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User:AJona1992/carcacha

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"La Carcacha"
Single by Selena
from the album Entre a Mi Mundo
ReleasedApril 1992
GenreTejano cumbia
Length4:12
LabelEMI Latin
Songwriter(s)
Producer(s)A.B. Quintanilla
Selena singles chronology
"Buenos Amigos"
(1991) 		"La Carcacha"
(1992) 		"Como la Flor"
(1992)
Music Video
"La Carcacha" on YouTube

"La Carcacha" ("The Jalopy") is a song by American singer Selena, taken from her third studio album, Entre a Mi Mundo (1992). Released through EMI Latin in April 1992.

Music and lyrics

[edit]
  • Has elements of piano and synthesizers "woven into it".[1]
  • "an old car falling apart."[2]
  • "The Jalopy" - contains "simple themes": a woman liking a man, despite the car he owns (anti-materialistic).[3]
  • Had storyline Selena never had, like "La Carcacha"'s "barrio teen romance".[4]
  • Took a page from cumbia singer Fito Olivares but "went one better" with "La Carcacha". Called it "marvelous" and her signature markings of danceable songs that made people want to dance that was comical as well.[5]
  • Patoski called it "an optimum piece of modern music" that is a "rocking pile driver of a cumbia highlighted by call-and-response chants, shouts, whistles, searing guitar fills from Chris Perez" it also contains Selena's "mesmerizing snake-charmer vocals; she alternately thrilled and growled" about waiting on the corner for her lover to pull-up in his jalopy. It is a "tale of love in hard times", something "A.B. Quintanilla knew well". [6]
  • The music video was filmed in 1992 in Monterrey, Mexico.[7]
  • The song "suggested a crossover into the rock or funk idioms.[7]
  • "danceable cumbias and polkas" along BEC.[8]
  • "a hypnotic cumbia".[9]

Commercial

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  • Debuted at number 15 on local Tejano radio stations on the week ending April 23, 1992.[10] No. 10,(4/30/92), No. 5,(7/9/92)
  • received extensive airplay in Albuquerque, Austin, McAllen, Lubbock, Alice, Laredo, Corpus Christi, Houston, San Antonio, and Brownsville.[11]
  • Nominated for Single of the Year at the 1993 Tejano Music Awards.[12] It was dropped during preliminaries.[13]
  • Won Video of the Year at the 1993 Tejano Music Awards.[14]
  • She won over people in Miami, Puerto Rico, and the Caribbean with songs like "La Carcacha", which made people want to dance to cumbias "lifting you out of your seat."[15]
  • Selena's first commercially successful singles in Mexico were "Baila Esta Cumbia" and "La Carcacha".[16](Mexico's Latin music market value)
  • No. 1 on Radio & Records Tejano Singles chart.[17]
  • "La Carcacha" was recognized as one of the award-winning songs at the first BMI Latin Awards in 1994.[18]

Critical

[edit]
  • A cumbia musically similar to "Baila Esta Cumbia".[19]
  • "fans rose to their feet" during Selena's 1993 Houston Astrodome concert.[20]
  • Crowds dancing to cumbia "La Carcacha" at the 1993 Alamodome concert.[21]
  • Ricky Vela and Joe Ojeda "shone during La Carcacha".[1]
  • Closing number for their 1993 San Felipe Amphitheater, leaving attendees "wanting more".[22]
  • Kept attendees going, happy, and fired up.[23]
  • Ramiro Burr of the San Antonio Express-News enjoyed the song's "memorable melodic hook" that he felt "had listeners whistling along."[24]
  • "La Carcacha" and "La Llamada" "overshadowed" Selena/Emilio's duet "Tu Robaste Mi Corazon" on the Selena Live! (1993) album.[25]
  • Found it to be "as silly as" Madonna's "True Blue" (1986).[26]
  • The song helped Los Dinos "rose to occasion by rocking the house with dynamics and production values equal to any contemporary act's in this part of the planet." The live version "did not require language skills or familiarity with Latin ways for listeners to work up a sweat." Patoski did not find this as a surprise because of all the "rhythm and bombast." He found the keyboard lines to be "fattened into a salsa-tinged wall of sound by Ricky Vela and David Lee Garza". David provided the band his "street creditability and a touch of blues to his squeezebox instrumental break."[7]
  • Leila Cobo found the recording as an example of what Selena did best, along with "La Carcacha".[27]

Legacy and impact

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  • Inspired a lowrider car show. One of the cars, a 1948 Chevrolet Fleetwood styled the hood with a mural of Selena, made by German artist Von Otto, and is named after the song. It won "Best Bomb", "Best Mural", and "Best Engine" at the 1995 Dallas Low Rider Show. It was runner-up at the 1995 Los Angeles Car Show.[28] It won Bomb of the Year at the 1997 Lowrider magazine.[29] It is considered "the world's most famous lowrider", added to a museum in Mexico.[30]
  • On the set list of the broadway musical Selena Forever (2000) featuring Veronica Vasquez as Selena who often got "tongue-tied" when practicing the song.[31]
  • The song, along with "Como la Flor" (1992) and "Bidi Bidi Bom Bom" (1994), had catapulted Selena into fame in the Tejano music market.[32]
  • Ana Barbara performed the song and commentary.[33] Negative review.[34]
  • Selena conquered Mexico in the 1990s with "Como la Flor" and "La Caracha".[35]
  • Selena bridged her Mexican American roots with her American heritage with songs such as "Como la Flor" and "La Carcacha".[36]
  • "La Carcacha" had "sent Tejano sales flying".[37]
  • Her signature song.[38]

Charts

[edit]
Chart (1992) Peak
position
US Tejano Singles (Radio & Records)[17] 1
Chart (2011-15) Peak
position
US Latin Digital Songs Sales (Billboard) 6
US Latin Pop Digital Songs Sales (Billboard)[39] 16
US Regional Mexican Digital Song Sales (Billboard)[40] 6

Certifications

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Region Certification Certified units/sales
United States (RIAA)[41] 3× Platinum (Latin) 180,000‡

‡ Sales+streaming figures based on certification alone.

References

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  1. ^ a b Campbell 1993, p. 53.
  2. ^ Gamboa 1995, p. A5.
  3. ^ Flores 1995, p. 2.
  4. ^ Patoski & 1996 (b), p. 1.
  5. ^ Anon. 1996, p. 75.
  6. ^ Patoski 1996, p. 100.
  7. ^ a b c Patoski 1996, p. 113.
  8. ^ Burr & 1992 (b), p. T1.
  9. ^ Garcia & 1993 (b), p. 3.
  10. ^ Anon. & 1992 (a), p. 91.
  11. ^ Cabrera 1992, p. 71.
  12. ^ Burr & 1992 (a), p. 58.
  13. ^ Cabrera & 1993 (a), p. 83.
  14. ^ Suarez 1993, p. 4.
  15. ^ Crowell 1995, p. 84.
  16. ^ Cabrera & 1996 (a), p. 13.
  17. ^ a b Cabrera 1998, p. 67.
  18. ^ Anon. 1994, p. 5.
  19. ^ Maldonado 1991, p. 31.
  20. ^ Cabrera & 1993 (b), p. 73.
  21. ^ Cabrera & 1993 (c), p. 80.
  22. ^ Garcia 1993, p. 1.
  23. ^ Rodriguez 1994, p. 111.
  24. ^ Burr 1995, p. 1.
  25. ^ Cabrera & 1996 (b), p. 70.
  26. ^ Riemenschneider 1999, p. 38.
  27. ^ Cobo 2002, p. 26.
  28. ^ Anon. 1995, p. 162.
  29. ^ Lawrence 1998, p. 22.
  30. ^ Anon. 2000, p. 18.
  31. ^ Maldonado 2000, p. 71.
  32. ^ Chirinos 2005, p. 1.
  33. ^ Ovalle 2005, p. 140.
  34. ^ Olivas 2005, p. 47.
  35. ^ Anon. 2005, p. 97.
  36. ^ Villareal 2020, p. C3.
  37. ^ Gray 1995, p. 11.
  38. ^ Burr 2001, p. 2F.
  39. ^ Anon. & 2020 (a).
  40. ^ Anon. 2011, p. 39.
  41. ^ Anon. & n.d. (a).

Works cited

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