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    Vicente Fernández Knew His Way Around Your Broken Heart

    First breakups. Final goodbyes. For generations, Mr. Fernández, who died on Sunday, provided a soundtrack for moments of anguish and heartache, and a pathway to healing.After four years of dating, this is what it came to for Art Castillo: sitting alone in his blue truck in Waco, Texas, listening to his girlfriend on speaker. Long distance wasn’t working, she told him. She had found another man. The relationship was over.“I hanged up and put Vicente Fernández on,” said Mr. Castillo, 30. He played “La Cruz de Tu Olvido,” in which Mr. Fernández bellows, “As I looked at the evil in your eyes, I understood that you have never loved me.” He played it louder, again and again, until he was done crying.“With his songs,” Mr. Castillo said, “you just feel it inside you.”For generations, Mr. Fernández’s often sorrowful songs have served as a balm for the heartbroken. Over a career that spanned six decades, Mr. Fernández, the Mexican ranchera superstar who died on Sunday at 81, recorded hundreds of songs and dozens of albums, singing of unrequited love, scornful partners and tarnished romance.In that time, Mr. Fernández, known to millions as Chente, became a beacon for the brokenhearted, a man to listen to when love has gone awry and all you want — besides, perhaps, some tequila — are plucky guitars, harmonized horns and someone to give voice to your most intimate feelings.“For a lot of people with Mexican descent, his voice is home,” said Rachel Yvonne Cruz, a professor of Mexican American studies and a music specialist at the University of Texas at San Antonio.That explains why so many people, mostly Latinos, turn to him when they are down, she said.“When Vicente Fernández sang, he expressed all of those emotions that we keep held inside: that silent cry, that silent scream that’s happening when you’re heartbroken, when you just cannot anymore,” Dr. Cruz said. “And when you listened to him, you were able to have that release that you needed.”Who broke Mr. Fernández’s heart? That remains a playful mystery among his fans. He married María del Refugio Abarca Villaseñor when he was in his early 20s, and the two stayed together until his death.But however and whenever his heartbreak occurred, his fans say, his anguish came through in his lyrics.Tu boca, tu ojos y tu peloLos llevo en mi mente, noche y día“Your mouth, your eyes and your hair, I carry them in my mind, night and day,” Mr. Fernández sings in “Las Llaves de Mi Alma.”Por tu maldito amorNo puedo terminar con tantas penas“Because of your damn love, I can’t bring an end to so much shame,” he roars in “Por Tu Maldito Amor.”En un marco, pondré tu retratoY en mi mano, otra copa de vino“In a frame, I will put your portrait, and in my hand, another glass of wine,” he croons in “Tu Camino y el Mío.”That was the song that helped Fernanda Aguilera.“I had been with someone since, I guess, high school, and then you think, ‘Well, this is going to be my person,’” said Ms. Aguilera, 27, of San Antonio. But when college came and they went their separate ways, she realized that the relationship “was just an illusion in my head.”She played “Tu Camino y el Mío” (“Your Road and Mine”), and recalled thinking: “This is exactly how I feel, but I could just never find the words. And it’s like he put the words together for me.”On a cool March night in Oxnard, Calif., a brokenhearted Jaime Tapia grabbed some beers, invited a friend to his house and put on a Vicente Fernández playlist. Mr. Tapia was 19. He and his girlfriend of four years had decided to cut off their relationship earlier that night.Mirroring the way Mr. Fernández had dealt with heartache in the movies (mostly with alcohol, a somber stare into the middle distance and buddies who reassure him he will be OK), Mr. Tapia and his friend kept the beers coming as they sat on the hoods of their cars.“Just dozing off, looking at the stars,” he said. He was lonely and drunk for the first time in his life.“A lot of the songs that Chente talks about are about breakups, being in a cantina, stuff like that,” Mr. Tapia said. “So even though you feel sad at the time, you felt good that you were bonding with a buddy and that you weren’t by yourself.”Ranchera music “can be thought of as a sung exposition of one’s most honest emotions,” said Mónica Fogelquist, a professor of practice in mariachi and ethnomusicology at the University of Texas at Austin.“In Mexican culture, men are supposed to be strong, valiant, proud and void of any sentiment,” she said. “They don’t cry, and they don’t express vulnerability, including heartache. However, through music, all the unexpressed or prohibited emotions are free to come out.”People have used Chente’s romantic tunes to try to win back an estranged partner through serenatas, a musical message of love delivered by a mariachi band in front of a lover’s window — a tradition that Mr. Fernández popularized in films.“It’s pretty popular; we’ve been hired a couple times to help win that person back,” said Giovanni Garcia, who manages the band Mariachi Estrellas de Chicago. He added, “There’s been a couple of times where they’ll tell us, ‘Oh, I’m in the doghouse right now and hoping this will help me.’”Sometimes it works, he said. Often, it doesn’t — even if the band plays one of Mr. Fernández’s songs.Someone tried it on Laura Figueroa once. It did not end well.A mariachi band knocked on her door in Chicago. Her little brother let them inside, and the musicians marched through the kitchen and into her bedroom. She was 22 at the time.“I’m sitting there looking down at the floor like, ‘Oh my God, there’s literally a mariachi in my house,’” said Ms. Figueroa, now 39. She does not believe the band played Chente, and in any event she did not take her former lover back.Jesus Gutierrez, 37, of Chicago said his father used to sing “Hermoso Cariño” (“Beautiful Darling”) by Mr. Fernández to his mother, Juana, when they were dating in Guanajuato, Mexico. She used to be embarrassed when telling the story, Mr. Gutierrez said, because his father, Nicolas, was “not a good singer.”But perhaps it worked, he said, because they married, had children and listened to ranchera music together for decades. She saved nearly all of her Chente vinyl records and screamed every word of his heartbreaking songs at his concerts, her son recalled.In 2019, Juana Gutierrez died, and Chente’s songs came to represent a new type of heartbreak for Mr. Gutierrez. He said he couldn’t play some of his mother’s favorites anymore because “it’s too much.”But on Sunday, when he heard Mr. Fernández had died, he knew right away how he would spend his evening: the same way he and so many others had gotten through their first breakups and final goodbyes.He scrolled through his playlist until he found “Hermoso Cariño.”Precioso regaloDel cielo ha llegadoY que me ha colmado de dicha y amor“Precious gift, from heaven it has come,” Mr. Fernández sang. “And that has filled me with happiness and love.” More

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    Disney Creates a ‘Launchpad’ for Underrepresented Filmmakers

    This collection of short films streaming on Disney+ shows promise, if the studio can follow through on its support.Can truly radical programming come from Disney? I was skeptical from the moment I heard about “Launchpad” (streaming on Disney+), the studio’s new initiative to support and uplift underrepresented filmmakers. Historically, Disney hasn’t had a strong track record for representation (well, which Hollywood studio has?). In fact, it recently added disclaimers about racist stereotypes in old films from its streaming library, including “Dumbo” and “Peter Pan.” Efforts for inclusivity only really ramped up in the last few years, and even so, they have not been without missteps — the live-action “Beauty and the Beast,” for example, hyped up Josh Gad’s Le Fou as Disney’s first gay character, only to make his queerness insultingly ambiguous and brief. More

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    ‘Anything for Selena’ Examines a Singer’s Legacy and Latino Identity

    AdvertisementContinue reading the main storySupported byContinue reading the main story‘Anything for Selena’ Examines a Singer’s Legacy and Latino IdentityWhile the podcast is a biography of the Tejano star, it also weaves in the personal story of the host and examines why the singer has had a lasting effect on culture.Maria Garcia, the host and creator of “Anything for Selena,” in El Paso, Texas, where she was raised.Credit…Ivan Pierre Aguirre for The New York TimesFeb. 2, 2021Maria Garcia has a distinct memory of when her connection to Selena Quintanilla-Pérez began. It was the early 1990s and she was 7, watching the Tejano star perform on television.“She had this cascade of black hair, red lips, brown skin,” Garcia says in the first episode of the new podcast “Anything for Selena.” “She sang like she felt every single word of her songs, like the music was emanating from her body.”It was a pivotal moment for Garcia, the podcast’s host. Born in Ciudad Juárez, Mexico, and raised in El Paso, Texas, she struggled to figure out who she was and where she belonged, describing in the podcast how she felt “a rejection, a stigma, in both countries.” Yet, here was someone who looked like her, uncompromising in her biculturalism and appearance. Selena was Mexican as much as she was American. Her first hits, like “Como La Flor,” were in Spanish, but “Dreaming of You,” her posthumous English-language album, was a mainstream success and the 1997 biopic starring Jennifer Lopez further cemented her legacy.While the show, a 10-episode podcast co-produced by Boston’s NPR affiliate WBUR and Futuro Media, serves as a biography of Selena, it also weaves in Garcia’s personal story. And she makes the case for how the singer’s life and death (Selena was fatally shot by the president of her fan club in 1995) were profound flash points for Latinos like herself that had lasting effects on the cultural landscape. The episodes drop each Wednesday and are paired with Spanish-language versions.Selena was Mexican as much as she was American, uncompromising in her biculturalism and appearance.Credit…Arlene Richie/Media Sources/The LIFE Images Collection via, Getty ImagesI also grew up in Texas, 100 miles north of Corpus Christi, where Selena was from, and like Garcia, I am a first-generation Mexican-American. Whether it was at a quinceañera or blaring from the kitchen radio, Selena’s music was part of the soundtrack to life. Tejano music, which fuses Mexican, European and American influences, was an expression of what it means to be from Texas. She embodied all those influences.Garcia is currently staying in El Paso, where she spoke on the phone about the series and how much it hinged on a meeting with Selena’s father, Abraham Quintanilla, who is known to be very protective of her legacy. These are edited excerpts from the conversation.What was the inspiration for “Anything for Selena”?The podcast has been my own search to figure out where I belong in the world and how I belong in the world. Everybody who knows me knows that I have always been a huge Selena devotee from the time I was a little girl to my adolescence and to my early adulthood.The last home video I have with my father before he died, it’s of us dancing to Selena music. I realized there were all these moments in my life where Selena was there, and I really wanted to unpack why she felt so profound to me even in my 30s. I knew the answer was more than just she was this Mexican-American performer in the ’90s — a time when that really incentivized assimilation. I wanted to go even deeper and try to connect the dots through the decades and really try to do her legacy justice in music and in culture.The other thing about this series is that it’s partly a memoir about your upbringing and life on the border and struggling to fit in. It made me think of this saying in Spanish, “ni de aquí, ni de allá,” neither from here nor there. Why did you want to open up about that?I wasn’t thinking of it as a memoir when I started writing it. For me, I was telling this story because when I was 7 years old and I have the first memory of Selena, I didn’t have the language to articulate what she meant to me.There was this tension between these two parts of me, and to see somebody who embodied both of those parts fully in the States and in Mexico, who traversed the two countries without code switching, who was the same person on both sides of the border — I’d never seen anything like that. It struck me at a young age and it stayed with me all of my life.Garcia was filled with trepidation in meeting Selena’s father, known for tightly controlling the singer’s legacy.Credit…Ivan Pierre Aguirre for The New York TimesThe most recent episode has topics that listeners may find intriguing.We explore race pretty deeply in these next episodes. I have this theory that there is a direct historical lineage from Selena to today’s mainstreaming of big butts. Black women have always been at the forefront of celebrating curvaceous bodies, but there is this moment in the mid-90s, after Selena’s death, and particularly at the time of her biopic, when Latinas made it a feature that became desirable in the mainstream.To me, that story is about Latino identity’s fraught relationship with Blackness and the way Latinidad (the concept of U.S. Latino identity) has dehumanized and erased Black people while capitalizing on and obsessing over Black features. And the way that Latino identity has served to make these features palatable for white audiences.In the second episode, you talk about going to meet Abraham Quintanilla, Selena’s father. What was that experience like and did you have concerns about what might happen?Oh absolutely. I was terrified. I flew to Corpus Christi without any guarantee that he would even see me. We had been trying to acquire the music rights for Selena’s catalog. We had heard from the record label and they told us that not only the family rejected it, but that they were not supportive of the project.But I knew Abraham was one of the foundational keys to understanding Selena. It’s amazing how often and how devotedly she talked about her father. They had a creative bond over their craft, over music.He’s this really imposing character, especially in Spanish media. There’s been so much salacious coverage about him, and I wanted to get to know him as a person, without an agenda. I think he realized that after he spent some time with us and opened up.It felt like he let his guard down with you.And I with him. It was reciprocal.He is genuinely a complicated person. He admits that he was an incredibly demanding father. But he told me he has moments where he wonders if he had not pushed Selena to be a star, would she still be here? That’s a very real tension he has lived with for the last quarter century.Young mourners outside Selena’s home the day after she was killed in 1995.Credit…David J. Phillip/Associated PressThe series also discusses how after Selena’s death, Howard Stern became a flash point on how Latinos were portrayed in the media. It was startling to hear the rhetoric now (in a clip, he makes fun of her and the Latinos grieving her death; he later apologized). Do you think much has changed since then?A lot of people listen to that archive tape and feel distressed. I say this in the episode — this is his thing. But I really wanted to focus an episode on that because that is the moment in the Selena journey that it became clear to me how political [her death] was. To make fun of the people who mourned her was to dismiss the life of Latinos.When I heard this tape, all I could think about were the women in Juarez who have been murdered over generations and nobody cared. And it feels like to this day, nobody cares. So many of them looked like Selena. These are women who were poor and brown like Selena had been. But Selena was afforded a different path because she was born on this side of the border.Even if she did everything right, even if she played by all the rules, still to Howard Stern, her life didn’t matter. That’s the moment where her symbolism took off, the weekend after her death. After her death, her symbol then transformed even more. She became this vessel to look at the polemics, tensions and narratives around Latino life and its worth.AdvertisementContinue reading the main story More

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    Lawmakers Push for ‘Selena’ to Be Added to National Film Registry

    #masthead-section-label, #masthead-bar-one { display: none }What to WatchBest Movies on NetflixBest of Disney PlusBest of Amazon PrimeBest Netflix DocumentariesNew on NetflixAdvertisementContinue reading the main storySupported byContinue reading the main storyHispanic Lawmakers, Pushing for a Change in Hollywood, Start With ‘Selena’Lawmakers and experts hope that by adding the film to the National Film Registry, more doors could open for Latinos in movies and television. More