 Guerra Joey March 26 2000 Selena s Music Over the Years Houston Chronicle Retrieved March 31 2023 via Newsbank Guerra Joey August 10 2018 Cover Story The 50 Greatest Texas Musicians ever Houston Chronicle Retrieved March 31 2023 via Newsbank Guerra Joey August 16 2019 The new Selena merch collection features a photo taken in Houston Laredo Morning Times Archived from the original on April 24 2023 Retrieved April 24 2023 Guerra Joey March 27 2020 These 24 Selena songs don t get played enough Houston Chronicle Retrieved July 24 2022 Hartman Gary 2008 The History of Texas Music 1st ed College Station Texas A amp M University Press p 55 ISBN 978 1603443944 Herrera Isabelia March 26 2022 Selena Amor Prohibido Album Review Pitchfork Archived from the original on April 24 2023 Retrieved April 24 2023 Johnston Jerry September 8 1995 Selena s Talent Shines on Dreaming of You Deseret News Archived from the original on April 2 2015 Retrieved August 6 2012 Jones Veda Boyd 2013 Selena Infobase Learning ISBN 9781438146379 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 Nicolas 2023 Latino almanac from early explorers to corporate leaders Visible Ink Press ISBN 9781578597536 Koster Rick 2000 Texas Music 1st ed St Martin s Griffin ISBN 9780312254254 Lannert John April 24 1993 Hot Latin Songs gt April 24 1993 PDF Billboard Vol 105 no 17 p 92 Retrieved July 24 2022 Lannert John May 22 1993 Hot Latin Songs gt May 22 1993 Billboard Vol 105 no 22 p 131 Retrieved July 24 2022 Lannert John June 3 1995 Posthumous Certifications For Selena Billboard Vol 107 no 22 Retrieved August 19 2016 Maldonado Vilma March 31 1996 Remembering Selena One Year Later The Monitor Retrieved March 31 2023 Mejias Rentas Antonio April 13 1995 Selena numero uno La Opinion 69 210 Retrieved January 17 2021 Marquez Heron 2001 Latin Sensations Minneapolis Lerner Publishing Group ISBN 978 0 8225 4993 2 Mottola Tommy 2016 A New America How and Music Reshaped the Culture and Future of a Nation and Redefined My Life Penguin Books p 105 ISBN 978 0451467782 McDonnell Evelyn 2018 Women who rock Bessie to Beyonce girl groups to riot grrrl First ed Running Press ISBN 9780316558860 Lannert John Bronson Fred Mayfield Geoff April 15 1995 Selena s Tragedy Echoed in Charts Billboard Vol 107 no 15 pp 72 80 82 Retrieved August 19 2016 Novas Himilce 1995 Remembering Selena 1st ed Sagebrush Education Resources ISBN 0 613 92637 4 Oliva John August 25 2022 Selena 11 deep cuts from the Queen of Tejano you should be listening to Corpus Christi Caller Times ProQuest 2706102503 via ProQuest Ortiz Fiona M April 19 1995 Latin Pop 101 The Oregonian ProQuest 416861748 via ProQuest Paredez Deborah 2009 Selenidad Selena Latinos and the Performance of Memory Duke University Press ISBN 978 0 8223 9089 3 Patoski Joe Nick 1996 Selena Como La Flor Boston Little Brown and Company ISBN 0 316 69378 2 Pena Manuel 2002 Musica Tejana Texas A amp M University ISBN 978 0 89096 888 8 Perez Chris 2012 To Selena with Love Penguin Books ISBN 978 1 101 58026 4 Perez Domingo Renee March 27 2015 Perez For Americans of Mexican descent Selena s music helped us tell our story Houston Chronicle Retrieved May 21 2017 Peoples Glenn A Year Later Michael Jackson s Massive Sales Impact Billboard Retrieved July 7 2017 Quintanilla Selena 1998 Anthology Media notes Abraham Quintanilla written biography EMI Latin 7243494110 Quintanilla Selena 2002 Selena Media notes A B Quintanilla producer Suzette Quintanilla spoken liner notes producer EMI Latin 724354099403 Quintanilla Selena 2002 Ven Conmigo Media notes A B Quintanilla producer Suzette Quintanilla spoken liner notes producer EMI Latin Quintanilla Selena 2002 Entre a Mi Mundo Media notes A B Quintanilla producer Suzette Quintanilla spoken liner notes producer EMI Latin Ragland Kathy March 24 1996 With Respect Austin American Statesmen Retrieved March 26 2022 via Newspapers com Ramirez Erika March 31 2015 Selena s Legacy Remembering the Singer on the 20th Anniversary of Her Death Billboard Archived from the original on April 1 2022 Retrieved March 26 2022 Reynolds J R August 19 1995 The Rhythm and the Blues Billboard Vol 107 no 33 Retrieved January 22 2012 Romo Ricardo April 15 2018 Remembering Selena Quintanilla La Prensa ProQuest 2036686119 via ProQuest Saldana Hector October 27 1995 Storm in Liberty Band s musical forecast San Antonio Express News Retrieved November 18 2011 San Juan Rocio December 1992 Selena y Los Dinos La Revelacion del 92 Nortena 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 ISBN 0 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 Second ed Chicago Review Press ISBN 9781613744789 Tamayo Martin June 23 2020 Conoce las canciones mexicanas mas famosas de la de la historia en los EU El Sol de Sinaloa Archived from the original on April 1 2023 Retrieved April 1 2023 Tarradell Mario April 1 1995 Singer soared beyond traditional limits on Tejano music The Dallas Morning News Retrieved November 18 2011 Tarradell Mario January 25 2001 Stampede knifes through struggling Tejano scene The Dallas Morning News Retrieved November 18 2011 Tarradell Mario March 30 2000 A Decade of Selena 10 albums showcase the music behind the legend The Dallas Morning News Retrieved January 22 2012 Tarradell Mario April 13 2015 On what would ve been her 44th birthday Selena s legend endures The Dallas Morning News Archived from the original on March 31 2023 Retrieved March 31 2023 Tomaso Bruce April 1 1995 Tejano superstar Selena slain in Corpus Christi The Dallas Morning News Retrieved November 18 2011 Villasenor Esteban May 4 2021 La historia de una memorable entrevista de Selena Quintanilla en Mexico Vogue Mexico y Latinoamerica in Spanish Archived from the original on April 1 2023 Retrieved April 1 2023 Verhovek Sam Howe April 1 1995 Grammy Winning Singer Selena Killed in Shooting at Texas Motel The New York Times p 1 Archived from the original on July 20 2016 Retrieved August 18 2016 Wallace Christian February 25 2016 Texas My Texas You Deserve a New State Song Texas Monthly Gale A445117357 External links editEntre a Mi Mundo at AllMusic Entre a Mi Mundo at Discogs list of releases Retrieved from https en wikipedia org w index php title Entre a Mi Mundo amp oldid 1209281298, wikipedia, wiki, book, books, library,

article

, read, download, free, free download, mp3, video, mp4, 3gp, jpg, jpeg, gif, png, picture, music, song, movie, book, game, games.