Jump to content

Pete Astudillo

From Wikipedia, the free encyclopedia

Pete Astudillo
Pete Astudillo during a concert in Laredo, Texas in 2016.
Born
Pedro Astudillo

(1963-12-01) December 1, 1963 (age 61)
Laredo, Texas, US
Other namesPeter Astudillo
Education
Occupations
  • Singer
  • songwriter
  • dancer
  • producer
Parents
  • Pedro Astudillo (father)
  • Paz Astudillo (mother)
Musical career
Genres
Years active1985–present
Labels
Formerly of
Websitepeteastudillo.com

Pedro Astudillo (born on December 1, 1963), is an American singer-songwriter, record producer, and dancer. Referred to as "the Latino Babyface" by The Daily Journal, he is regarded as the architect behind Selena's sound, as he collaborated or coauthored the singer's top-selling and most popular recordings that cemented him into music history. Astudillo wrote or collaborated on some of the most popular Tejano music songs of the 1990s and was inducted into the Tejano Roots Hall of Fame in 2019. His impact on the United States Latin music scene lies in his role as a songwriter collaborator, according to Billboard magazine.

After high school, he pursued music education, forming Los Bad Boyz with Joe Ojeda. Discovered by a local DJ, they joined Selena y Los Dinos, integrating in December 1988. Astudillo's addition involved harmonizing with Selena and taking on various roles within the band's dynamic. Astudillo's contribution to songwriting for the group began with "Besitos" (1989), co-written with the group's producer-songwriter A. B. Quintanilla, leading Selena y Los Dinos to explore the cumbia genre. His compositions for Ven Conmigo (1990) contributed to its commercial success, ranking among the longest-running albums on the US Billboard Regional Mexican Albums chart. Ven Conmigo was selected by the Library of Congress for preservation in the United States National Recording Registry for being "culturally, historically, or aesthetically significant" in 2021. Supported by Los Dinos and signed to Q-Productions, Astudillo released his debut solo album, Entregate a Mi, in January 1992.

Despite pursuing a solo career, Astudillo remained dedicated to Selena y Los Dinos, contributing to songwriting while on tour. He and A. B. co-wrote "Como la Flor" (1992), which became one of the most popular songs recorded by an artist of Mexican descent in the US. Widely considered to be Selena's signature song and her "trademark", "Como la Flor" has become part of the Texas musical cannon. It was certified by the Recording Industry Association of America (RIAA) 9× platinum (Latin). At the 1994 BMI Latin Music Awards, Astudillo received Songwriter of the Year honors. Astudillo co-wrote "Amor Prohibido" and "Bidi Bidi Bom Bom" for Selena's Amor Prohibido (1994), both becoming char-toppers on Billboard's Hot Latin Songs chart, while the latter became the most successful US Latin single of 1994. On March 31, 1995, Selena was shot and killed and Astudillo resumed performing during the opening of Sea World Texas, while still recovering from his mother's death the year prior.

Astudillo released Como Te Extrano on December 1, 1995, as the title track served as a tribute to Selena and Astudillo's mother, Paz. The titular track peaked at number one on the Regional Mexican Songs chart, where it remained for ten consecutive weeks. Astudillo received Most Promising Band honors at the 1996 Tejano Music Awards, and began to be hailed as the "next big thing" in the Tejano market. At the 1996 BMI Latin Music Awards, Astudillo tied with Juan Luis Guerra for Songwriter of the Year. Si Tu No Estas (1997) failed to replicate the commercial success achieved by its predecessor as well as ¿Dónde Estás Amor? (1999). Astudillo left Q-Productions in 2001 to forge his own label, Peace Rock Records and released his albums independently. After a stint as a rocker with Ruido Añejo in the early 2010s, Astudillo returned to Tejano music with his band, Pete Astudillo y Tekno-Mex. His collaboration with A. B., on "Pelón" for Boyz of Kumbia, peaked at number 38 on Billboard's Regional Mexican Songs chart in April 2021.

Life and career

[edit]

1981–1988: Early life and career beginnings

[edit]

Pedro Astudillo was born on December 1, 1963, at the Las Palmas ranch in Laredo, Texas,[1][2] to Mexican immigrants from Guerrero, Mexico,[3] Pedro and Paz Astudillo.[4] Pedro and Paz immigrated to the United States in 1962.[2] Astudillo worked alongside his parents and siblings on farms in Idaho, Colorado, Wyoming, and Montana, thinning beets and potatoes, up until he was 13 years old.[3] He described working in the fields as demanding but rewarding for the strong familial bonds. Astudillo worked as a dishwasher and later a cook at his family's restaurant. Singing in his church choir provided Astudillo an outlet, although he initially felt shy about it. Astudillo found himself drawn to music class.[3] At the age of nine or ten, Astudillo began writing love poems and songs as a way to express himself.[5] Astudillo acknowledged that it was never a planned endeavor to become a singer, but rather a serendipitous discovery.[6] He initially began singing on a whim, without any preconceived notions of pursuing it as a career. As he delved deeper into the craft, Astudillo found himself equally enamored with singing and composing lyrics.[6] Astudillo was raised in an economically disadvantaged neighborhood but remained resolute in his pursuit of a musical career.[7]

Astudillo graduated from Laredo Nixon High School in 1982.[8] In 1984, after spending a few years at Laredo College, he opened a restaurant with his brother in Loveland, Colorado. Despite this business venture, Astudillo harbored a passion for music and was determined to pursue a music career. He reapplied for college, majoring in accounting and attending vocal classes, and worked at his father's restaurant in Laredo.[2] In 1985, Astudillo revealed his aspirations to his family, surprising them by announcing his pursuit of a music career, a passion he had concealed until then.[3] Astudillo met Joe Ojeda, through a mutual friend, who was seeking a lead singer. They formed Los Bad Boyz, making their debut at Astudillo's brother, Rogelio Astudillo's catering business's reception hall.[3][2] Rogelio often recommended Los Bad Boyz to patrons who were unable to afford live music. Los Bad Boyz faced challenges securing larger gigs, and encountering rejection from promoters, even after offering to perform for free. Astudillo attributed this to their relative obscurity and the skepticism surrounding the potential of a two-person band.[3]

Astudillo and Ojeda considered quitting the music industry, feeling overwhelmed by its challenges. During one of their performance at a flea market, they were discovered by local DJ, The Bird El Locutor #2. Astudillo described it as a stroke of luck, feeling they were in the right place at the right time.[9] In August 1988, The Bird extended Los Bad Boyz a regular slot at Rox-Z's in Laredo on Tuesdays during Tejano nights,[10] though they performed unpaid.[3] Despite their performances, Los Bad Boyz went unnoticed as they were relatively unknown. The club's owners and workers appreciated their music, prompting The Bird to propose to management that whenever a popular band or performance was scheduled, Los Bad Boyz could open for them.[10] The following month, Los Bad Boyz opened for Selena y Los Dinos.[8][11] The group consisted of lead singer Selena, A. B. Quintanilla as the band's producer-songwriter, and bassist, Suzette Quintanilla on drums, keyboardist-songwriter Ricky Vela, and Jesse Ybarra on guitar.[2] Selena y Los Dinos was managed by the Quintanilla's father Abraham Quintanilla. By 1988, Selena y Los Dinos was ranked the most requested band in ten out of fifteen Tejano music radio stations in Texas.[12] Astudillo remarked that he knew who Selena was, but noted that he was not too into Tejano music at the time.[3]

Abraham was initially skeptical of Los Bad Boyz opening for Selena y Los Dinos because they were a two-person group.[3] Los Bad Boyz's performance made a positive impression on Selena y Los Dinos and Abraham.[4] After the show, Abraham approached Los Bad Boyz and inquired about their management and booking, offering his business card, and requested them to call him the following Monday to discuss potential future collaborations.[10][13] Abraham asked Los Bad Boyz if they would go on the road with them as their opening act,[14] which they did for the next two months.[11] They opened for Selena y Los Dinos in various cities, as a strong friendship with A. B. began to develop.[10] Astudillo stated how he and Ojeda "were happy just to be on the same stage with [Selena y Los Dinos]", and thought that the group was "just being polite" when they were asked to continue to support the group as opening acts.[8] Astudillo likened Selena y Los Dinos to the "Latino Brady Bunch" and described Selena as "goofy, crazy and loud".[15]

A. B. gradually persuaded Abraham, though initially reluctant due to financial concerns and the band's nascent success, to incorporate Los Bad Boyz into the group. Ultimately, A. B. convinced Abraham, allowing Astudillo and Ojeda to integrate into Selena y Los Dinos.[10] Astudillo and Ojeda joined the group on December 25, 1988,[8] following a show in Midland, Texas.[14] Astudillo's addition to Selena y Los Dinos involved harmonizing with Selena and performing duets with the singer,[16] as well as being a hype man, dancer, and roadie within the band's dynamic.[10] Astudillo often performed duets with Selena on tour,[17] while Ojeda joined as the second keyboardist.[16] Astudillo brought complex lyrics and melodies with lots of chords to his songwriting assistance for the group.[18] Astudillo experienced a profound sense of fulfillment when he was invited to join Selena y Los Dinos, feeling as though his aspirations had finally materialized.[19]

1989–1991: Selena y Los Dinos

[edit]
Astudillo began composing music with A. B. Quintanilla (pictured in 2020) when he was integrated into Selena y Los Dinos.

During the 1989 Tejano Music Awards, Rick Trevino invited Selena y Los Dinos to be the opening act for the awards ceremony after La Sombra declined the offer. Representatives from CBS Records and newly formed EMI Latin attended the awards event to scout for new musical acts.[20] EMI Latin's president, Jose Behar wanted to sign Selena y Los Dinos to his label, while CBS was offering twice EMI's offer.[21] Abraham found EMI Latin's proposal appealing due to the potential for a crossover deal, and he intended for his children to be the first musicians to sign with the company.[20]

The production of the group's debut album began in June 1989.[22] The goal of Selena was to be an introductory into the international Latin music market, with future sights into an English-language crossover.[22] The band became "a bit more trendier and a little bit cutting-edge" on Selena with experimental production and songwriting.[16] It was the first album with any production and songwriting assistance from Astudillo and Ojeda.[23] Astudillo discovered his ability to write songs when he started collaborating with A. B. It wasn't until their initial songwriting session that Astudillo thought he "can do that."[5] Vela and Astudillo began elaborating the arrangements in their music production.[16] Astudillo's input on songwriting initially occurred with "Besitos", which he co-wrote with A. B. who regarded as a turning point for the band as it steered them towards exploring the cumbia genre in future releases.[16] Astudillo's collaboration with A. B. steered the band towards a more danceable style infused with cumbia influences. This fusion, according to Pamela Colloff of Texas Monthly, drew elements of funk and hip-hop, creating a distinctive and vibrant sound.[24]

During the recording sessions for the duet "Amame, Quiereme", Astudillo felt overwhelmed by the professionalism of Los Dinos in the studio, as the group had high expectations for him to match their level.[8] It was Astudillo's first recording session in a studio, Suzette remarked that Astudillo was noticeably nervous during the sessions.[16] Astudillo was removed from the studio after an unsuccessful session, he expressed his disappointment at not meeting the desired range. After a friend of his successfully hit the required range and with encouragement, Astudillo retried and met the required demands for the track. Astudillo said how his aspirations of recording in a professional studio inspired him to not give up.[16] Writing for the El Paso Times, Maria Cortes Gonzalez called Astudillo's vocals on the track as being sexy,[17] and seductive.[25] "Amame, Quiereme" was nominated for Vocal Duo of the Year at the 1990 Tejano Music Awards.[26]

Astudillo and Abraham wrote "Sukiyaki"–originally a 1960s Japanese song by Kyu Sakamoto–into a Spanish-language song. Vela, who intended to be involved in the writing process, acknowledged Astudillo's songwriting skills and Spanish fluency, ultimately preferring Astudillo's approach for "Sukiyaki".[16] Astudillo assisted with the arrangements for "My Love" on Selena,[16] to which Selena's biographer, Joe Nick Patoksi, interpreted the track as an homage to Madonna.[27] Astudillo recorded the duet with Selena on "Yo Te Amo" for Ven Conmigo (1990), which was nominated for Vocal Duo of the Year at the 1992 Tejano Music Awards.[28] The band opted for a bridge-interlude structure for "Yo Te Amo", instead of their usual recycled chord progression, reflecting their growth and evolution.[29] The song's form wasn't distinctly Texan or Mexican but represented international Spanish music that masked within a slow cumbia framework.[30] Other tracks Astudillo wrote for the album includes, "Baila Esta Cumbia", "Enamorada de Ti", and "No Quiero Saber".[31] "Baila Esta Cumbia" was certified 6× platinum (Latin) by the Recording Industry Association of America (RIAA), denoting 360,000 units consisting of sales and on-demand streaming in the United States.[32] The compositions Astudillo wrote or co-wrote were largely responsible for Ven Conmigo's continued commercial success on the US Billboard Regional Mexican Albums chart, which by March 1992, ranked as the second-most weeks an album has remained on the chart behind Ana Gabriel by two weeks.[8] The album was selected by the Library of Congress for preservation in the United States National Recording Registry for being "culturally, historically, or aesthetically significant" in 2021.[31]

1992: Solo career with Oxygeno and Entre a Mi Mundo

[edit]
Abraham Quintanilla (pictured in 2020) signed Astudillo to his Q-Productions label and began managing him during his solo career.

Los Dinos supported Astudillo's desire to go solo.[8][33] With A. B.'s support, they began work on his debut album during their spare time amidst Selena y Los Dinos' busy schedule.[8] Astudillo's rapid rise led Abraham and EMI Latin to recognize his potential as a solo artist.[25] Los Dinos contributed instrumentally to his album, with A. B. co-writing six tracks and producing the record.[8] Music critic for the Corpus Christi Caller-Times, Rene Cabrera proclaimed Astudillo as possessing the requisite attributes to succeed as a soloist, noting his adept vocal abilities harmonized with a polished and commanding stage demeanor.[34]

Astudillo and his band Oxygeno began as opening acts to Selena y Los Dinos.[35] Abraham became Astudillo's manager and signed him to his Q-Productions label with distribution through EMI Latin.[25][1] Astudillo released his debut album, Entregate a Mi, in January 1992.[8] By March, Entregate a Mi was performing well in local markets.[8] The singles, "Un Hombre Busca Una Mujer", a cover of Luis Miguel, "Porque Le Gusta Bailar Cumbia", "Nada Nada", and the title track, were receiving heavy airplay in Albuquerque, New Mexico, Austin, McAllen, Lubbock, Alice, Laredo, Corpus Christi, and Houston, Texas.[36] "Porque Le Gusta Bailar Cumbia" was often the most requested song by fans.[37]

Astudillo, despite pursuing a solo career, remained dedicated to Selena y Los Dinos, emphasizing his loyalty to the band. He continued to contribute songwriting while touring.[38] When asked if he would depart Los Dinos to continue his solo career, Astudillo responded that he would not leave the band, saying "I'm a Dino, part of the family. This group is solid and I like it here."[8] The band's album, Entre a Mi Mundo aimed to propel them into the Mexican and Latin American markets. One of the tracks, "Como la Flor", penned by Astudillo and A. B., emerged from genuine emotions, despite initial disagreements over its theme.[39] "Como la Flor" became one of the most popular songs recorded by an artist of Mexican descent in the US.[40] In 2018, Rolling Stone named "Como la Flor" one of the best Latin pop songs.[41] Ilan Stavans credits the rise of Latin pop in the US during the 1990s to the widespread appeal of "Como la Flor".[42] Widely considered to be Selena's signature song and her "trademark", "Como la Flor" has become a posthumous epithet and swan song,[43][44] as well as her most popular recording.[45] It is one of her "most celebrated" songs and has become part of the Texas musical cannon.[46] The RIAA certified "Como la Flor" 9× platinum (Latin).[47]

Other songs Astudillo wrote or co-wrote for Entre a Mi Mundo, like the Juan Gabriel-inspired "¿Qué Creías?", "Vuelve a Mí", and the comical "La Carcacha", drew inspirations from everyday life.[48] "¿Qué Creías?" was certified gold (Latin),[49] while "La Carcacha" was certified 3× platinum (Latin) by the RIAA.[50] During the band's travels on the tour bus, Astudillo often hung out with A. B., guitarist Chris Pérez who joined the group following Ven Conmigo, Vela, and Ojeda.[51] According to Pérez, Astudillo was supportive of his and Selena's relationship,[52] despite her family and the other member's cautions about how Abraham would take it.[53] Astudillo mentioned that although the band wasn't entirely certain, they had sensed that something was developing between Selena and Pérez.[24] Pérez began dating Selena in secret. In reaction to her emotions for Pérez and their concealed relationship, Selena composed "Ámame" (1992) and sought lyrical assistance from Astudillo.[48]

1993–94: Separation from Selena y Los Dinos, Como Nadie, and Amor Prohibido

[edit]

Astudillo received the nomination for Single of the Year for "Un Hombre Busca Una Mujer" as well as Male Vocalist of the Year at the 1993 Tejano Music Awards,[54] while Astudillo and Selena were nominated for Vocal Duo of the Year for "Siempre Estoy Pensando en Ti".[55] Rene Cabrera of the Corpus Christi Caller-Times, found Astudillo's rendition of "Un Hombre Busca Una Mujer" at the awards ceremony as commendable, which demonstrated his readiness to embrace challenges tackling a demanding arrangement.[56]

Astudillo made his debut appearance on television with his band on the Johnny Canales Show on November 19, 1993.[57] The following week, his single "Ganar O Perder" debuted at number nine on the indie Tejano Singles music chart in Texas.[58] Music critic for the El Paso Times, Ramiro Burr named "Ganar O Perder" as one of the "hot cuts on Tejano radio".[59] The single peaked at number three on the music chart on the week ending December 23, 1993.[60] Astudillo began working on this third studio album in January 1994.[61] He was nominated for Male Vocalist of the Year and Vocal Duo of the Year with Selena at the 1994 Tejano Music Awards.[62]

In February 1994, Abraham advocated for Astudillo's emancipation from Selena y Los Dinos, recognizing his potential for solo success. Astudillo welcomed the chance to showcase his abilities independently, eager to perform more of his own material. Despite claims of relying on Selena's fame, Astudillo felt proud of his journey with her, asserting his ability to stand on his own merit as a solo artist.[63] Maldonado remarked that witnessing Astudillo's departure from Selena y Los Dinos was difficult, as their onstage chemistry and mutual support had become integral to their performances.[64] Astudillo separated from Oxygeno and embarked on conceptualizing a distinctive moniker for his new band which included Jesse Jesus Ybarra on guitar,[65][66] who formerly was the guitarist for Selena y Los Dinos in the 1980s,[67] Danny Hernandez and Mike Hererra on keyboards, Sernando Orosco on bass, and Ricky Landeros on drums.[37] The singer asked listeners of XHRG-FM to propose names for his new band. The station received over 150 submissions, with the winner winning a dinner date with Astudillo.[68]

At the 1994 BMI Latin Music Awards, Astudillo won Songwriter of the Year.[69] At the Tejano Music Awards, Astudillo and A. B. continued to be snubbed from receiving Songwriter of the Year awards, a move criticized by Cabrera, who found them responsible for Selena's works.[70] Astudillo co-wrote "Amor Prohibido" and "Bidi Bidi Bom Bom" for Selena's Amor Prohibido (1994), which became the two most popular tracks off the album.[65] Astudillo remarked that co-writing "Bidi Bidi Bom Bom", was one of the best memories he shared with Selena.[14] "Amor Prohibido" peaked at number one on the Billboard Hot Latin Songs chart the week ending June 11, 1994, and remained atop the chart for nine consecutive weeks becoming the most successful US Latin single of 1994.[71][72] "Amor Prohibido" was certified 7× platinum (Latin) by the RIAA.[73] "Bidi Bidi Bom Bom" peaked at number one on October 29, 1994,[74] and was certified 9× platinum (Latin) by the RIAA.[75] Other tracks Astudillo wrote or co-wrote for Amor Prohibido include "Techno Cumbia", which was certified platinum (Latin),[76] and "Si Una Vez" which was certified 3× platinum (Latin).[77]

To promote Como Nadie (1993), Astudillo embarked on a tour in West Texas through eastern New Mexico.[78] The single, "Piquito de Oro", made its debut at number six on the indie Tejano Singles music chart in Texas on the week ending April 7, 1994.[79] The following tracking week, it peaked at number two.[80] Astudillo's mother, Paz Astudillo, died on April 11, 1994.[3] "Piquito de Oro", as well as the album's other singles; "Vas a Llorar", "Ganar O Perder",[65] and "Acaso No Soy",[81] were receiving considerable airplay in Texas.[82] "Vas a Llorar" utilizes the backdrop of raindrops as a symbol of someone crying.[83] The track debuted at number nine on the indie Tejano Singles music chart on the week ending June 2, 1994,[84] it peaked at number two behind "Amor Prohibido" on the week ending July 3.[85] "Vas a Llorar" reached the top 15 of the US Radio y Musica magazine's top Latin songs in Florida.[78] Cortes Gonzalez felt that "Vas a Llorar" is a testament to Astudillo's talent as a songwriter and performer.[17]

Astudillo's music videos began airing regularly on Univision.[78] In August 1994, Astudillo began searching for an accordion player to join his band.[86] Astudillo made his second appearance on the Johnny Canales Show on July 3, 1994.[87] He also appeared on the music TV program Padrisimo on December 17, 1994.[88] While Astudillo's initial albums, Entregate a Mi (1992) and Como Nadie (1993), did not secure positions on national music charts,[1] The Odessa American expressed confidence in Astudillo's trajectory, foreseeing his ascent to prominence as one of the top Tejano artists in the industry.[19] The newspaper lauded Astudillo for his vocal abilities and songwriting skill, attributing these talents as providing him with a distinct advantage and positioning him as a competitive contender in the Tejano market.[19] The singles off Como Nadie continued to receive extensive airplay through 1995.[89]

1995: Death of Selena and Como Te Extrano

[edit]
Astudillo wrote "Como Te Extrano" as a tribute to Selena (pictured in 1995) and his mother, Paz; the song became his signature recording.

By 1995, Tejano became the fastest-growing Latin genre, with annual revenues topping $100 million.[33] Astudillo collaborated with A. B. on the comical cumbia track "Asi Te Quiero" (1995) for Imagen Latina.[90] On March 31, 1995, Selena was shot and killed.[91] Astudillo spoke to KBNA-FM following the news, talking about Selena as he wept on air,[92] as he was still recovering from his mother's death the year prior.[3] He attended her funeral on April 3.[93] Astudillo resumed performing during the all-star Cinco de Mayo celebration and Selena tribute during the opening of Sea World Texas.[94] He commenced delivering his amalgamation of Selena's songs during his concerts, expressing that he manages her death like any other individual who deals with a loss. Astudillo expressed gratitude for the lessons gleaned from Selena, which facilitated his coping mechanisms.[95] In June 1995, "Amor Prohibido" became the first Spanish-language song to receive the BMI Pop Music Award.[96] In July, Astudillo opened for Willie Nelson and received a commemorative plaque, along with Selena's family, which was hung at the Texas State Aquarium's Conservation Cove.[97] Astudillo collaborated with Vela on "Estupido Romantico", which was recorded by Mazz. The track peaked within the top ten of the Hot Latin Songs chart in September 1995.[98] Astudillo released his third studio album, Como Te Extrano, on December 1, 1995.[99] Como Te Extrano marks Astudillo's first album in two years, a rarity in the Tejano market where prolonged breaks risk fading into obscurity. Despite industry norms, Como Te Extrano climbed the music charts of Radio y Musica.[100]

The compositions on Como Te Extrano contain a mixture of pop cumbias and rancheras, typical of Tejano albums,[100] with production by A. B.[100][101] Mario Taradell of The Dallas Morning News, ranked it as one of the best Latin albums of 1995, praising Astudillo as the top composer in the market.[102] Como Te Extrano sold 50,000 units within its first month,[103] 100,000 units in seven weeks,[6] and reached 200,000 units by January 1997.[104] The sales achievement of Como Te Extrano solidified Astudillo's presence in the industry.[104] The title track, written by Astudillo, Ojeda, and A. B., was recorded as a tribute to Selena and Astudillo's mother, Paz.[105] The song emanated from Astudillo's emotions and heartfelt sentiments. Astudillo emphasized that the songwriting process was deeply personal, allowing him to express his feelings without pretense.[9] It made its debut at number 15 on the Billboard Hot Latin Songs chart and number nine on the Regional Mexican Songs chart, in the week ending October 21, 1995.[106] It peaked at number one on the Regional Mexican Songs chart, on the week ending November 18, 1995,[107] where it remained atop the chart for ten consecutive weeks.[108] "Como Te Extrano" peaked at number two on the Hot Latin Songs chart, on the week ending January 13, 1996.[109]

Astudillo aimed to capture universal sentiments of longing and ache in "Como Te Extrano", purposefully omitting Selena and his mother's name to allow listeners to personalize the song. [110] It became Astudillo's signature song.[110] Driven by the emotive titular track,[111] Como Te Extrano debuted at number eight on the Billboard Top Latin Albums chart and at number two on the Regional Mexican Albums chart, behind Selena's Amor Prohibido, on the week ending November 25, 1995.[112] The album maintained its position in the top ten of the Latin music charts for nearly four months.[111] Como Te Extrano peaked at number six on the Top Latin Albums chart, on the week ending December 16, 1995.[113] Paul Verna from Billboard magazine, hailed the album for its innovative blend of pop, cumbia, and ranchera styles that pushed the boundaries of Tejano music.[114] Tracks like the rancheras "Si Me Vas a Dejar", "Cayo Una Lagrima", "Cree en Mi", and the pop cumbia "Completamente Enamorado", also received airplay. Despite "Yo Estare a Tu Lado" not gaining recognition, Cabrera praised it as an ode to true love, showcasing Astudillo and Vela's skillful writing and Jesse Garza's emotive performance on the requinto, which heightened the song's emotional impact.[100]

1996: Pete Astudillo y Grupo Futuro

[edit]

In January 1996, Astudillo made a significant change by cutting his long locks, opting for a more contemporary and sophisticated look. Despite reservations from EMI Latin and advice from his label's manager, Lee Garza, he proceeded,[115] jokingly citing piojos (head lice) as the reason for the change.[7] Astudillo was inundated with requests from various musicians seeking material, among them were Liberación, Fugitivos, and Ramón Ayala.[5] Astudillo debuted his band's new name, Grupo Futuro, during his concert at the Pure Country nightclub in Abilene, Texas.[116] The band lineup remained mostly unchanged, with the addition of accordionist John Saenz.[66] Astudillo co-headlined a sold-out concert in Odessa, Texas with Jennifer Peña, drawing a crowd of 18,000.[117]

At the 1996 Tejano Music Awards, Astudillo received the nomination for Most Promising Band, Male Vocalist of the Year, Male Entertainer of the Year, and Song of the Year, along with Vela, for composing "Estupido Romantico".[118] Cabrera anticipated Astudillo to win Most Promising Band, attributing it to the success of "Como Te Extrano",[119] while Burr shared a similar expectation, foreseeing Astudillo's potential to secure several accolades owing to "Como Te Extrano"'s chart accomplishments.[120] Astudillo won Most Promising Band,[121] and began to be hailed as the "next big thing" in the Tejano market.[122] By March 1996, Como Te Extrano was certified platinum (Latin) by the RIAA for shipments of 100,000 units in the United States,[120] while former percussionist for Los Dinos, Arturo Meza joined Astudillo's band.[95]

At the 1996 Premio Lo Nuestro, Astudillo received the nomination for Male Regional Mexican Artist of the Year, New Regional Mexican Artist, as well as Song of the Year for "Como Te Extrano".[123] Astudillo performed at the Six Flags' Music Mill Amphitheatre, becoming the third Tejano act to perform at the theme park, following Emilio Navaira and Selena.[124] Astudillo recorded "Tu Robaste Mi Corazón", originally performed by Selena and Navaira, for the Siempre Selena (1996) album.[125] Cabrera perceived the new rendition's inclusion on the album as "sort of for old times sake",[126] while Chris Riemenshneider of the Austin American-Statesman characterized it as an energetic Tejano track.[127]

At the 1996 BMI Latin Music Awards, "Bidi Bidi Bom Bom",[128] "Si Una Vez", and "Amor Prohibido" received Song of the Year honors.[129] Astudillo tied with Juan Luis Guerra for Songwriter of the Year.[130] Astudillo expressed that being acknowledged as a songwriter held special significance for him, as he viewed writing as equally crucial to his artistry as performing.[5] On March 9, 1996, Astudillo narrated a pay-per-view unaired 1991 Market Square concert of Selena y Los Dinos.[131] For the first anniversary of Selena's death, Astudillo scheduled a tribute concert for the singer in Galveston, Texas along with Michael Salgado and Arnfulo Gonzales.[132] "Si No Fui Yo", the second single released from Como Te Extrano, continued the band's success following "Como Te Extrano".[116]

During Billboard's mid-year recap, Astudillo ranked as the sixth most-popular Regional Mexican Songs chart artist. "Como Te Extrano" ranked as the second-most popular song on the Regional Mexican Songs chart, and the album ranked at number two on the Regional Mexican Albums list, which enabled him to rank as the third-most-popular Regional Mexican Albums artist.[133] Astudillo, along with other artists signed to EMI Latin, was acknowledged for contributing to the label's sustained dominance of the Latin music charts in 1996.[133] "Como Te Extrano" ended 1996 as the fifth most-popular US Latin song as well as the second-most-popular US Regional Mexican Song, Como Te Extrano was the fourth best-selling Regional Mexican Album, while Astudillo ranked as the sixth most-successful regional Mexican artist of 1996 and the 22nd most-successful Latin songwriter of the year.[134]

1997: Acting career and Si Tu No Estas

[edit]

Astudillo joined the cast of Selena (1997), a biographical film directed by Gregory Nava, portraying himself as a dancer and backup vocalist to Jennifer Lopez's portrayal of Selena.[135] He considered it important to contribute to the film's success, drawing from his personal experiences with Selena to assist his co-stars.[136] Astudillo struggled to contain his emotions during the film's premiere, finding it challenging to watch recreated moments he described as "the happiest moments of my life".[137] Despite inconveniences such as early morning filming schedules as a result of cutting his hair,[110] Astudillo actively promoted the film during a special edition of El Show de Cristina,[138] and provided live performances to entertain extras during filming.[139] His inclusion in the film's Houston Astrodome scene was seen as a recognition of his significance within Los Dinos by the producers.[140]

For the Selena soundtrack, Astudillo recorded the tribute track, "Vivirás Selena" along with Graciela Beltrán, Bobby Pulido, the Barrio Boyzz, Navaira, and Peña.[141] While Riemenschneider found "Vivirás Selena" to have lacked the distinctive Tejano flavor, he still regarded it as a pleasant tribute to Selena.[142] Conversely, Mary Christina Vera, also from the Austin American-Statesman, disagreed with Riemenschneider's critique. She found the track to be one of the best recordings on the soundtrack, despite its departure from traditional Tejano beats. Vera felt the song was intended to be a slower, toned-down track.[143]

At the 1997 BMI Latin Music Awards, Astudillo was awarded Songwriter of the Year.[144] At the 1997 Tejano Music Awards, Astudillo received Song of the Year for "Como Te Extrano",[145] Male Vocalist of the Year, and won Orchestra/Group Album of the Year for Como Te Extrano, and Overall Album of the Year nominations.[105] In March 1997, Astudillo released his lead single, "Si Tu No Estas".[6] The track debuted and peaked at number 37 on the Hot Latin Songs chart, on the week ending June 14, 1997.[146] The album of the same name was released in June 1997.[147] Si Tu No Estas debuted and peaked at number 37 on the Top Latin Albums chart, on the week ending June 14, 1997.[148]

At the 1997 Pura Vida Awards, Astudillo faced logistical issues that led to a delay in the show's commencement as he was slated to co-host alongside George Rivas. Due to last-minute agreement forms presented by producers, Astudillo and other musicians, including A. B., declined to sign due to excessively restrictive terms. Tensions escalated backstage as producers issued ultimatums, leading to an 11-hour standoff. Eventually, producers relented, allowing musicians to sign only the standard release forms. As a result of the delay, only a few artists were able to perform that evening.[149]

To support Si Tu No Estas, Astudillo embarked on a tour. The majority of his concerts were done in Texas, while he ventured into Georgia, Florida, Michigan, and Arizona. Astudillo expressed satisfaction with the reception he had received during his tour, noting invitations to return to Georgia and Florida. Devoting eleven months of the year to touring, Astudillo confessed that he finds fulfillment in performance and would feel despondent without it. During any downtime from performances, he engaged in songwriting and music production endeavors.[150] Si Tu No Estas failed to replicate the commercial success achieved by its predecessor, Como Te Extrano.[150] Astudillo believed that Si Tu No Estas contained material of equal or superior quality, yet its success did not measure up to that of Como Te Extrano.[150] He co-wrote with A. B. "La Chica Sabrosura" (1997) for Lobo IV.[151]

1998–2000: ¿Dónde Estás Amor?

[edit]

Astudillo was nominated for Song of the Year for "Si Tu No Estas", Male Entertainer of the Year, Male Vocalist of the Year, and Tejano Crossover Song of the Year for "No Lo Niego" at the 1998 Tejano Music Awards.[152] Astudillo was featured on Puro Tejano en Vivo along with La Tropa F on March 25, 1998,[153] and released a promotional jingle for the Laredo National Bank.[154] He participated in VH1's Behind the Music episode that highlighted Selena on March 29, 1998.[155]

In September 1998, Astudillo released his lead single, "¿Dónde Estás Amor?".[154] Describing it as a romantic cumbia infused with accordion melodies, Astudillo highlighted the album's diverse offerings. Alongside norteño-style tracks reimagined in his distinctive manner, the album features mariachi compositions and a cumbia mariachi number. Astudillo aimed to cater to a broad audience, believing the album's varied content would resonate with younger and older listeners. He expressed a commitment to crafting music that transcends industry standards, prioritizing songs that resonate with the public's preferences over those solely aimed at garnering industry acclaim.[154]

On April 20, 1999, ¿Dónde Estás Amor? was released,[156] and at the 1999 Tejano Music Awards, Astudillo received the nomination for Best Mariachi Song by a Tejano Artist for "No Lo Niego".[157] Astudillo performed during the 41st annual Feria de Las Flores pageant on August 12, 2000, held at the Selena Auditorium within the Bayfront Convention Center.[158] Olga Tañon bought ¿Dónde Estás Amor?, her first of many records to "make up time" to listen to newer artists works.[159] Astudillo became troubled by the lackluster sales of ¿Dónde Estás Amor?, despite his belief in its quality. He acknowledged that sales were disappointing, leading to concerns about future sales, his performances, and overall direction.[160]

2001–2002: Departure from Q-Productions, founding of Peace Rock Records

[edit]

Astudillo decided to part ways with Q-Productions in 2001 due to "creative differences" regarding his career trajectory. He revealed that discussions with EMI Latin indicated a softening Tejano market and the label suggested that he had already passed his professional peak. Negotiations with EMI Latin and Q-Productions failed to yield agreeable terms.[160] Astudillo founded, Peace Rock Records, an extension of Peace Rock Publishing,[160] aligning with the pattern observed among Tejano artists venturing into autonomous record labels amidst the genre's persistent downturn. Astudillo avowed his proclivity for proactive engagement, eschewing passivity, remarking "I'm a hands-on kind of guy" preferring not to await opportunities idly. He observed that assuming a passive role merely facilitated the presentation of ideas, yet failed to garner financial support from record executives, reflecting the prevailing sentiment among executives that Tejano is in decline and lamenting the genre's perceived stagnation, deeming it is "not where it's at".[161]

Astudillo released his first album independently, El Rey del Ritmo, in August 2001,[162] and ranked among the most appealing musicians in the Tejano market.[163] Astudillo characterized the album as a fusion of diverse rhythms rooted in Tejano influences. The Corpus Christi Caller-Times observed that Astudillo unleashed a torrent of Latin sounds, incorporating various musical elements into El Rey del Ritmo with uninhibited creativity.[162] The title track climbed the Radio y Musica charts and received considerable airplay on Latin music stations across the country.[160] Cabrera described the title track as a vibrant dance offering with robust percussion, complemented by an accordion melody and Astudillo's signature vocals. Cabrera observed an abundance of rhythmic diversity infused with cumbia and South American dance influences in songs like "La Negra Tomasa", "Tu Tanga", and "Mira Como Se Le Mueve". The latter, along with "No Te Perdono", features horn-driven arrangements with bold and assertive characteristics distinct from his earlier works.[160]

In "Me Estas Doliendo el Corazon" and "Tequila Con Lagrimas", Astudillo shifts to cater to fans with more conventional preferences, according to Cabrera, who found that both tracks exemplify Astudillo's style for approaching themes from unique perspectives. "Me Estas Doliendo el Corazon" offers a classic Tejano sound infused with a cumbia rhythm and personal lyrics drawn from Astudillo's experiences. The track was written for Astudillo's mother from his father's viewpoint. "Tequila Con Lagrimas" delves into the theme of lost love and emotional turmoil, offering solace through the metaphor of tequila therapy. Cabrera noted "Una Flor Lloro" as a poignant track exploring themes of betrayal, showcasing Astudillo's adeptness at employing metaphor and symbolism.[160] Astudillo began experimenting with vallenato-influenced tracks in his Tejano recordings, following the footsteps of other Tejano artists.[164]

By 2002, Astudillo took a brief hiatus from the music scene to care for his aging father. Additionally, he opted for this hiatus because he noticed a decline in bookings for his performances, which prompted him to reassess his career direction.[2] He produced singer Sesi's Chiquita Pero Picosa (2001) album.[165] Astudillo and A. B. wrote, "Yo No Fui" (2002), a song that revolves around a womanizer who habitually makes excuses for his actions, for Big Circo. The song merges norteño cumbia rhythms with the rock-infused vocals of accordionist and vocalist Big Boy.[166] Writing for The Monitor, Joe Zepeda believed that the track would seamlessly blend in with the songs during Tejano's golden age in the early 1990s.[167] Astudillo recorded "Eclipse", a duet with Denisse, on her debut album in 2002.[168]

2003–2009: Enfoque Musical and Selena ¡Vive!

[edit]

On July 9, 2003, Astudillo announced his first album in two and a half years, expressing his disdain for artists releasing albums every eight months or less. He preferred that audiences engage with his entire album rather than consuming music in fragments. Astudillo commenced pre-production of the album a year before its announcement. The album comprised nine tracks penned by Astudillo, along with two cover versions. He described the album as an innovatively varied album while still retaining a Texan vibe. With this album, Astudillo aimed to revisit the Mexican music market, which he believed had been largely neglected. He sought to make a statement through his music and opted to record the album at various locations to ensure its quality. Targeting younger audiences, Astudillo decided on a fusion of romantic cumbias and pop music with influences from Colombian and rock music. Despite the rising popularity of Colombian music at the time, Astudillo asserted that his incorporation of Colombian-inspired tracks stemmed from his genuine enjoyment of the genre before its surge in popularity. Adding to his personal touch to the album, Astudillo also included rock-influenced songs, professing himself to be a "rocker at heart". He initiated negotiations with Universal Music Group, Univison, and Sony for a distribution deal for his album.[169]

In 2005, Astudillo became a co-host for Enfoque Musical, an entertainment TV program broadcast in South Texas.[170] Astudillo took part in the all-star Selena ¡Vive!, a benefit concert commemorating the 10th anniversary of the singer's death. Astudillo performed "Como Te Extrano" at the event. Juan Martin Ovalle of the Fort Worth Star-Telegram observed that Astudillo performed the track with full intensity.[171] Olivia Ruiz of The Fresno Bee and Rogelio Olivas of the Tucson Citizen, regarded Astudillo's performance of "Como Te Extrano" as one of the most emotionally charged moments of the concert.[172][173] Ruiz noted that Astudillo's rendition moved those in attendance to tears, including Selena's mother, Marcela.[172] Astudillo was the master of ceremonies for the 2006 Little Miss Fitness held in McAllen.[174]

2010–present: Ruido Añejo and Pete Astudillo y Tekno-Mex

[edit]

By 2010, Astudillo was the lead singer for his rock en español band Ruido Añejo.[175] The group consisted of Astudillo, Ojeda, bassist Adriel Ramirez, guitar-producer Manuel "Meatt" Riojas, guitarist Ruben Rea, and drummer Frankie Diaz de Leon.[176] The group's debut album, Salvación, was released in 2013. It took influences from Guns N' Roses, Matchbox Twenty, Train, Bon Jovi, and the Chris Perez Band.[176] The album featured a revamped version of "Como Te Extrano" as well as a 1980s power ballad rendition of "Como la Flor", and the ballad "Quiero Llorar". Ruido Añejo strategically decided to debut their softer material at the 2013 Tejano Music Awards as a means to appeal to the traditional audience. They were concerned that performing their hard rock songs might deter them.[176]

He participated as one of the judges for TeleFutura's Buscando a la Doble de Selena competition show.[177] He performed during the first annual Fiesta de la Flor in May 2016,[178] and the second annual's event in March 2017.[179] Astudillo collaborated on the Christmas music song "Que Empiece La Fiesta" (2015) with Stefani Montiel, Ricky Valenz, and Raul Sanchez.[180] Astudillo recorded "Se Que Pensabas" with Grupo Quemado for their album, A Tribute to Joe “Wajo” Carmona (2017).[181] Astudillo introduced his new band, Pete Astudillo and Tekno-Mex during the October 2017 annual Bootfest in Victoria, Texas.[182] The group consisted of Ojeda, Ricky Landeros, Juan Garza, Sonja de la Paz Garcia, and Diego Garcia.[14] Sunny Sauceda recorded "Por La Madrugada" (2018) featuring Astudillo.[183] In 2019, Astudillo released "El Rey del Ritmo" which featured Erick Sanchez.[184] Astudillo recorded a duet with Isabel Marie on "Camina Conmigo" for her Sigueme (2019) album.[185]

Due to the COVID-19 pandemic, Tekno Mex canceled their March 2020 show at San Antonio's Aztec Theatre and indefinitely suspended touring.[186] Astudillo was slated to perform at Selena XXV, a live tribute concert that was scheduled to be held at the Alamodome and broadcast on Univision in April 2020.[187] The concert was scuppered due to the COVID-19 pandemic.[188] In December 2018, Netflix green-lit Selena: The Series (2020-21), a two-part limited drama series based on Selena's life. In March 2020, Julio Macias was cast to portray Astudillo in the series.[189] Following the release of Selena: The Series, which spotlighted Astudillo and Ojeda's origins in Laredo, Astudillo "helped put Laredo on the map".[10]

"Pelón", written by Astudillo and A. B. for Boyz of Kumbia, peaked at number 38 on Billboard's Regional Mexican Songs chart in April 2021.[190] By May 2021, Astudillo had written over 100 songs. He released "Separaditos", which was inspired by the COVID-19 pandemic in 2021.[9] It contained a positive message of hope, according to Astudillo, who promoted the track through a TikTok dance challenge. The track features cumbia rhythms with reggaeton and electric guitar by Garcia.[191] In 2024, Astudillo released the corrido "Esta Es Pa’ Mi Raza", after realizing he had yet to release a song about his family and upbringing. The track discusses the struggles of the American Dream and the sacrifices Astudillo's parents had made for him.[3] On March 27, 2024, Astudillo announced that he and Peña collaborated on a song, which he plans to release soon.[2]

Artistic style

[edit]

Astudillo's compositions exhibit a rhythmic cadence reminiscent of Selena's signature style.[25] Astudillo infuses his musical arrangements with a blend of international influence and pop music.[151] Astudillo emphasized delivering the best material and avoiding superficiality to be seen as substantive talent, not a novelty act.[150] According to A. B., Astudillo contributed significantly to Selena y Los Dinos' repertoire. Typically, A. B. would conceive the thematic concept, while Astudillo would collaborate in crafting the lyrical content. Their collaborative efforts frequently centered on personal narratives and vicarious experiences.[192] The San Angelo Standard-Times praised Astudillo's albums for showcasing his "charismatic voice" through "well-written cumbias and ballads."[193] Santiago Esparza of The Daily Journal hailed Astudillo as "the Latino Babyface".[6]

Astudillo's musical style is characterized by his vocal croons and emotive songwriting. His compositions often blend traditional polka elements with a contemporary pop influence, a fusion influenced by his upbringing in Laredo. Astudillo was exposed to rock and roll as a child and listened to AC/DC, Iron Maiden, and Judas Priest, to new wave music and international Spanish musicians such as Jose Jose and Raphael, before ultimately embracing Tejano music.[110] He also enjoys the works of Van Halen and Rush.[176] Astudillo possessed a distinctive voice and a recognizable appearance. His trademark long hair was styled in a confident pompadour atop his head, cascading down to the middle of his back, a look that garnered admiration from fans who emulated his style. Astudillo's decision to cut his hair was driven by a desire for change.[110]

Cabrera found Astudillo to seamlessly combine his artistic flair with his vocal abilities, delivering an engaging and captivating live performance.[194] Astudillo is known for his engaging stage presence and penchant for interaction with his audience–a practice he values deeply, recognizing that his fans attend his shows not merely to witness him perform, but to actively participate in the music experience. His performance style is characterized by its dynamic energy and infectious rhythms, often involving the crowd. He attributes his approach to concert performances to Selena, whose stage persona left a mark on Astudillo's performance style.[195][153] During one of his performances, music critic John Leland of Newsweek, found Astudillo's performance as being a quintessential Tejano moment: a first-generation Mexican American blending the traditional roots of the cantina with contemporary vibes of video culture from northern America. Leland enjoyed Astudillo's fusion of his Tex-Mex music and the vernacular typically used in rap music and the music scene in the South Bronx.[33] Elizabeth Campbell of the Fort Worth Star-Telegram discerned Astudillo's vocals as opulent and refined, amidst his tenure alongside Los Dinos on tour.[196]

Astudillo's songs draw from personal experiences, reflecting varied emotions. While often melancholic, he clarifies not all are sad; while finding that authenticity is paramount. Astudillo considers himself a meticulous songwriter who is open to unconventional ideas like using "stupid" in "Estupido Romantico". He prioritizes originality, pushing creative limits for impactful recordings, and eschewing haste for distinction.[5] Astudillo's fusion of Latin music with Afro-Caribbean rhythms enchanted audiences, transcending Texas borders with a sophisticated sound, noted by Marty Racine of the Houston Chronicle.[197] Despite being indefinitely linked with Selena, Astudillo remains unperturbed by the persistent inquires, remaining proud of his roots.[110][14] Tarradell credits Astudillo as the mastermind behind Selena's sound.[198] He coauthored Selena's top-selling and most popular songs,[199][193] cemented him into music history.[110] Astudillo has authored or collaborated on some of the most popular Tejano songs of the 1990s, including most of Selena's repertoire and "Estupido Romantico".[160] John Lannert of Billboard magazine, observed that Astudillo's impact on the US Latin music scene lies in his role as a songwriter collaborator.[200] Astudillo was inducted into the Tejano Roots Hall of Fame by 2019.[184] Astudillo expressed that while he may not be able to sing indefinitely, his ability to write will endure while he's alive.[9]

Philanthropy

[edit]

Astudillo performed at the 1995 Texas Tours Tejano Super Car Show, and part of the proceeds were donated to benefit D.A.R.E. and Moms Demand Action.[201] On November 27, 1996, Astudillo visited Miller High School in Corpus Christi, Texas, aiming to educate students about the perils associated with drugs and alcohol. Astudillo performed several songs during his visit, that was sponsored by the Coastal Bend AIDS Foundation, as part of the school district's Red Ribbon Week initiative.[7] During a 1998 visit to Michigan, Mi Gente magazine spotlighted Astudillo's involvement in a series of visits to local schools. He conducted free mini-concerts and engaged with students, delivering talks on the dangers of substance abuse and gang involvement.[150]

In April 1997, Astudillo participated in a fundraising autograph session with Little Joe, Eddie Gonzalez, Lisa Jimenez, and Gary Hobbs.[202] For Labor Day 1997, Astudillo participated alongside other Q-Productions artists in a benefit concert to support the Corpus Christi Food Bank by raising both food supplies and funds for the cause.[203] Astudillo dressed up as Santa Claus to fulfill a wish for Alejandrina Loera, who was featured on the Cristina show after expressing her Christmas wish to the producers. The producers spotlighted Loera's story after she candidly shared her concerns about affording a Christmas tree or gifts for her children. Astudillo arrived at Loera's house with gifts. Reflecting on the experience, Astudillo expressed profound emotion at being present with the Loera family, affirming his belief that everyone deserves a joyful Christmas. He performed for the family during dinner with Christmas carols, including "Feliz Navidad".[204]

In October 1999, Astudillo participated in a free festival held at Robstown-Nueces County Park, sponsored by the Robstown Area Development Commission. The festival featured a variety of activities tailored to foster a family-oriented atmosphere, aimed at bringing the community together.[194] He performed for a free concert sponsored by local sponsors at the 2000 Cinco de Mayo celebration in Corpus Christi.[205] Astudillo provided support for singer Devin Banda after she tearfully released a video on being cyberbullied.[206]

Personal life

[edit]

In 1998, Astudillo and Eva Longoria shared a private room to bond before shooting the music video for "No Lo Niego". While Astudillo expressed there was chemistry between them, he refused to acknowledge if anything happened between them, telling El Norte to ask Longoria. During the filming of the video, Astudillo and Longoria shot kissing scenes, though it was removed during post-production. After filming, Astudillo and Longoria remained in contact until she departed to Los Angeles to pursue an acting career in 2000.[207] Astudillo shares a home with his girlfriend, whom he has been with for 17 years. Although they are not married, he regards her as his wife. He has a 26-year-old stepdaughter, whom Astudillo considers his daughter.[2]

On August 1, 2005, Astudillo received a driving under the influence citation after he registered three times over the legal blood alcohol limit resulting in his Chevy Suburban crashing into barriers along a freeway loop in San Antonio. Astudillo called the event "minor" and denied being drunk behind the wheel and asked fans to not judge him, saying "We all make mistakes".[208] In April 2015, Astudillo, in response to an interview about royalties, stated that he has continued to be paid well as a result of people continuing to purchase Selena albums and songs as well as requesting material from Selena on the radios. When asked what he has done with the royalties in the last two decades since Selena's death, Astudillo responded that it has fed him and his family and allowed him to live a comfortable life, though he is not very exuberant. He answered that he had lived a normal, quiet life, and thanked God that he could provide for his family, calling it "an incredible blessing".[209]

Discography

[edit]
Main article: Pete Astudillo discography
  • Entregate a Mi (1992)
  • Como Nadie (1993)
  • Como Te Extrano (1995)
  • Si Tu No Estas (1997)
  • ¿Dónde Estás Amor? (1999)
  • El Rey del Ritmo (2001)
  • Salvación (2013)

References

[edit]
  1. ^ a b c Burr 1999, p. 55.
  2. ^ a b c d e f g h James 2024.
  3. ^ a b c d e f g h i j k l Carrizales 2024.
  4. ^ a b Bolaños 2020.
  5. ^ a b c d e de la Torre 1996, p. 1B.
  6. ^ a b c d e Esparza 1997, p. 12.
  7. ^ a b c Rivera 1996, p. 88.
  8. ^ a b c d e f g h i j k l Cabrera 1992, p. 67.
  9. ^ a b c d Soriano 2021.
  10. ^ a b c d e f g Salas 2020.
  11. ^ a b Rodriguez 1995, p. 6G.
  12. ^ Patoski 1996, p. 79.
  13. ^ Beltrán López 2021.
  14. ^ a b c d e Anon. 2017.
  15. ^ Flores 2015, p. 8.
  16. ^ a b c d e f g h i Quintanilla 2002.
  17. ^ a b c Cortes Gonzalez 1994, p. 65.
  18. ^ Pérez 2012, p. 113.
  19. ^ a b c Anon. 1995c, p. 164.
  20. ^ a b Quintanilla 1997.
  21. ^ Anon. 2008.
  22. ^ a b Caicedo 1989, p. 138.
  23. ^ Patoski 1996, p. 82.
  24. ^ a b Colloff 2010.
  25. ^ a b c d Cortes Gonzalez 1995, p. 50.
  26. ^ Pérez 2012, p. 31.
  27. ^ Patoski 1996, p. 81.
  28. ^ Anon. 1992a, p. 40.
  29. ^ Quintanilla 2002b.
  30. ^ Patoski 1996, p. 91.
  31. ^ a b Anon. 2021.
  32. ^ Anon. 2017a.
  33. ^ a b c Leland 1995, p. 80.
  34. ^ Cabrera 1994b, p. 84.
  35. ^ Patoski 1996, p. 124.
  36. ^ Cabrera 1992b, p. 71.
  37. ^ a b Maldonado 1994b, p. 50.
  38. ^ Patoski 1996, p. 125.
  39. ^ Guerra 2017.
  40. ^ Tamayo 2020.
  41. ^ Exposito 2018.
  42. ^ Stavans 2014, p. 407.
  43. ^ Parédez 2009, pp. 1034, 1053.
  44. ^ Blanco-Cano & Urquijo-Ruiz 2011, p. 227.
  45. ^ Mottola 2016, p. 105.
  46. ^ Smith 2020.
  47. ^ Anon. 2017b.
  48. ^ a b Quintanilla 2002a.
  49. ^ Anon. 2017c.
  50. ^ Anon. 2017d.
  51. ^ Pérez 2012, p. 43.
  52. ^ Pérez 2012, p. 45.
  53. ^ Pérez 2012, pp. 40, 60.
  54. ^ Anon. 1992b, p. 58.
  55. ^ Anon. 1993a, p. 44.
  56. ^ Cabrera 1993, p. 79.
  57. ^ Cabrera 1993b, p. 79.
  58. ^ Anon. 1993b, p. 145.
  59. ^ Burr 1993, p. 138.
  60. ^ Anon. 1993c, p. 87.
  61. ^ Maldonado 1994, p. 62.
  62. ^ Cabrera 1994a, p. 78.
  63. ^ Delgado 1994, p. 4C.
  64. ^ Maldonado 1999, p. 53.
  65. ^ a b c Cabrera 1994d, p. 70.
  66. ^ a b Anon. 1996f, p. 52.
  67. ^ Patoski 1996, p. 59.
  68. ^ Delgado 1994, p. 3C.
  69. ^ Gonzalez 1994, p. 17.
  70. ^ Cabrera 1994c, p. 88.
  71. ^ Anon. 1998e, p. LMQ3.
  72. ^ Rivas 2011.
  73. ^ Anon. 2017e.
  74. ^ Anon. 1994g, p. 37.
  75. ^ Anon. 2017f.
  76. ^ Anon. 2017g.
  77. ^ Anon. 2017h.
  78. ^ a b c Maldonado 1994d, p. 70.
  79. ^ Anon. 1994a, p. 95.
  80. ^ Anon. 1994b, p. 101.
  81. ^ Cabrera 1994e, p. 75.
  82. ^ Cabrera 1994e, p. 70.
  83. ^ Maldonado 1994c, p. 149.
  84. ^ Anon. 1994c, p. 91.
  85. ^ Anon. 1994d, p. 15.
  86. ^ Burr 1994, p. 118.
  87. ^ Anon. 1994e, p. 109.
  88. ^ Anon. 1994f, p. 110.
  89. ^ Cabrera 1995b, p. 47.
  90. ^ Maldonado 1995a, p. 62.
  91. ^ Verhovek 1995, p. 1.
  92. ^ Lemieux 1995, p. 19.
  93. ^ Anon. 1995a, p. 74.
  94. ^ Anon. 1995b, p. 14.
  95. ^ a b Arrillaga 1996, p. 9.
  96. ^ Cabrera 1995a, p. 81.
  97. ^ Mortensen 1995, p. 101.
  98. ^ Cabrera 1995b, p. 78.
  99. ^ Anon. 1995d, p. 28.
  100. ^ a b c d Cabrera 1996b, p. 47.
  101. ^ Burr 1995, p. 138.
  102. ^ Tarradell 1995, p. 30.
  103. ^ Garcia 1997, p. 3.
  104. ^ a b Maldonado 1997b, p. 11D.
  105. ^ a b Gonzalez 1997, p. B8.
  106. ^ Lannert 1995, p. 42.
  107. ^ Lannert 1995b, p. 53.
  108. ^ Anon. 1995f.
  109. ^ Anon. 1996i, p. 29.
  110. ^ a b c d e f g Cordova 1998, p. 141.
  111. ^ a b Lannert 1996, p. 26.
  112. ^ Lannert 1995c, p. 64.
  113. ^ Anon. 1995e.
  114. ^ Verna 1996, p. 73.
  115. ^ Cabrera 1996a, p. 25.
  116. ^ a b Anon. 1996f, p. 46.
  117. ^ Anon. 1996g, p. 18.
  118. ^ Ragland 1996a, p. E7.
  119. ^ Cabrera 1996c, p. 66.
  120. ^ a b Burr 1996b, p. 128.
  121. ^ Anon. 1996e, p. 25.
  122. ^ Grieser 1996, p. 99.
  123. ^ Anon. 1996a, p. 327.
  124. ^ Tarradell 1996, p. 31.
  125. ^ Riemenschneider 1996, p. C11.
  126. ^ Cabrera 1996d, p. 70.
  127. ^ Riemenschneider 1996b, p. 47.
  128. ^ Ragland 1996b, p. E7.
  129. ^ Burr 1996d, p. 4.
  130. ^ Ragland 1996b, p. 39.
  131. ^ Anon. 1996d, p. 34.
  132. ^ Rodriguez 1996, p. 6B.
  133. ^ a b Lannert & Burr 1996, p. 40.
  134. ^ Anon. 1996h, pp. 37–39, 41.
  135. ^ Anon. 1996b, p. 8.
  136. ^ Navarro 1997, p. 1.
  137. ^ Maldonado 1997, p. 1.
  138. ^ Ruiz & Navarro 1996, p. 1.
  139. ^ Anon. 1996c, p. 1.
  140. ^ Corpus 1996, p. 16.
  141. ^ Anon. 1997, p. 7.
  142. ^ Riemenschneider 1997a, p. C7.
  143. ^ Vera 1997, p. 67.
  144. ^ Lannert 1997, p. 39.
  145. ^ Riemenschneider 1997b, p. F8.
  146. ^ Anon. 1997b, p. 41.
  147. ^ Burr 1997, p. 101.
  148. ^ Anon. 1997c.
  149. ^ Burr 1997b, p. 94.
  150. ^ a b c d e Anon. 1998d, p. 38.
  151. ^ a b Cabrera 1997c, p. 72.
  152. ^ Anon. 1998, p. 31.
  153. ^ a b Anon. 1998b, p. 14.
  154. ^ a b c Anon. 1998c, p. 12.
  155. ^ Riemenschneider 1998, p. 16.
  156. ^ Wener 1999, p. 298.
  157. ^ Cabrera 1999, p. 58.
  158. ^ Ross 2000, p. 70.
  159. ^ Burr 2001b, p. 11.
  160. ^ a b c d e f g Cabrera 2001, p. 59.
  161. ^ Burr 2001, p. LM.
  162. ^ a b Anon. 2001, p. 1.
  163. ^ Molina 2001, p. 21.
  164. ^ Cobo 2002, p. 36.
  165. ^ Medina 2017.
  166. ^ Burr 2003, p. 10.
  167. ^ Zepeda 2002, p. 62.
  168. ^ Castañeda 2002, p. 10.
  169. ^ Hernández 2003, p. 13.
  170. ^ Corcoran 2005, p. 17.
  171. ^ Ovalle 2005, p. 140.
  172. ^ a b Ruiz 2005, p. Z4.
  173. ^ Olivas 2005, p. 47.
  174. ^ Anon. 2006, p. A91.
  175. ^ Colloff 2010, p. 86.
  176. ^ a b c d Saldana 2013.
  177. ^ Aguilar 2010, p. 5.
  178. ^ Garcia 2016, p. 4.
  179. ^ Hackleman 2017, p. A1.
  180. ^ Anon. 2015.
  181. ^ Medina 2017b.
  182. ^ Perez 2017b, p. D1.
  183. ^ Medina 2018a.
  184. ^ a b Medina 2019a.
  185. ^ Cortes Gonzalez 2019, p. 6.
  186. ^ Carrizales 2020.
  187. ^ Martin 2020.
  188. ^ Falcon 2020, p. A3.
  189. ^ Gomez 2020, p. V10.
  190. ^ Oliva 2021, p. A3.
  191. ^ Medina 2021.
  192. ^ Maldonado 1993, p. 74.
  193. ^ a b Anon. 2000, p. 11.
  194. ^ a b Cabrera 1999b, p. 69.
  195. ^ Flores 1997, p. 38.
  196. ^ Campbell 1993, p. 53.
  197. ^ Racine 2001, p. D1.
  198. ^ Tarradell 1997, p. 14.
  199. ^ Cabrera 1997a, p. 77.
  200. ^ Lannert 1996, p. 40.
  201. ^ Hunt 1995, p. 12.
  202. ^ Riemenschneider 1997c, p. B12.
  203. ^ Cabrera 1997b, p. 65.
  204. ^ Maldonado 1998, pp. 1, 10.
  205. ^ Cabrera 2000, p. 57.
  206. ^ Medina 2017c.
  207. ^ Corpus 2005, p. 3.
  208. ^ Anon. 2005.
  209. ^ Corpus 2015, p. 2.

Works cited

[edit]
[edit]
Retrieved from "http://en.wiki.x.io/w/index.php?title=Pete_Astudillo&oldid=1262071430"