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Selena's legacy lives on in these young Latina musicians

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Selena's legacy lives on in these young Latina musicians

Monday marks 30 years since the tragic death of Selena Quintanilla-Pérez changed the world of Latin music forever. And yet, in that time, it feels as though her legacy as the “Queen of Tejano” never faded away. One can try to measure her impact in the tangible: in the number of posthumous albums sold, in multiple documentaries, a Netflix TV series about her life and the 1997 biopic that catapulted Jennifer Lopez to fame.

But to understand the gravity of a star as massive as Selena, is also to look at something that’s harder to enumerate: the traces of her voice, her style and her ambition in today’s Latin artists.

What I call “The Selena Generation” is comprised of artists who came of age in the years after the singer’s death. Most of them never had the chance to buy her records when they debuted or see her perform live, yet still, her influence on them is unmistakable. This cohort includes established stars like Karol G and Becky G, as well as rising talents like Estevie, Gale, Angelina Victoria and Vanita Leo, among others. For many of them, there was no time before Selena. She’s just always been a part of their lives.

Becky G on the set of her music video “Otro Capítulo,” filmed in Elysian Park in Los Angeles.

(Jill Connelly/For De Los)

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“I’ve been listening to and watching videos of Selena performing before I could even form memories,” Becky G tells De Los. Born and raised in Inglewood, Calif., she says her mother was always playing Selena’s music in their house. Over the years, the Mexican American singer has performed multiple Selena medleys, and included a Selena-inspired song, “Otro Capítulo,” on her most recent album, “Encuentros.”

For Becky, the late singer’s career trajectory is “the blueprint.” Selena’s path from performing at restaurants, clubs and weddings across South Texas to drawing record-breaking crowds at the Houston Astrodome, as a woman in Tejano music, wasn’t just aspirational — it was revolutionary. “She broke barriers,” Becky G says. “She took our music to places we never thought in our wildest dreams it would reach. She showed younger generations, including myself, that we could be on stage one day, too.”

It’s difficult to imagine what Latin music might look like today without Selena’s success. Though artists like Gloria Estefan and Lisa Lisa had enjoyed mainstream popularity in the U.S. during the Latin “boom” of the ’80s, Selena’s ascent as a Mexican American from Texas was something more novel. The very genre she was occupying told the story of a region that, like Selena herself, had been shaped by multiple cultures.

Selena was a mosaic of the Tex-Mex identity. She sang primarily in Spanish — a language she wasn’t fluent in — while adding in dashes of country-western style to her wardrobe, while modeling her performances after American pop stars like Janet Jackson and Madonna. With a foothold in the cultures on both sides of the border, she bridged the gap between them by being 100% herself, charting a path that hadn’t previously existed for others like her.

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“Today, Latin artists are dominating charts, collaborating with global superstars, and selling out arenas, and I think we owe a lot of that to Selena,” says Estevie. The Gen Z cumbia star has drawn comparisons to the “Tejano Madonna” since bursting onto the scene in 2021.

And while Selena may have been achingly close to achieving the crossover success of her dreams when she was killed in 1995, the scope of her influence grew in her death. To this day, her final album, “Dreaming of You,” remains the best-selling Latin album of all time in the U.S., and the first predominantly Spanish-language album to debut at No. 1 on the Billboard 200. “She proved that Latin music could cross over without losing its essence,” Estevie tells De Los. “She showed that women could lead, and be unapologetically themselves in a male-dominated industry.”

Cumbia Pop Star Estevie at Waterloo Park on Friday, March 15, 2024 in Austin, TX.

Cumbia pop star Estevie on Selena’s influence in music: “She showed that women could lead, and be unapologetically themselves in a male-dominated industry.”

(Cat Cardenas)

Her power was apparent to Puerto Rican singer-songwriter, Gale, from the first time she watched the “Selena” film. Now 31, she remembers spending hours as a kid performing Selena’s songs in her living room, practicing and perfecting her routines.

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“I was instantly hooked,” she says. “She was my first love in music; her voice, her energy, her power. Selena showed the world that Latin women belong on big stages. She made me feel like I could do this too.”

Like Gale, Chicago-born música Mexicana singer Angelina Victoria was mesmerized by the 1997 biopic, catching glimpses of her future self in the story of a little girl who grew up to become a star. When she was older, she saw footage of the singer’s historic performance at the Houston Rodeo in 1995. “Watching that for the first time gave me chills,” she remembers. “Her confidence, her smile, her vocals, dance moves — the way she commanded the stage was so electrifying. She made it look effortless, but you could tell that every note, every move, came from the heart.”

At 22 years old, Victoria is in the midst of trying to establish herself as an artist. Still, she’s proud to proclaim Selena as her biggest inspiration because of how she navigated the complexities of her Mexican American heritage. “Before her, there was a perception that Latin artists had to stay in their lane,” Victoria tells De Los. “She paved the way for artists like me to embrace our culture while still evolving our sound. She made it clear that being in between two worlds is a strength, not a limitation.”

Earlier this month, while performing at South By Southwest in Austin, Victoria told the audience she couldn’t leave Texas without “singing a little Selena,” and launched into a crowd-pleasing medley of “Como la Flor,” “Amor Prohibido” and “Baila Esta Cumbia.” She wasn’t alone; the same day, San Antonio-based cumbia singer Vanita Leo, 22, wowed the crowd at Austin’s Volstead Lounge with an impassioned performance of “Si Una Vez.”

It could be seen as a risk for emerging artists to cover such a legendary singer, especially for a crowd in Selena’s home state; but beyond expressing their genuine admiration for her, it’s also a way to prove their mettle. Selena’s vocals, and her stage presence, are impossible to be phoned in.

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“Performing a Selena cover in Texas is electric,” Leo tells De Los. “There’s always a massive reaction. Her music is woven into the fabric of our culture, and you can feel how much she still means to people the moment you start singing. It’s a reminder that her legacy isn’t just about the songs — it’s about the joy, pride and representation she gave our community.”

Movie Reviews

Michael Jackson documentary set to release after massive re-write

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Michael Jackson documentary set to release after massive re-write
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‘Michael’ — a new movie about the King of Pop – is drumming up big buzz. The film was produced in-part by the co-executors of the late singer’s estate, and has some critics questioning whether it is too focused on sanitizing the singer’s troubled image.

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‘Clayface’ trailer teases DC Studios’ first proper horror movie

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‘Clayface’ trailer teases DC Studios’ first proper horror movie

The DC universe is going full on body horror.

DC Studios released its first trailer for “Clayface” on Wednesday, giving audiences a glimpse of the gruesome origins of the shape-shifting Batman villain.

Set to an eerie rendition of the Flaming Lips’ “Do You Realize??,” the teaser flashes among various images of up-and-coming Hollywood actor Matt Hagen (portrayed by Tom Rhys Harries) before and after a violent encounter as the camera slowly zooms toward his haunted eyes and bloody, bandaged face as he is recovering on a hospital bed.

The clip also includes footage of Hagen’s clay-like, malleable face, which he appears to gain after some sort of scientific procedure.

According to the DC description, “Clayface” will see Hagen transformed into a “revenge-filled monster” and explore “the loss of one’s identity and humanity, corrosive love, and the dark underbelly of scientific ambition.”

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“Clayface,” set for an Oct. 23 release, will be the third DCU film to hit theaters since James Gunn and Peter Safran took over DC Studios and reset (most of) its comic book superhero franchise. The studio’s upcoming slate also includes “Supergirl,” which will hit theaters June 26, as well as “Man of Tomorrow,” the sequel to Gunn’s 2025 blockbuster “Superman,” announced for 2027.

Who is Clayface?

Clayface is a DC Comics villain usually affiliated with Batman. The alias has been used by a number of different characters over the years, but they all usually possess shape-shifting abilities due to their clay-like bodies. Created by Bill Finger and Bob Kane, the original Clayface was a washed-up actor turned criminal who first appeared in a 1940 issue of “Detective Comics.”

Matt Hagen was the name of the second Clayface, who first appeared in an issue of “Detective Comics” in the 1960s. He was the first to have shape-shifting powers, which he gained after encountering a mysterious radioactive pool of protoplasm.

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Other versions of Clayface have been introduced in various media since.

Who is in ‘Clayface’?

The upcoming film stars Tom Rhys Harries as rising Hollywood actor Hagen. The cast also includes Naomi Ackie, who is seen in the trailer, reportedly as the scientist Hagen turns to for help following his disfigurement. Also set to appear are David Dencik, Max Minghella and Eddie Marsan, as well as Nancy Carroll and Joshua James.

Who are the ‘Clayface’ filmmakers?

Director James Watkins, known for horror films including “Speak No Evil” (2024), is helming “Clayface.” The script was written by prolific horror scribe Mike Flanagan (“The Haunting of Hill House,” “Doctor Sleep”) and Hossein Amini (“The Snowman”).

The producers are Matt Reeves, Lynn Harris, James Gunn and Peter Safran. Exective producers include Michael E. Uslan, Rafi Crohn, Paul Ritchie, Chantal Nong Vo and Lars P. Winther.

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Miyamoto says he was surprised Mario Galaxy Movie reviews were even harsher than the first | VGC

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Miyamoto says he was surprised Mario Galaxy Movie reviews were even harsher than the first | VGC

Nintendo’s Shigeru Miyamoto says he’s surprised at the negative critical reception to the Super Mario Galaxy Movie.

As reported by Famitsu, Miyamoto conducted a group interview with Japanese media to mark the local release of The Super Mario Galaxy Movie.

During the interview, Miyamoto was asked for his views on the critical reception to the film in the West, where critics’ reviews have been mostly negative.

Miyamoto replied that while he understood some of the negative points aimed at The Super Mario Bros Movie, he thought the reception would be better for the sequel.

“It’s true: the situation is indeed very similar,” he said. “Actually, regarding the previous film, I felt that the critics’ opinions did hold some validity. “However, I thought things would be different this time around—only to find that the criticism is even harsher than it was before.

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“It really is quite baffling: here we are—having crossed over from a different field—working hard with the specific aim of helping to revitalize the film industry, yet the very people who ought to be championing that cause seem to be the ones taking a passive stance.”

As was the case with the first film, opinion is divided between critics and the public on The Super Mario Galaxy Movie. On review aggregate site Rotten Tomatoes, the film currently has a critics’ score of 43% , while its audience score is 89%.

Shigeru Miyamoto says he was surprised by Mario Galaxy Movie reviews.

While this is down from the first film’s scores (which were 59% critics and 95% public) it does still appear to imply that the film’s target audience is generally enjoying it despite critical negativity.

The negative reception is unlikely to bother Universal and Illumination too much, considering the film currently has a global box office of $752 million before even releasing in Japan, meaning a $1 billion global gross is becoming increasingly likely.

Elsewhere in the interview, Miyamoto said he hoped the film would perform well in Japan, especially because it has a unique script rather than a simple localization as in other regions.

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“The Japanese version is a bit unique,” he said. “Normally, we create an English version and then localize it for each country, but for the first film, we developed the English and Japanese scripts simultaneously. For this film, we didn’t simply localize the completed English version – instead, we rewrote it entirely in Japanese to create a special Japanese version.

“So, if this doesn’t become a hit in Japan, I feel a sense of pressure – as the person in charge of the Japanese version – to not let [Illumination CEO and film co-producer] Chris [Meledandri] down.

“However, judging by the reactions of the audience members who’ve seen it, I feel that Mario fans are really embracing it. I also believe we’ve created a film that people can enjoy even if they haven’t seen the previous one, so I’m hopeful about that as well.”