La Carcacha

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Not to be confused with La Cucaracha.

"La Carcacha"
Album cover for Selena's single "La Carcacha" featuring a posing Selena with long wavy hair and hoop earrings, against a white background, surrounded by her band Los Dinos.
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" (English: "The Jalopy") is a song recorded by American singer Selena for her third studio album, Entre a Mi Mundo (1992). The song was written by A.B. Quintanilla and Pete Astudillo. It was inspired by a dilapidated car and an experience in which A.B. observed a woman's willingness to court the owner of a luxury car. The song, characterized by its rhythmic melodies and satirical portrayal of life in the barrio, highlights the importance of love and genuine connection over material wealth. It is a Tejano cumbia song that is emblematic of Selena's typical style, while music critics found it to be musically similar to "Baila Esta Cumbia".

The song experienced considerable airplay and chart success, reaching the top spot on

car show and was included in the Broadway musical, Selena Forever (2000). In 2005, Ana Bárbara performed the song at the Selena ¡Vive!
benefit concert.

Background and inspiration

In 1991, A.B. Quintanilla, Selena's brother, and the band's keyboardist Joe Ojeda walked from their hotel in Uvalde, Texas, to get food. While eating, A.B. observed a dilapidated vehicle and proclaimed his desire to compose a song inspired by it. He asked Ojeda for the Spanish translation of "broken-down car," which Ojeda provided as "carcacha". A.B. was initially uncertain about the thematic direction he would pursue with the composition.[1]

A month later after his observation of the run-down car, A.B. bought a BMW and went to pick up food. At the restaurant, a worker kept asking about his car, much to his frustration, as he simply sought to retrieve his meal. Overhearing a nearby woman expressing her willingness to court the owner of the car, A.B. utilized this experience to forge "La Carcacha" in collaboration with backup dancer and vocalist Pete Astudillo. Astudillo learned about A.B.'s idea in Eagle Pass, Texas, after a friend of Selena poked fun at a couple arriving at a dance in their beat-up car. Astudillo aspired to craft lyrics centered around a woman devoid of materialistic inclinations, whose acquaintances may deride her and engage in mockery. However, she lacks concern over her partner's possession of a battered car, showing that the paramount sentiment is the significance of love.[1]

Music and lyrics

"La Carcacha"
The composition was characterized by Selena's distinctive style: rhythmic melodies that elicited dance while simultaneously providing a satirical portrayal of life in the barrio.
Problems playing this file? See media help.

Musically, "La Carcacha" is primarily a

rap" and A.B. was particularly impressed by Rodriguez's contribution, and he expressed a keen desire to include the new element in the song.[14] The song begins with a countdown "uno, dos, tres, cuatro" and features the sound of car horns honking in the background.[6]

"La Carcacha" employs a comical narrative intertwined with an underlying moral message.[1] The lyrics of "La Carcacha" revolve around a poignant commentary on materialism and superficiality. The narrative explores the protagonist's experience with a rundown vehicle, known as a "carcacha" in Spanish. By juxtaposing the protagonist's humble means of transportation with a materialistic young woman's desire for luxurious possessions, the song emphasizes the importance of love and genuine connection over material wealth.[15] In a 1992 interview at the Poteet Strawberry Saloon, Selena articulated her creative approach, stating that the music she and her band produced aimed to encapsulate the emotional experiences that people encounter throughout their lives. The songs they wrote, such as "La Carcacha", sought to connect with listeners by reflecting on common experiences.[16] Selena explained that the song's focus on "a clunker car" resonated with many individuals who found themselves in similar situations.[16] According to Jessica Roiz of Billboard, the lyrics of Selena's songs served as a vehicle for conveying valuable life lessons to listeners. In particular, Roiz noted that "La Carcacha" encourages individuals not to be ashamed of their possessions or lack thereof, championing the joys of embracing simplicity and deriving pleasure from the small things in life.[17] Billboard summarized the lyrics as Selena being ridiculed because of her relationship with a partner who owns a broken-down car and defending her partner despite his vehicle's subpar condition. With billowing tailpipe smoke, rudimentary wheels, and a reversed engine, Selena extols her partner's virtues, emphasizing his loyalty and devotion to her.[6]

Tejano music had often suffered from simplistic and generic lyrical content; however, A. B. and Astudillo overcame this stereotype by crafting songs that rendered vibrant depictions of life in the barrio.

Madonna's "True Blue" (1986).[19] Mariam M. Echevarría Báez of El Vocero has drawn a parallel between the comedic essence of "La Carcacha" and that of Selena's "Salta La Ranita" (1986).[20] In her analysis, scholar Deborah Vargas characterized the music in "La Carcacha" as a fusion of high-tech auditory elements. Vargas opined that the sounds in "La Carcacha" create an auditory landscape that has the potential to strongly resonate with those who find themselves situated within economically disadvantaged communities.[21] Selena's biographer Joe Nick Patoski, noted that the singer frequently recorded songs depicting experiences she had not personally encountered, such as "La Carcacha", which delves into themes of "barrio teen romance".[22] Patoski described the composition as an exemplary piece of contemporary music, characterized by its dynamic cumbia rhythm accentuated by call-and-response chants, exuberant shouts, whistles, and Chris Pérez's guitar fills. The song showcases Selena's "mesmerizing snake-charmer vocals"; oscillating between exhilarating and impassioned growls, as she awaits her lover's arrival in his ramshackle vehicle. The narrative encapsulates a story of love amidst adversity, a theme with which A. B. "knew well".[23] John Flores, writing for The Monitor, observed that the song's straightforward themes revolve around a woman's affection for a man, irrespective of his car's condition.[24] "La Carcacha" ultimately portrays the image of a decrepit automobile falling apart, as interpreted by Suzanne Gamboa in the Austin-American Statesman.[25]

Reception

The song experienced "considerable airplay" in several cities throughout Texas.[26] It debuted on local Tejano radio station charts during the week concluding on April 23, 1992.[27] "La Carcacha" ascended to the top spot on Radio & Records Tejano Singles chart on the week ending May 30, 1992.[28] It reached number 14 on Mexico's Grupera Songs chart on the week ending January 26, 1993.[29] In the week ending April 9, 2015, which marked the 16th anniversary of Selena's death, the song reached its peak at number six on the Regional Mexican Digital Song Sales chart.[30] The song peaked at number 16 on the US Latin Pop Digital Song Sales chart on the tracking week of December 16, 2020.[31] It peaked at number 21 on the Latin Digital Song Sales chart on the tracking week of December 16, 2020.[32] In 2017, the Recording Industry Association of America (RIAA) certificated "La Carcacha" triple platinum (Latin), denoting 180,000 units consisting of sales and on-demand streaming in the US.[33]

During her 1993 Houston Astrodome concert, Selena's performance of "La Carcacha" led the audience to "[rise] to their feet",[34] a phenomenon also observed at her San Antonio Alamodome that same year.[35] Similarly, she won over people in Miami, Puerto Rico, and the Caribbean with songs like "La Carcacha", which compelled them to dance, as noted by Ed Crowell in the Austin-American Statesman.[36] The song served as the closing number for Selena's 1993 San Felipe Amphitheater concert, leaving attendees "wanting more".[37] Selena performed "La Carcacha" with an arm-swaying and hip-shaking routine, which had listeners of all ages engaged throughout and emulating the dance moves, according to Roiz.[6]

In May 1993, Selena released her Live! album, which was recorded during a free admissions concert in Corpus Christi, Texas that February. According to Tejano music columnist Rene Cabrera, "La Carcacha" and "La Llamada" (1993) overshadowed Selena's duet with Emilio Navaira on "Tu Robaste Mi Corazon" on the album.[38] The live version allowed the Los Dinos band to excel, providing a show that "[rocked] the house with dynamics and production values equal to any contemporary act's in this part of the planet", according to Patoski.[39] He observed that the live rendition did not necessitate language skills or familiarity with Latin culture for listeners to enjoy. Patoski also commended the keyboard lines, which were enhanced by Ricky Vela and David Lee Garza, and praised Garza's contribution of "street creditability and a touch of blues to his squeezebox instrumental break".[39] Leila Cobo found "La Caracacha" as an example of what Selena did best.[40]

"La Carcacha" was nominated for Single of the Year at the 1993 Tejano Music Awards,[41][42] though it was dropped during preliminaries.[43] Selena's first music video, shot in Monterrey, Mexico, was for "La Carcacha".[1] This was a rarity for Tejano musicians, as it was unusual for Tejano artists to employ music videos as promotional tools.[44] "La Carcacha" went on to win Video of the Year at the Tejano Music Awards,[45] and was recognized as one of the award-winning songs at the first BMI Latin Awards in 1994.[46] Selena's initial commercially successful singles in Mexico were "Baila Esta Cumbia" and "La Carcacha".[47]

Legacy and impact

"La Carcacha", along with "

Live! The Last Concert. Michael Clark, of the Houston Chronicle, posited that tracks like "La Carcacha" and "Bidi Bidi Bom Bom" exemplified Selena's lifelong efforts to elevate Tejano music into the American pop domain.[57] Following the announcement of her death, "La Carcacha" and "Como la Flor" became the most-requested songs on Mexican radio stations.[58] As the first anniversary of Selena's death approached on March 31, 1996, the former was the inaugural song played at the Apodaca casino.[59] On the second anniversary of her death, the song continued to rank among the most requested by Mexican radio listeners.[60] "Cumbia Medley", on the Selena movie soundtrack (1997) that includes "La Carcacha", was identified as a great offering for fans by Fernando Zamora in El Norte.[61] According to scholar Deborah Vargas, "La Carcacha", alongside "Techno Cumbia" (1994) and "Bidi Bidi Bom Bom", serve as prime exemplars of an interwoven race and economic codes that permeate various genres. The lyrical and genre content of these songs inspired the Kumbia Kings, led by A. B., who aimed to emulate the transition from Selena's cumbias to a more urbanized soundscape.[21]

The song served as the inspiration for a

car show. A 1948 Chevrolet Fleetwood, adorned with a mural of Selena crafted by German artist Von Otto on its hood, was named after the song. This vehicle garnered accolades for "Best Bomb", "Best Mural", and "Best Engine" at the 1995 Dallas Low Rider Show and achieved runner-up status at the Los Angeles Car Show.[62] It was awarded Bomb of the Year at the 1997 Lowrider magazine show,[63] and subsequently hailed as "the world's most famous lowrider".[64] The car was eventually incorporated into a Mexican museum collection.[64] "La Carcacha" was included in the set list of the broadway musical Selena Forever (2000), featuring Veronica Vasquez as Selena. Vasquez admitted to struggling with enunciation while rehearsing the song.[65] In their list of the 100 Greatest Car Songs of All-Time, Billboard ranked "La Carcacha" at number 66, writing that the song is emblematic of Selena's career that exemplified the singer and her band's innovative approach to Tejano music in the 1990s, which helped revolutionize the genre, deeming it the quintessential Latin pop car song.[6]

In 2005,

Selena ¡VIVE! benefit concert.[66] Rogelio Olivas, writing for the Tucson Citizen, observed that Bárbara's rendition revealed a vulnerability in her vocal capabilities and commented on her revealing attire.[67] Bárbara's version peaked at number eight on the Nicaragua Digital Song Sales chart in 2009.[68] In July 2018, American singer-songwriter Cuco performed "La Carcacha" during the Solidarity for Sanctuary concert held at Lincoln Center in New York, citing his reasoning for covering the song was due to its upbeat and danceable nature.[69] In December 2022, Mexican reggaeton artist Bellakath faced allegations of plagiarism for her song "Gatita" (2012), after it went viral on TikTok, as users identified similarities to "La Carcacha". Following accusations that Bellakath had misappropriated the track from another individual, "Gatita" was removed from several streaming platforms.[70]

In Netflix's two-part limited drama, Selena: The Series (which aired from 2020 to 2021), Gabriel Chavarria portrayed A. B. opposite Ricardo Chavira who played Abraham. In the last episode of the first part titled "Qué Creías", Abraham and A.B. engage in a dialogue concerning the song selection for Selena's (Christian Serratos) next album. Abraham queries A.B. about any cumbia tunes that could appeal to their current fanbase, to which A.B. responds with "La Carcacha". Abraham, however, disparages it as a novelty song about a dilapidated car and expresses doubt that such a song could attain hit status. A.B. concurs and expresses his commitment to crafting a better composition. Abraham escalates the pressure on A.B. by emphasizing the record company's requirement for a platinum record as a precondition for Selena's crossover album. He underscores the need for a chart-topping track in order to achieve this objective.[71]

Credits and personnel

Credits are adapted from the liner notes of Entre a Mi Mundo.[1]

Charts

Certifications

Certification for "La Carcacha"
Region Certification Certified units/sales
United States (RIAA)[33] 3× Platinum (Latin) 180,000‡

‡ Sales+streaming figures based on certification alone.

References

  1. ^ a b c d e Quintanilla 2002.
  2. ^ Anon. 1996, p. 75.
  3. ^ Campbell 1993, p. 53.
  4. ^ a b Huston-Crespo 2022.
  5. ^ Patoski 1993, p. 50.
  6. ^ a b c d e Roiz 2021.
  7. ^ Maldonado 1991, p. 31.
  8. ^ Garcia 1993a, p. 3.
  9. ^ Burr 1992a, p. T1.
  10. ^ Burr 1995, p. 1.
  11. ^ Burr 2004, pp. 601, 602.
  12. ^ Colloff 2010, p. 86.
  13. ^ Patoski 1996, p. 78.
  14. ^ Rodriguez 1995, p. 6G.
  15. ^ Flores 1994, p. 5.
  16. ^ a b Roiz 2019.
  17. ^ Roiz 2020.
  18. ^ Burr & Shannon 2003, p. 91.
  19. ^ Riemenschneider 1999, p. 38.
  20. ^ Echevarría Báez 2022.
  21. ^ a b Vargas 2012, p. 198.
  22. ^ Patoski 1996b, p. 1.
  23. ^ Patoski 1996, p. 100.
  24. ^ Flores 1995, p. 2.
  25. ^ Gamboa 1995, p. A5.
  26. ^ Cabrera 1992, p. 71.
  27. ^ Anon. & 1992 (a), p. 91.
  28. ^ a b Cabrera 1998, p. 67.
  29. ^ a b Anon. 1993, p. 40.
  30. ^ a b Anon. 2011, p. 39.
  31. ^ a b Anon. & 2020 (a).
  32. ^ a b Bustios 2020.
  33. ^ a b Anon. & n.d. (a).
  34. ^ Cabrera 1993b, p. 73.
  35. ^ Cabrera 1993c, p. 80.
  36. ^ Crowell 1995, p. 84.
  37. ^ Garcia 1993b, p. 1.
  38. ^ Cabrera 1996b, p. 70.
  39. ^ a b Patoski 1996b, p. 113.
  40. ^ Cobo 2002, p. 26.
  41. ^ Anon. 1992, p. 58.
  42. ^ Burr 1992b, p. 58.
  43. ^ Cabrera 1993a, p. 83.
  44. ^ Rosas & Hernandez 2005, p. 9.
  45. ^ Suarez 1993, p. 4.
  46. ^ Anon. 1994, p. 5.
  47. ^ Cabrera 1996a, p. 13.
  48. ^ Chirinos 2005, p. 1.
  49. ^ San-Juan 1992, p. 2.
  50. ^ Anon. 2005, p. 97.
  51. ^ Villareal 2020, p. C3.
  52. ^ Anon. & 1995 (b), p. 37.
  53. ^ Anon. 1995c, p. 37.
  54. ^ Burr 2001, p. 2F.
  55. ^ Gray 1995, p. 11.
  56. ^ Anon. 1993b, p. 39.
  57. ^ Clark 2002, p. 5.
  58. ^ Hernandez 1997, p. 7.
  59. ^ Corpus 1996, p. 1.
  60. ^ Hernandez 1997, p. 8.
  61. ^ Zamora 1997, p. 18.
  62. ^ Anon. 1995, p. 162.
  63. ^ Lawrence 1998, p. 22.
  64. ^ a b Anon. 2000, p. 18.
  65. ^ Maldonado 2000, p. 71.
  66. ^ Ovalle 2005, p. 140.
  67. ^ Olivas 2005, p. 47.
  68. ^ a b Anon. 2009.
  69. ^ Anon. 2018.
  70. ^ Anon. 2022.
  71. ^ Robles 2020.

Works cited

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