Selena

One could say that I’ve been waiting my whole life for this moment.

It’s a musical event some might have thought unlikely or impossible — but to me, it wasn’t a matter of if Beyoncé would ever release a collaboration with Selena but when. And on Thursday night, with the release of the special anniversary edition of Beyoncé’s sophomore album, “B’Day,” it finally happened.

Alongside an expanded track list that includes remastered versions of the 2006 album’s original songs, plus new remixes and collaborations, there’s “Irreemplazable (Como La Flor),” a mashup of Beyoncé’s first Spanish-language release and one of Selena’s most beloved hits.

In her tragic absence, Selena’s estate gave a rare blessing to Beyoncé for the collaboration. A press release for the album noted that this “resounding approval” from the Quintanilla family “made it possible for this timely and meaningful duet.”

“Two women from Texas. Two unmistakable and irreplaceable voices that broke down and continue to break down barriers,” read the statement.

But not everyone was happy about the remix. Some fans viewed the collaboration cynically, criticizing it as a way for Beyoncé to capitalize on Selena’s legacy, or to court more Latino fans. Some voiced their dissatisfaction under a post from Selena’s husband, Chris Pérez, on Instagram — but he was quick to shut them down.

“Shout out to Beyoncé for showing respect to an ICON,” wrote Perez on Instagram. “In my opinion, nobody will ever, CAN ever, top Selena’s performance. But, dammit … can’t you just appreciate that another iconic/amazing artist chose to highlight Selena in this way?”

For those who need reminding: This isn’t Beyoncé’s first foray into Spanish-language music — and it’s not even her first tribute to Selena.

Long before Beyoncé reached superstardom, she was a girl from Houston who grew up listening to Selena on the radio. In 2007, she credited the “Queen of Tejano” with inspiring her to release “Irreemplazable,” a Spanish-language companion album to “B’Day.”

Working alongside Cuban American composer Rudy Pérez, the songs on that record were workshopped to retain the spirit of their English lyrics without being word-for-word translations: the catchy “To the left, to the left” refrain in “Irreplaceable” became “Ya lo ves, ya lo ves / Te olvidé, te olvidé” (“Now you see, now you see/I forgot you).”

Like Selena, Beyoncé learned to sing in Spanish phonetically, and in a 2007 MTV Tr3s documentary on the making of the album, you can see her angling toward perfection as Pérez and a friend corrected her pronunciation. Some of the lyrics she was tasked with delivering were tongue-twisters, even for native Spanish speakers. Try saying “Tú creías que eras imprescindible” five times fast and in key.

“I spent a lot of time on it making sure it was perfect because I didn’t want to disrespect the language, because it’s so beautiful,” Beyoncé told People en Español that year.

At the time, Beyoncé wasn’t the only major American artist making waves in Latin music. The pop landscape was undergoing a massive shift, thanks to the work of such crossover sensations as Daddy Yankee, Don Omar, and Shakira — and artists in the States were eager to tap into the burgeoning Latino market.

And while that was certainly a part of Beyoncé’s calculus when plotting “Irreemplazable,” she has a personal attachment to Spanish music. “A lot of my family, a lot of my friends who I grew up with speak Spanish, I grew up in Texas,” she said in the MTV doc. “I just have so much respect for the culture, and I really relate to it.”

“The heart and rhythm of the music and the drums and the spiciness,” she added, in her People interview, “it all reminds me of Creole, which is my heritage, and where I come from.”

While Beyoncé’s early solo releases were built on R&B, she demonstrated a curiosity for global sounds like reggae, Latin and Arabic music. Selena’s background was in Tejano, yet she was heavily influenced by heavy-hitters in pop, disco and R&B — namely Jody Watley, Janet Jackson and Donna Summer.

The two share a similar cultural background, one forged by migration, changing borders and centuries of history. And, as second- and third-generation Texans, Beyoncé and Selena were both able to take their heritage and interpret it, while also melding it with the melting pot of influences they were surrounded by.

Twenty years after the release of “B’Day,” Beyoncé has had the luxury of growing and maturing as an artist. She’s delivered masterful musical dissertations that challenge rigid ideas of “genre” and reemphasized the Black origins of traditions like country, rock and Americana.

Selena didn’t have the benefit of time; but in the years since her death, her music has been kept alive, replayed, reinterpreted, and remixed, so that new generations continue to celebrate her Tejano roots. With “Irremplazable (Como La Flor),” Selena and Beyoncé’s artistry gets to coexist.

It’s a blending of their worlds and voices — the merging of two songs empowering women to move on from their heartbreak, as well as a union of two artists who are so different, but so very much alike.

The Quintanilla family is taking their personal disputes to the public.

On Tuesday, A.B. Quintanilla III — brother of the late Tejana singer Selena Quintanilla — uploaded a statement to Instagram claiming that there is a lawsuit involving Suzette Quintanilla Arriaga, as well as “facts and circumstances” related to their father, Abraham Quintanilla Jr.

According to the Latin Grammy-winning producer and songwriter, the lawsuit began a “few months ago,” but he shared that the circumstances surrounding the case have been simmering for years.

“What led me to this point did not start a few months ago. It comes from years,” stated A.B. “Years of accumulated situations, decisions and circumstances that for a long time I chose to keep silent out of respect, out of loyalty, and above all, because it involved my own family.”

While no clear wrongdoing was presented in his statement, the Kumbia Kings musician shared that, when the time is right, he will disclose his side of the story. “I was never the type to wait for the paycheck from someone else’s hard work to come to my door,” he added.

After his post, Suzette and Marcella Quintanilla, their mother, published a joint statement Wednesday morning on the official Selena Instagram account, claiming that the parties involved were not served a lawsuit, nor have they been able to locate the alleged lawsuit in public records.

“[Suzette] has received no court-filed complaint, summons, petition, or other legal pleading concerning the allegations A.B. is describing,” read their statement. “So, we ask a simple question: What lawsuit? Where was it filed? What is the case number?”

In a subsequent Instagram post uploaded Wednesday by A.B., he alleged that Suzette and her lawyers were notified with the corresponding documents via mail and electronic mail; the carousel also contained a letter by Manatt, Phelps & Phillips addressed to Michael A. Trauben, Esq., of Sign, Sign & Trauben.

“She was notified of a lawsuit related to her fiduciary duties, that is, her legal obligations to act with loyalty, transparency and in the best interests of those she was responsible to,” read the statement uploaded by A.B. “She responded, but did not provide what was being requested: contracts, documentation and financial information.”

The Times attempted to locate the lawsuit in Nueces County, Texas, court — headquarters for Q-Productions, an entertainment company founded by Abraham, as well as the Selena Museum — but was unable to locate any case filings related to “Suzette Quintanilla” or “Suzette Arriaga.”

The only available case involving Suzette is a California lawsuit she filed against clothing company Shein in March over unauthorized merchandise that featured her late sister.

In their Sept. 2 Instagram post, Suzette and Marcella claimed that A.B.’s insinuations concerning Suzette, Abraham and the overall Quintanilla family were false.

The pair also addressed rumors that Suzette is selling personal belongings related to Selena, stating that “any potential sale of an ownership interest in a company is entirely separate and should not be mischaracterized as the sale of Selena’s personal items.”

“There was no theft by Suzette. Suzette has not stolen, misappropriated, or improperly taken money or property belonging to A.B., Abraham, Chris, Selena’s estate or any family-owned or jointly owned business,” read the statement. “If A.B. has evidence that Suzette stole or misappropriated anything, he should present it.”

This online dispute comes almost nine months after Abraham’s death on Dec. 13, 2025. The patriarch played a crucial role in the development of his daughter Selena’s career, establishing his family-led band Selena y Los Dinos in the 1980s as a way to meet financial needs. With A.B. on bass, Suzette on drums and Selena as the tender vocalist, the group would eventually sign their first recording contract with Freddie Records in 1984.

In 1995, after Selena’s tragic death at the hands of Yolanda Saldivar, the former president of her fan club, Abraham dedicated his life to safeguarding her legacy and overseeing primary control over her estate. This included managing the rights to her image, name and likeness — at times, to controversial ends.

“If he is alleging wrongdoing by Abraham, he should clearly state what he is alleging rather than leaving the public to speculate about a man that is no longer here to respond for himself,” stated Suzette and Marcella jointly.

A.B. and Suzette’s representatives did not immediately respond to a request for comment.

In his Wednesday Instagram statement, A.B affirmed that more information will be shared via his lawyer on Friday.