And that’s how some of the negative “fan” reviews began this weekend about Selena: The Series.
Once you get other little things out of the way, like, there are no mountains in Matamoros and Tejano dancers dance around the dance floor and not in one spot on the floor, well, the rest is an actual attempt at a biography of a struggling, yet short, and ultimately successful career that achieved much in terms of musical quantity and quality.
For folks whose love of Selena started at Amor Prohibido and Carcacha, or worse, for those whose love of Selena started at Dreaming of You, there seems to be disappointment in the series. For those of us who lived in the 80s and enjoyed 80s, big haired, weird outfit wearing Selena, this series has definitely been a treat and even a respite from current realities.
For those of us who have been fans of the genre for a while, we’ve enjoyed the mention of other artists and events that many of us experienced, such as the importance of the Tejano Music Awards. Whether folks want to accept it or not, there is a lot of history in this genre of music and I really appreciate an attempt to put it out there.
Now, I wasn’t going to be “that fan” who binged it. I’m going to enjoy it as much as I can, so, I only watched the first three episodes, thus far. But some of the criticism has been vicious. Some call it sanitized and white-washed. Others are blaming the patriarchy. Some even blame Netflix. I don’t really see any of what is being criticized in this regard. I’m just trying to enjoy some entertainment that touches on a little history about my culture.
Maybe people don’t want to see Selena’s family’s struggles. The food stamp scene brought out some emotions from me. The scene where the restaurant closes because of the economy tanking hit home with me, too. The scene where Abraham tells his kids that it’s OK to ask for help from the government as he paid his taxes was a speech I heard from my own Pop when we were struggling and I told him about what school kids would say about families on food stamps. It hit home.
The slow ascent to success that Selena went through was also important. Having to find an indie record label to produce, record, and distribute her music without much promotion was tough enough, but the struggle to come up with good songs and dealing with unhelpful songwriters was very telling about what Tejano bands have gone through in their careers. You can’t become a YouTube sensation when Al Gore hadn’t even invented the internets. Hell, just keeping the van and trailer running is something that still occurs in the present-day Tejano business. Showing Selena as appreciative of those that came before her (Laura Canales) was heartfelt, at least as a scene in the show.
The first three episodes provided a good foundation about Selena and the importance of her family in her success. Some of the criticism that the series is all about the dad and brother seems a little whiny. This was a family business. Selena was the main talent, but they all played a part in getting this business started, so, the story needs to be about all of them. I was even appreciative of Suzette’s struggles as a non-musician turned instant drummer for the band and the criticism from within the band as they discovered drum machines and electric drums to get the sound right. Without Abraham’s experiences in his own music career as a What Not To Do List for Selena’s career, and AB’s own struggle to become the family’s musical director, there is no Selena.
Let’s remember that even Beyonce started as a family business and that’s what it is now.
Anyway, I’m enjoying it. The early recordings featured, like Dame Un Beso, or her sped-up version of La Bamba, makes me miss my Tejano cassette collection and the GPX boombox my parents bought me at the Carrizo Springs Wal-Mart.
I’ll keep watching it. Watch it for entertainment or watch it for a little history about a Mexican American icon. But if you are watching it for a different take on the “washing machine” scene from the movie, then it may not be for you.
Released just in time for their arrival to Texas, La Santa Cecilia’s Amar y Vivir can only be described in a word: Special. It’s a visual album, with already a few videos of their album performances on 
Some say that the Tejano music genre is in a struggle; others say it’s on an upswing. While our mainstays, like David Lee Garza, Jay Perez, Elida Reina and others keep at it, as fans, we need to seek out new talent for our hungry ears. AMI Records artist 
While most of my friends were at home watching a dumpster fire (the RNC), I took the night off from forming an ulcer and headed over to Under the Volcano on Bissonnet to catch my favorite Tex-Mex conjunto super group, Los Texmaniacs. Having caught their show at such an intimate locale 
After they closed the show with upcoming single Mexico Americano, the crowd yelled for more: “Otra! Otra!” Max re-plugged in his Bajo to the amp and the band seared through another hit single, Down in the Barrio, which ended with rockin’ solos from the all the band members, including: Tio Baca and Nephew Baca, as well as Noel Hernandez-Bass; Daniel Martinez-Drums; and Fernando Martinez-Rhythm Guitar.
Not releasing an album in three years did not hurt Intocable. Twenty-two years of music has allowed them to amass quite a catalog of hits–hits that make for memorable set lists that always get their sell-out crowds singing along.
Tejano crooner 
remember it was 1995 at one of the big Tejano clubs in San Antonio. I took a night off from studying and made the trek from San Marcos to check out a young band that was gaining popularity. I had become an instant fan of Intocable when they released Fuego Eterno. Now, I got my chance to see them live and, man, did they tear the place up. It was like a rock show–lights, smoke, and yes, music.
doscentavos.net 
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