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Selena (film)
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Selena
Theatrical release poster
Directed by
Gregory Nava
Produced by
Abraham Quintanilla Jr.
Moctesuma Esparza
Robert Katz
Written by
Gregory Nava
Starring
Jennifer Lopez
Edward James Olmos
Jon Seda
Constance Marie
Jacob Vargas
Lupe Ontiveros
Jackie Guerra
Music by
Dave Grusin
Cinematography
Edward Lachman
Edited by
Nancy Richardson
Production
company
Q-Productions
Distributed by
Warner Bros.
Release date
March 21, 1997 (1997-03-21)
Running time
127 minutes
Country
United States
Language
English
Spanish
Budget
$20 million[1]
Box office
$35.5 million[1]
Selena is a 1997 American biographical musical drama film written and directed by Gregory Nava about the life and career of Tejano music star Selena Quintanilla-Pérez, a recording artist well known in the Latino communities in the United States and Mexico before she was murdered by Yolanda Saldívar, the president of her fan club, at the age of 23.
The film stars Jennifer Lopez in her breakout role as Selena. Selena's father Abraham Quintanilla Jr. (who served as the producer in the film) is played by Edward James Olmos and Constance Marie plays Selena's mother Marcella Quintanilla. Selena was released on March 21, 1997 in the United States to positive reviews from critics and audiences.
Contents
1 Plot
2 Cast
3 Pre-production
4 Production
4.1 Casting
5 Filming
6 Post-production
6.1 Music
7 Release
7.1 Box office
7.2 Critical response
7.3 Awards
8 Distribution
9 References
10 External links
Plot[edit]
In 1961, a young Abraham Quintanilla and his band "The Dinos" are rejected by a white restaurant owner for an audition due to their "Whites Only" policy. They then perform to a Mexican audience at a nightclub called "Lerma's", but a riot ensues when they sing "We Belong Together" and the band is forced to flee.
In 1981, Abraham is married to Marcela Samora and has three children: Abraham III (nicknamed A.B.), Suzette, and Selena (Rebecca Lee Meza). Abraham discovers Selena's singing talent and decides to create a band called "Selena y los Dinos", with Selena as the lead singer, A.B. on bass, and Suzette on drums, despite their reluctance. Abraham opens a restaurant called "Papa Gayo's" and tells Selena to learn Spanish so she does not have trouble singing in front of Mexicans like he did.
Unfortunately, the Quintanilla family goes bankrupt and loses the restaurant. They move to Corpus Christi, Texas to live with Abraham's brother. There, Selena performs at a carnival and is poorly received, but one day, while the family is on the beach Marcela hears a song on the radio and teaches Selena a dance called "The Washing Machine", which helps her and her band become more popular.
In 1990, Selena meets a guitarist named Chris Perez, who after joining the band, develops a friendship with Selena. Abraham disapproves of Chris after his former rock band members trash a hotel suite even though he greatly helped in making music for the band. Chris and Selena's friendships grows into love and when Abraham catches them hugging before a concert, he fires Chris and threatens a heartbroken Selena that if she follows him, he will disband the Dinos.
Selena and Chris continue seeing each other behind Abraham's back, but soon Selena becomes tired and tells Chris that she wants to marry him right away. Selena and Chris elope secretly, but their marriage soon makes headlines on the radio. Selena goes to see Abraham, who tells her he is glad she did what she did, only wanting what was best for her. Chris is accepted into the Quintanilla family and returns to being the guitarist for Los Dinos.
During one of Selena's live performances, Jose Behar (the head of EMI Latin) and his music associates tell Abraham that they want to make an English language album for Selena. Soon, Selena opens her first boutique called "Selena Etc.", which her fan-club president Yolanda Saldivar manages, and her album Selena Live! wins a Grammy Award for Best Mexican-American album. As 1995 begins, she starts recording her Crossover Album and Saldivar gives her a friendship ring, lying that it was only from her.
Later, Selena finds out from Abraham that Yolanda has been stealing money from the fan club and a lot of business records have gone missing. Abraham, Selena, and Suzette confront Yolanda, but she denies the claim. Selena continues to achieve fame and her concert at the Houston Astrodome on February 26 attracts a record breaking crowd. However, just one month later, on March 31, after an argument over the missing financial documents, Selena is murdered by Yolanda at a Corpus Christi motel. Yolanda is arrested after a standoff with the police. As Selena's family, friends, and fans mourn her death, a montage of the real Selena plays during a candlelight vigil.
Cast[edit]
Jennifer Lopez as Selena
Rebecca Lee Meza as Young Selena
Edward James Olmos as Abraham Quintanilla Jr.
Panchito Gómez as Young Abraham
Constance Marie as Marcela Quintanilla
Jon Seda as Chris Pérez
Lupe Ontiveros as Yolanda Saldívar
Jackie Guerra as Suzette Quintanilla
Victoria Elena Flores as Young Suzette
Jacob Vargas as A.B. Quintanilla
Rafael Tamayo as Young A.B.
Alexandra Meneses as Sara
Ruben Gonzalez as Joe Ojeda
Seidy López as Deborah
Pete Astudillo as himself, Dinos 1990s
Ricky Vela as himself, Dinos 1990s
Don Shelton as himself, Dinos 1990s
Pre-production[edit]
On March 31, 1995, Selena was shot to death by Yolanda Saldívar, a former friend who had managed the singer's Selena Etc. boutiques.[2] Response by the Hispanic community was comparable to the reaction of the deaths of musicians Elvis Presley, John Lennon, and U.S. president John F. Kennedy.[3][4] Newsstands were swarmed by people looking for items concerning Selena.[5] Eight unauthorized biographies were released and six documentaries and two major companies were in the process of releasing a Selena film, all without consent from Chris Perez and the Quintanilla family.[6] This led Abraham to produce a film based on Selena within weeks of her death, a process he found difficult since he and his family were still mourning.[6] He believed an authorized film would "put an end to all the false rumors" that were circulating through the media at the time, and "silence [the media] from telling the wrong story." He wanted "the whole world to know the [true] story about [Selena]."[6] A.B. spoke out the family's concern about possible "misinterpretation of [Selena], [their] family, and a culture" by outside sources and their belief that it was imperative to release their own official film about the singer.[6] He further said that the decision was forced upon them after learning about the unauthorized biographies and films that could have potentially misconstrue Selena's story.[6] At the time of Abraham's decision, there were "gossip and hurtful crazy things that were coming from the press" about the family's plan on a film.[6] Abraham wanted the film to immortalize Selena "in a true positive and beautiful way [and wanted] to celebrate her life [and to] quiet and put to rest all [the] negative ugliness [the media had portrayed]."[6]
News of Abraham's desire to release an official authorized film reached Hollywood, and American film producer, Moctesuma Esparza. Esparza immediately approached Abraham at his office in Corpus Christi, Texas about partnering to produce the film.[6] He educated Abraham about the filmmaking process and the support system he could provide while giving Abraham authoritative control over casting, approval of the script and choosing the director.[6] On August 30, 1995 (a week after he and Abraham agreed to partner), Esparza returned to Corpus Christi from California and brought Gregory Nava.[6] Abraham disliked Esparza's decision and expressed concern about Nava's potential involvement.[6] Abraham told Esparza he did not want Nava to be the director because of his ego, though Esparza convinced Abraham that he was the perfect candidate.[6] Producer Robert Katz later said Nava was chosen because other films he directed "has a very uplifting and positive quality" and believed they deal with "very strong and tragic elements."[6] The Dallas Morning News found Nava's works to give "moviegoers a passionate, powerful look at Hispanic life".[7] On September 8, 1995, Abraham informed the media on his decision to partner with Esparza/Katz Productions and announced the film's budget to be in the range of $15 and $20 million.[8] In an Entertainment Weekly interview, Abraham confessed on wanting the duo because they were "in tune with our culture".[8] Other Hispanic filmmakers were considered to direct the film including Luis Valdez and Edward James Olmos but had settled with Nava.[8] Katz said the team had overcome "what most people thought was a fatal contract" by entrusting Abraham's decisions and having a working relationship with him throughout the film's production: "working things out in advance so the studios knew exactly what we were proposing."[6]
Production[edit]
Nava began writing the script after recording the Quintanilla family on their stories about Selena.[6] Suzette informed on how Nava took "hours and hours of little stories of our lives and what we would do and how we felt."[6] Nava explained on how some stories "had came out" during his recording sessions with the family and published the first draft on March 4, 1996.[6] The incident where Selena and Perez eloped was written in the draft which Abraham expressed disagreements on it.[6] Citing the singer's popularity with children, he was concerned that they could get the wrong message about elopement as being the best decision.[6] Nava took a few days to persuade Abraham about the scene's content before he agreed to it, noting that although he understood Abraham's viewpoint, Selena's elopement was important to include because it was a major part of her story.[6] He further insisted that his character's embracement after the scene would shade a more positive tone after his earlier negative judgments on Selena and Perez's relationship in the film.[6] Curious on how Nava found out about the elopement, Abraham asked the director and found out that he had interviewed Perez. Abraham discovered that Selena had coaxed Perez into elopement; with earlier assumption that Perez had pressured her into secretly getting married.[6]
Casting[edit]
Roger Mussenden was hired as casting director, and held casting calls throughout the United States including San Antonio, Texas, Miami, Chicago, New York City, and Los Angeles.[6] Casting calls began on March 16, 1996 and concluded on March 23.[6] Over 21,000 people auditioned for the title role, becoming the second largest audition since the search for Scarlett O'Hara in Gone With the Wind (1939).[9][10] Casting turnouts reached 10,000 in Los Angeles and 5,000 in Chicago, while turnouts reached 8,000 in San Antonio.[11][6] Mussenden chose 10-year-old Becky Lee Meza of Harlingen to portray young Selena, her acting debut.[12] Mexican actress Salma Hayek was invited to test the role of Selena by Esparza.[13] Hayek turned the role down; she said she felt it was "too early" to base a movie on Selena and that it would be emotional because Selena's death was still being covered on U.S. television.[14][15] Abraham discovered an actress in Los Angeles and wanted her for the role as Selena, despite her inability to convince the casting crew.[6] He later had a change of heart when American actress and dancer Jennifer Lopez had showed up for the audition.[6] Lopez found the audition process an elaborated procedure and was asked to sing, dance, and act out the elopement scene in front of the casting crew and Abraham.[6] Within three takes of the elopement scene, Lopez convinced the entire casting crew who believed her performance was "among the strongest".[6] Lopez had previously worked with Nava in My Family (1995).[16] Screen testing was described as "grueling" and required "nine minutes of singing and dancing and eight pages of script."[17] After the announcement that Lopez would portray Selena, news media and fans criticized Abraham for choosing Lopez, a New York City native born to Puerto Rican parents, was selected to play a Texan of Mexican descent.[18] The Mexican media disapproved the film and were outraged that Lopez was chosen for the title role.[18] Lopez received backlash from the media and fans because she was not a Mexican American.[18] The Hispanic community began protesting for a recast. During pre-production, Lopez stated: "I know a few people were protesting, but in Corpus [Selena's hometown] everyone has been really supportive".[17] Nava admitted that the backlash was "a little hurtful", and felt the protesters "should be celebrating that we have an all-Latino cast and that Lopez, one of our own, is becoming a star."[17] The announcement was described as the "role of a lifetime." from news outlets and Lopez's salary for the film was reported at $1 million,[19][20] which made Lopez the highest paid Hispanic actress in history. Dave Karger of Entertainment Weekly noted that "nothing could have prepared [Lopez] for the hype attached to her million-dollar salary."[17]
On August 8, 1996, the Los Angeles Daily News announced that Jon Seda and Edward James Olmos had joined the cast as Chris Perez and Abraham Quintanilla, respectively.[21] After Lopez received the role, she decided to stay with Suzette at her home to study her character in the recordings and footage the family shared with her.[6] Lopez felt that her "spirit and [Selena's] spirit were so similar" which was echoed by the singer's family who found that Lopez mimicked similar personality traits of Selena.[6] They believed that Lopez' body language, laugh, and how she talked were identical to that of Selena's.[6] Lopez had constant dance rehearsals for the film and said how she would arrive at the studio late in the day after finishing filming for another role.[6] The family often had the entire main cast of the film over for dinner and would notice how they would watch them in their interactions with each other and the way they ate.[6] Edward James Olmos, who took the role as Abraham, was asked to gain 40 pounds (18 kg) for the film.[6] The cast found Olmos to be a father figure for them and often gave advice to the cast during filming.[6] A.B., found Olmos' portrayal of his father to be convincing especially in the scene where Abraham was angered after finding out about Selena and Perez' relationship.[6] Suzette discovered that Jackie Guerra, who played her in the film, constantly fixed her fitted and asked her family if she had done that before in which the family replied that she unknowingly does so.[6] Band member Pete Astudillo, had to do a screen test of himself for the film and said how he had to improvise in several of his scenes since he had little dialogue in the film.[6] American actor Jon Seda portrayed Chris Perez in the film and often spent time with Perez for character development.[6] Seda said how he had spent time with Perez at the home he shared with Selena and found a price sticker in the bathroom with a scribbled letter that read "Selena and Chris, I Love You" and expressed on how that further inspired him to "show the love they [once] had" in the film.[6] The biographical film focused on Selena's life rather than her death. Nava said, "I don't want to attend to [her murder]", while her death is treated "at a distance".[17]
Filming[edit]
Principal photography began September 1996, in San Antonio, Corpus Christi, Poteet, Houston, and Lake Jackson, Texas. Nava used locals as extras for the film.[22] Selena's singing voice was dubbed into the film, with Lopez lip-syncing the songs.[17] During the opening of the Selena Etc. boutique scene, Suzette believed Lopez was wearing Selena's clothing to her disbelief that the costume crew members had replicated the suit the singer wore.[6] Costume designer Elisabetta Beraldo remade Selena's dress she wore when she won the Grammy Award in 1994.[6] Suzette said how she was overcome with emotions after viewing Lopez in the dress. During the elopement scene, Perez explained how he had reminiscent the event as if he was "transported back in time" and remembered how he had a do not disturb sign and hearing a knock on his door. He found the scene to be one of the hardest to watch after reliving the moment when Selena had told him that eloping was the only resource they had and that they would never have a wedding she dreamed about.[6] Perez refused to visit the set and explained that he did not want to partake in the film's process.[6] Seda convinced him to visit for the scene where his character auditions for the role as the new guitarist for the band.[6] After researching on how to perform a riff on a guitar and having lessons from Perez, Seda felt that the scene would not come off as authentic since he could not replicate Perez' guitar riffs.[6] He tricked Perez into visiting the scene so that he could play the riff and have the director shoot a close up of his hands for the film.[6] Seda said how after the film was released that people believed he could play the guitar, he said he tell fans how Perez was actually the one performing the riff in the scene.[6]
Nava pointed out how he wanted the performance scenes in the film to be "integrated into the drama and to reflect what the characters were going through emotionally and what Selena was going through emotionally at that particular time."[6] He further explained how he wanted the Astrodome scene to be the opening of the film to show viewers at her height of her career and then backtrail to show how she got there.[6] The scene was shot at the San Antonio Alamodome on September 15, 1996 and was advertised in newspapers which garnered the attention of 35,000 people.[6] Lopez said how she was nervous for the scene since it would be the first time she would perform in front of an audience of that size.[6] She further expressed how uneven she was due to the criticism she received and was unsure how fans would receive her.[6] Jackie Guerra voiced on how during the scene she saw Selena's parents sobbing, the cast later said how after the scene was completed they were overwhelmed with emotions.[6] Later that night, fans approached Lopez sobbing that she looked identical to Selena and public perception on Lopez changed after her performance.[23]The death scene was shot once, the cast explained how once they were emotional they continued after the director announced the take. Guerra said how she was physically and emotionally drained after the death scene was shot.[6] She explained how she "could not imagine what's it like to be [the Quintanilla family]" and further said how she had to live with the pain for four months but found it unimaginable to the pain the family goes through since the death of Selena.[6] Lopez spoke how the scene made her appreciate life even more, whereas Seda expressed that working on the film was one of the hardest for him in terms of departing from the cast.[6]
Post-production[edit]
Nava confessed in 2007 that Selena was the most emotional film he had ever made.[6] Filming Selena inspired Lopez to begin her own music career.[24][25]
Music[edit]
Main article: Selena (soundtrack)
An original motion picture Selena soundtrack was released by EMI Latin on March 11, 1997 debuting at number 20 on the US Billboard 200.[26] The CD contains twelve tracks with Selena singing the songs heard in the film. The only songs that were not in the film were "Is it the Beat," "Only Love," and "A Boy Like That," and Selena tributes sung by other artists.
The only recordings heard on the film were the "Cumbia Medley," "Disco Medley," and "Where Did the Feeling Go?", which was played in the last half of the film's closing credits. The Vidal Brothers' "Oldies Medley" was also on the film. All the other songs, including rare tracks, hits, and cuts like the "Disco Medley, Part II" (which was recorded live during Selena's 1995 concert at the Houston Livestock Show and Rodeo), were recordings from Selena in concerts.
Release[edit]
Box office[edit]
Following its August 1995 announcement, Selena was slated for an August 1996 release date.[22] It was last pushed back to sometime at "the end of" 1996.[20] Ultimately, it was released in America on March 21, 1997, after being pushed back several times. After its opening weekend, Selena grossed a total of $11,615,722 domestically, opening at #2 at the United States box office.[27] In its second weekend, the film fell #3, grossing $6,138,838. The following weekend, it fell to No. 6, grossing $3,456,217. By April 20, 1997, Selena grossed a total of $32,002,285.[28] Its total lifetime gross stands at $35,281,794.[27] According to Box Office Mojo, Selena is the 13th highest-grossing musical biopic of all time.[29]
Critical response[edit]
Selena received mostly positive reviews from critics. Roger Ebert, film critic for the Chicago Sun-Times, was impressed by the acting, and gave Selena three-and-a-half stars out of four and wrote, "Young Selena is played by Becky Le Meza, who has a big smile and a lot of energy. The teenage and adult Selena is played by Lopez in a star-making performance. After her strong work as the passionate lover of Jack Nicholson in the current Blood and Wine, here she creates a completely different performance, as a loyal Quintanilla who does most of her growing up on a tour bus with her dad at the wheel."[30] Entertainment Weekly believed Lopez perfected Selena's accent while "studying performance footage of the pop sensation" according to Nava. Lopez said "you need to do your homework on this gig" because Selena was "fresh in the public's mind".[17]
Film critic Lisa Kropiewnicki liked the film and wrote, "Jennifer Lopez delivers a breakout performance...[and] Nava's engaging script wisely mines his subject's life for humor and conflict, embracing Selena Quintanilla's passion for music."[31] Film critic James Berardinelli also liked the film and the screenplay, writing, "It would have been easy to trivialize Selena's story, turning it into a sudsy, made-for-TV type motion picture." He believed the acting was top notch and wrote "Jennifer Lopez is radiant as the title character, conveying the boundless energy and enthusiasm that exemplified Selena, while effectively copying not only her look, but her mannerisms. I wonder if Selena's family, upon watching this performance, felt an eerie sense of déjà vu."[32]
Los Angeles Times film critic Kenneth Turan gave the film a mixed review. He wrote the film is part of a "completely predictable Latino soap opera." Yet, "there are chunks of Selena that only a stone could resist. This movie turns out to be a celebration not only of the singer but also (as "What's Love" was for Angela Bassett) of the actress who plays her, Jennifer Lopez."[33]
Some critics, however, did not like how the film appears like a sanitized Selena portrait. Critic Walter Addiego considers Nava's work a worshipful biography of her. Addiego, writing for the San Francisco Examiner, did have a few enjoyable moments viewing the film but wrote, "You can't help cheering for Selena, but the good feeling is diminished by the sense that her story's been simplified and sanitized."[34] The review aggregator Rotten Tomatoes reported that 64% of critics gave the film a positive review, based on thirty-nine reviews.[35] At Metacritic, which assigns a normalized rating out of 100 to reviews from film critics, it has a rating score of 65, indicating "Generally favorable reviews".
Awards[edit]
Award
Date
Category
Recipients and nominees
Result
Ref.
ALMA Awards June 4, 1998 Outstanding Feature Film Selena Won [36]
[37]
Outstanding Actor in a Feature Film Edward James Olmos Won
Jon Seda Nominated
Outstanding Actress in a Feature Film Jennifer Lopez Won
Jackie Guerra Nominated
Outstanding Latino Director of a Feature Film Gregory Nava Won
Golden Globe Awards January 18, 1998 Best Actress – Motion Picture Musical or Comedy Jennifer Lopez Nominated [38]
Grammy Awards February 25, 1998 Best Score Soundtrack for Visual Media Selena: The Original Motion Picture Soundtrack Nominated [39]
Imagen Awards April 1, 1998 Best Theatrical Feature Film Selena (tied with The Disappearance of Garcia Lorca) Tied [40]
Lasting Image Award Jennifer Lopez, Selena Won
Lone Star Film Awards 1998 Best Actress Jennifer Lopez Won [41]
Best Supporting Actor Edward James Olmos Won
Distribution[edit]
The film opened in wide release on March 21, 1997 (1,850 theaters) and sales the opening weekend were $11,615,722. Selena ran for 15 weeks domestically (101 days) and eventually grossed* 60,000,000 ($35,281,794 in the United States. The film sales worldwide were considerably more. At its widest release the film was shown in 1,873 screens. The production budget of the film was approximately $20,000,000.[42][43]
A 10th Anniversary DVD edition of Selena was released on September 18, 2007 by Warner Home Video. The two-disc set contains the original theatrical version (127 minutes) and a director's cut version (134 minutes) of the film, which had been shown on several TV stations before. Extras include a Making of Selena: 10 Years Later featurette, a Queen of Tejano featurette, and nine additional scenes.[44]
References[edit]
^ Jump up to: a b "Selena (1997) gross". The-Numbers. September 17, 2011.
Jump up ^ "October 12, 1995, the testimony of Norma Martinez". Houston Chronicle. October 12, 1995. Archived from the original on July 15, 2007. Retrieved September 27, 2015.
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Jump up ^ "Selena: Biography". Biography. November 27, 2008. 60 minutes in. A&E.
^ Jump up to: a b c d e f g h i j k l m n o p q r s t u v w x y z aa ab ac ad ae af ag ah ai aj ak al am an ao ap aq ar as at au av aw ax ay az ba bb bc bd be bf bg The Making of Selena: 10 Years Later (DVD)|format= requires |url= (help). Corpus Christi, Texas: Warner Bros. 2007. Event occurs at 30.
Jump up ^ "Nava chosen for `Selena' movie Filming to begin in February 1996". The Dallas Morning News. (James M. Moroney III). August 30, 1995. Missing or empty |url= (help); |access-date= requires |url= (help)
^ Jump up to: a b c "Selena to Big Screen". Entertainment Weekly. No. 291. September 8, 1995. Retrieved December 28, 2011.
Jump up ^ Arrarás 1997, p. 31.
Jump up ^ Puente, Teresa (March 30, 1997). "The Unforeseen Legacy Of Selena Quintanilla Perez". Chicago Tribune. Retrieved March 26, 2015.
Jump up ^ Ruddy, Jim (1996). "Selena National Casting Call, San Antonio - Raw Footage (1996)". Texas Archive of the Moving Image. Retrieved 2018-10-25.
Jump up ^ "Harlingen girl chosen to play young Selena". San Antonio Express-News. (Hearst Corporation). June 19, 1996. Missing or empty |url= (help); |access-date= requires |url= (help)
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Jump up ^ Pearlman, Cindy (March 16, 1997). "Selena: the story behind the legend". Chicago Sun-Times. Retrieved December 28, 2011.
Jump up ^ Longsdorf, Amy (March 21, 1997). "Director Aims For Truth About Selena's Life". The Morning Call. Retrieved December 28, 2011.
Jump up ^ Associated Press (June 14, 1996). "Lopez gets Selena role". Dallas News.
^ Jump up to: a b c d e f g Karger, Dave (August 9, 1996). "Biopicked for Stardom". Entertainment Weekly. Time Warner. Retrieved January 8, 2013.
^ Jump up to: a b c Tracy 2008, p. 53.
Jump up ^ Jakle, Jeanne (October 30, 1996). "Selena star says yes to role as fiancee". San Antonio Express-News. Hearst Corporation.
^ Jump up to: a b "`Mi Familia' actress Jennifer Lopez to play Selena in movie". Austin-American Statesman. (Cox Enterprises). June 15, 1996. Missing or empty |url= (help); |access-date= requires |url= (help)
Jump up ^ "News & Notes". Los Angeles Daily News. (MediaNews Group). August 8, 1996. Missing or empty |url= (help); |access-date= requires |url= (help)
^ Jump up to: a b Bennett, David (September 14, 1996). "Director to use Corpus Christi, S.A. locales in Selena movie". San Antonio Express-News. (Hearst Corporation). Missing or empty |url= (help); |access-date= requires |url= (help)
Jump up ^ "Facts about the movie "Selena"". Ecelebrity Mirror. October 25, 2018.
Jump up ^ Mendible, M. (2007). "From bananas to buttocks: the Latina body in popular film and culture". Austin: University of Texas Press. Retrieved September 4, 2012.
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Jump up ^ Cottrell, Robert C (2010). Icons of American popular culture : from P.T. Barnum to Jennifer Lopez. M.E. Sharpe. ISBN 0765622998. Retrieved October 3, 2012.
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External links[edit]
Film in the United States portal
Texas portal
1990s portal
Hispanic and Latino Americans portal
Selena on IMDb
Selena at Box Office Mojo
Selena at Rotten Tomatoes
Selena at Metacritic
show
v
t
e
Selena
Albums discography
Singles discography
Songs
Videography
Awards
Studio albums
Selena
Ven Conmigo
Entre a Mi Mundo
Amor Prohibido
Dreaming of You
Soundtrack albums
Selena: The Original Motion Picture Soundtrack
Live albums
Selena Live!
Live! The Last Concert
Unforgettable: The Live Album
Selena ¡VIVE!
Remix albums
Siempre Selena
Anthology
Enamorada de Ti
Compilation albums
Mis Mejores Canciones - 17 Super Éxitos
12 Super Éxitos
Las Reinas Del Pueblo
Éxitos y Recuerdos
All My Hits Vol. 1
All My Hits Vol. 2
Ones
Greatest Hits
Momentos Intimos
Unforgettable
Dos Historias
Through the Years/A Traves de los Años
La Leyenda
Lo Mejor de Selena
Video albums
Selena Remembered
Live! The Last Concert
Performances
Related articles
Selena y Los Dinos
Fiesta de la Flor
List of people influenced by Selena
Mirador de la Flor
To Selena, with Love
Q-Productions
Selena Etc.
Forever
Selena Forever
Selena ¡VIVE!
Selenidad
Murder of Selena
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McCulloch v. Maryland
From Wikipedia, the free encyclopedia
This is the latest accepted revision, reviewed on 31 March 2018.
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McCulloch v. Maryland
Supreme Court of the United States
Argued February 21 – March 3, 1819
Decided March 6, 1819
Full case name
James McCulloch v. The State of Maryland, John James
Citations
17 U.S. 316 (more)
4 Wheat. 316; 4 L. Ed. 579; 1819 U.S. LEXIS 320; 4 A.F.T.R. (P-H) 4491; 42 Cont. Cas. Fed. (CCH) ¶ 77,296
Prior history
Judgment for John James, Baltimore County Court; affirmed, Maryland Court of Appeals
Subsequent history
None
Holding
Although the Constitution does not specifically give Congress the power to establish a bank, it does delegate the ability to tax and spend, and a bank is a proper and suitable instrument to assist the operations of the government in the collection and disbursement of the revenue. Because federal laws have supremacy over state laws, Maryland had no power to interfere with the bank's operation by taxing it. Maryland Court of Appeals reversed.
Court membership
Chief Justice
John Marshall
Associate Justices
Bushrod Washington · William Johnson
Henry B. Livingston · Thomas Todd
Gabriel Duvall · Joseph Story
Case opinions
Majority
Marshall, joined by unanimous
Laws applied
U.S. Const. art. I, § 8, cl. 1, 18
The text of the McCulloch v. Maryland decision, handed down March 6, 1819, as recorded in the minutes of the Supreme Court of the United States, in which the Court determined the separate states could not tax the federal government.
McCulloch v. Maryland, 17 U.S. (4 Wheat.) 316 (1819)[1], was a decision by the Supreme Court of the United States. The state of Maryland had attempted to impede operation of a branch of the Second Bank of the United States by imposing a tax on all notes of banks not chartered in Maryland. Though the law, by its language, was generally applicable to all banks not chartered in Maryland, the Second Bank of the United States was the only out-of-state bank then existing in Maryland, and the law was recognized in the court's opinion as having specifically targeted the Bank of the United States. The Court invoked the Necessary and Proper Clause of the Constitution, which allowed the Federal government to pass laws not expressly provided for in the Constitution's list of express powers, provided those laws are in useful furtherance of the express powers of Congress under the Constitution.
This case established two important principles in constitutional law. First, the Constitution grants to Congress implied powers for implementing the Constitution's express powers, in order to create a functional national government. Second, state action may not impede valid constitutional exercises of power by the Federal government.
Contents
[hide]
1 Background
2 Supreme Court decision
3 Criticism
4 Later history
5 See also
6 References
7 Further reading
8 External links
Background[edit]
On April 10, 1816, the Congress of the United States passed an act titled "An Act to Incorporate the Subscribers to the Bank of the United States", which provided for the incorporation of the Second Bank of the United States. The Bank first went into full operation in Philadelphia, Pennsylvania. In 1817, the Bank opened a branch in Baltimore, Maryland, and transacted and carried on business as a branch of the Bank of the United States by issuing bank notes, discounting promissory notes, and performing other operations usual and customary for banks to do and perform. Both sides of the litigation admitted that the President, directors, and company of the Bank had no authority to establish the Baltimore branch, or office of discount and deposit, other than the fact that Maryland had adopted the Constitution of the United States.
On February 11, 1818, the General Assembly of Maryland passed an act titled, "an act to impose a tax on all banks, or branches thereof, in the State of Maryland, not chartered by the legislature":
Be it enacted by the General Assembly of Maryland that if any bank has established or shall, without authority from the State first had and obtained establish any branch, office of discount and deposit, or office of pay and receipt in any part of this State, it shall not be lawful for the said branch, office of discount and deposit, or office of pay and receipt to issue notes, in any manner, of any other denomination than five, ten, twenty, fifty, one hundred, five hundred and one thousand dollars, and no note shall be issued except upon stamped paper of the following denominations; that is to say, every five dollar note shall be upon a stamp of ten cents; every ten dollar note, upon a stamp of twenty cents; every twenty dollar note, upon a stamp of thirty cents; every fifty dollar note, upon a stamp of fifty cents; every one hundred dollar note, upon a stamp of one dollar; every five hundred dollar note, upon a stamp of ten dollars; and every thousand dollar note, upon a stamp of twenty dollars; which paper shall be furnished by the Treasurer of the Western Shore, under the direction of the Governor and Council, to be paid for upon delivery; provided always that any institution of the above description may relieve itself from the operation of the provisions aforesaid by paying annually, in advance, to the Treasurer of the Western Shore, for the use of State, the sum of $15,000.
And be it enacted that the President, cashier, each of the directors and officers of every institution established or to be established as aforesaid, offending against the provisions aforesaid shall forfeit a sum of $500 for each and every offence, and every person having any agency in circulating any note aforesaid, not stamped as aforesaid directed, shall forfeit a sum not exceeding $100, every penalty aforesaid to be recovered by indictment or action of debt in the county court of the county where the offence shall be committed, one-half to the informer and the other half to the use of the State...
James William McCulloch, head of the Baltimore Branch of the Second Bank of the United States, refused to pay the tax and the bank was represented by Daniel Webster. The lawsuit was filed by John James, an informer who sought to collect one half of the fine as provided for by the statute. The case was appealed to the Maryland Court of Appeals where the state of Maryland argued that "the Constitution is silent on the subject of banks." It was Maryland's contention that because the Constitution did not specifically state that the federal government was authorized to charter a bank, the Bank of the United States was unconstitutional. The court upheld Maryland. The case was then appealed to the Supreme Court.
Supreme Court decision[edit]
The Court determined that Congress did have the power to create the Bank. Chief Justice Marshall supported this conclusion with four main arguments.[2] First, he argued that historical practice established Congress' power to create the Bank. Marshall invoked the first Bank of the United States history as authority for the constitutionality of the second bank.[2] The first Congress enacted the bank after great debate and that it was approved by an executive "with as much persevering talent as any measure has ever experienced, and being supported by arguments which convinced minds as pure and as intelligent as this country can boast."[3]
Second, Chief Justice Marshall refuted the argument that states retain ultimate sovereignty because they ratified the constitution. "The powers of the general government, it has been said, are delegated by the states, who alone are truly sovereign; and must be exercised in subordination to the states, who alone possess supreme dominion."[4] Marshall contended that it was the people who ratified the Constitution and thus the people are sovereign, not the states.[2]
Third, Marshall addressed the scope of congressional powers under Article I. The Court broadly described Congress' authority before addressing the necessary and proper clause.[2] Marshall admitted that the Constitution does not enumerate a power to create a central Bank but said that this is not dispositive as to Congress's power to establish such an institution.[2] Chief Justice Marshall wrote, "In considering this question, then, we must never forget, that it is a constitution we are expounding."[5]
Fourth, Marshall supported the Court's opinion textually by invoking the Necessary and Proper Clause, which permits Congress to seek an objective while exercising its enumerated powers so long as the objective is not forbidden by the Constitution. In liberally interpreting the Necessary and Proper Clause, the Court rejected Maryland's narrow interpretation of the clause, which purported that the word "necessary" in the Necessary and Proper Clause meant that Congress could only pass those laws that were absolutely essential in the execution of its enumerated powers. The Court rejected this argument, on the grounds that many of the enumerated powers of Congress under the Constitution would be useless if only those laws deemed essential to a power's execution could be passed. Marshall also noted that the Necessary and Proper Clause is listed within the powers of Congress, not the limitations.
The Court held that for these reasons, the word "necessary" in the Necessary and Proper Clause (elastic clause) does not refer to the only way of doing something, but rather applies to various procedures for implementing all constitutionally-established powers. "Let the end be legitimate, let it be within the scope of the constitution, and all means which are appropriate, which are plainly adapted to that end, which are not prohibited, but consist with the letter and spirit of the constitution, are constitutional."
This principle had been established many years earlier by Alexander Hamilton:[6]
[A] criterion of what is constitutional, and of what is not so ... is the end, to which the measure relates as a mean. If the end be clearly comprehended within any of the specified powers, and if the measure have an obvious relation to that end, and is not forbidden by any particular provision of the Constitution, it may safely be deemed to come within the compass of the national authority. There is also this further criterion which may materially assist the decision: Does the proposed measure abridge a pre-existing right of any State, or of any individual? If it does not, there is a strong presumption in favour of its constitutionality....
Chief Justice Marshall also determined that Maryland may not tax the bank without violating the Constitution. The Court voided the tax on the grounds that it was unconstitutional. The opinion stated that Congress has implied powers that need to be related to the text of the Constitution, but need not be enumerated within the text. This case was a seminal moment in the formation of a balance between federalism, federal power, and states' powers. Chief Justice Marshall also explained in this case that the Necessary and Proper Clause does not require that all federal laws be necessary and proper and that federal laws that are enacted directly pursuant to one of the express, enumerated powers granted by the Constitution need not comply with the Necessary and Proper Clause, holding that the clause "purport[s] to enlarge, not to diminish the powers vested in the government. It purports to be an additional power, not a restriction on those already granted."
Criticism[edit]
Though Marshall rejected the 10th amendment's provision of states rights arguing that it did not include the word "expressly" unlike the Articles of Confederation, which was replaced by the Constitution,[7] controversy over the authority of the amendment being violated by the decision has existed. Compact theory also argues that the federal government is a creation of the states where the states maintain superiority. Unlike Marshall, his successor, Roger B. Taney, established Dual federalism, where separate but equal branches of government were believed to be a better option.[8]
Later history[edit]
McCulloch v. Maryland was cited in the first substantial constitutional case presented before the High Court of Australia in D'Emden v Pedder (1904), which dealt with similar issues in the Australian Federation. While recognizing American law as not binding on them, the Australian Court nevertheless determined that the McCulloch decision provided the best guideline for the relationship between the Commonwealth federal government, and the Australian States, owing in large part to strong similarities between the American and Australian constitutions.
See also[edit]
List of United States Supreme Court cases, volume 17
List of landmark court decisions in the United States
Case of Sutton's Hospital (1612) 77 Eng Rep 960
Gibbons vs. Ogden
Alien and Sedition Act
References[edit]
Jump up ^ McCulloch v. Maryland, 17 U.S. (4 Wheat.) 316 (1819). This article incorporates public domain material from this U.S government document.
^ Jump up to: a b c d e Chemerinsky, Erwin (2006). Constitutional Law Principles and Policies (3rd ed.). New York: Aspen Publishers. ISBN 978-0-7355-5787-1.
Jump up ^ 17 U.S. at 401.
Jump up ^ 17 U.S. at 402.
Jump up ^ 17 U.S. at 408.
Jump up ^ Kurland, Philip B.; Lerner, Ralph, eds. (1987). "Article 1, Section 8, Clause 18". The Founders' Constitution. ISBN 978-0-226-46387-2. Retrieved October 20, 2011.
Jump up ^ "Bill of Rights Institute: Landmark Supreme Court Cases – McCulloch v. Maryland (1819)". Bill of Rights Institute.
Jump up ^ Justin D. Lowry (February 24, 2009). "10th Amendment: History and Purpose". Tenth Amendment Center.
Further reading[edit]
Ellis, Richard (2007). Aggressive Nationalism: McCulloch v. Maryland and the Foundation of Federal Authority in the Young Republic. New York: Oxford University Press. DOI:10.1093/acprof:oso/9780195323566.001.0001 online
Killenbeck, Mark (2006). McCulloch V. Maryland: Securing a Nation. University Press of Kansas.
McAward, Jennifer Mason (November 2012). "McCulloch and the Thirteenth Amendment". Columbia Law Review. Columbia Law School. 112 (7): 1769–1809. JSTOR 41708164. Archived from the original on 2015-11-17. Pdf.
Ellis, Jean Edward (1996). John Marshall: Definer Of A Nation. New York: Henry Holt & Company.
Ellis, Jean Edward (1989). The Constitution American Foreign Policy. St. Paul, MN: West Publishing Company.
O'Connor, Karen; Sabato, Larry J. (2006). American Government: Continuity and Change. New York: Pearson.
Tushnet, Mark (2008). I dissent: Great Opposing Opinions in Landmark Supreme Court Cases. Boston: Beacon Press. pp. 17–30. ISBN 9780807000366.
External links[edit]
Works related to McCulloch v. Maryland at Wikisource
Text of McCulloch v. Maryland, 17 U.S. (4 Wheat.) 316 (1819) is available from: Cornell CourtListener Findlaw Justia OpenJurist Google Scholar
Minutes from the Court's Discussion of the Case
"McCulloch v. Maryland - Case Brief". Lawnix.com. Archived from the original on January 22, 2009.
The short film McCulloch v. Maryland (1977) is available for free download at the Internet Archive
"Supreme Court Landmark Case McCulloch v. Maryland" from C-SPAN's Landmark Cases: Historic Supreme Court Decisions
Retrieved from "https://en.wikipedia.org/w/index.php?title=McCulloch_v._Maryland&oldid=833430914"
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Ortiz
From Wikipedia, the free encyclopedia
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Ortiz (pronounced [orˈtiθ]) is a surname of Spanish origin. Means "son of Orti". Patronymic from the Basque given name "Orti", which seems to be disputed in meaning, deriving from either Latin fortis meaning "brave, strong" or Latin fortunius meaning "fortunate".
Contents
[hide]
1 Places
2 People
3 See also
Places[edit]
Ortiz, Guárico, town in Guárico State, Venezuela
Ortiz Municipality, a municipality in Guárico State, Venezuela
Ortiz, Colorado, a small village in the San Luis Valley near Alamosa
Ortiz Island, Antarctica
People[edit]
Abdalá Bucaram Ortiz (born 1952), president of Ecuador 1996–1997
Adalberto Ortiz (1914–2003), Ecuadoran novelist, poet and diplomat
Aldo Ortiz (a.k.a. Ricky Santana) (born 1960), Mexican professional wrestler
Alfonso Ortiz (1939–1998), Native American cultural anthropologist
Álvaro Ortiz (born 1978), Mexican football player
Ana Alicia Ortiz (born 1956), Mexican-American actress
Bernardo Ortiz de Montellano (1899–1949), Mexican writer and Contemporáneos magazine founder
Beto Ortiz (born 1978), Peruvian-American journalist, TV personality, and writer
Carlos Ortiz (born 1936), Puerto Rican boxer
Carlos Julián Ortiz (born 1974), Cuban freestyle wrestler
Carlos Ortiz Longo (born 1962), Puerto Rican-American health care manager for NASA
Claudette Ortiz (born 1981), American soul singer
Claudia Ortiz (born 1981), Peruvian beauty pageant winner
Danny Ortiz (1976–2004), Guatemalan football player
Darwin Ortiz (born 1948), American gambler, magician, and author
David Ortiz (a.k.a. Big Papi), (born 1975), Dominican baseball player
Deborah Ortiz (born 1957), American politician, state senator from California
Dianna Ortiz (born 1961), American Roman Catholic nun kidnapped and tortured by the Guatemalan defense forces in 1989
Diego Ortiz (c. 1510–1580), Spanish composer and music theorist
Diogo Ortiz de Villegas (1457–1519), Spanish-Portuguese theologian and astronomer
Domingo Ortiz, American musician
Elín Ortiz (born 1945), Puerto Rican actor, comedian and producer
Emmanuel Ortiz (born 1974), Chicano/Puerto Rican/Irish-American activist and poet
Enrique Ortiz (disambiguation), multiple people
Eulalio Martín Gutiérrez Ortiz (1881–1939), president of Mexico 1914–1915
Félix Ortiz (born 1959), American politician in the New York Assembly
Fernando Ortiz Fernández (1881–1969), Cuban, essayist, ethnomusicologist, and scholar of Afro-Cuban culture
Fernando Ortiz Arana (born 1944), Mexican politician and legislator
Francisco Ortiz Franco (1954–2004), Mexican journalist
Francisco Pradilla Ortiz (1848–1921), Spanish artist
Guillermo Ortiz Martínez (born 1948), governor of the Bank of Mexico
Guillermo Iberio Ortiz Mayagoitia (born 1941), chief justice of the Supreme Court of Mexico
Guillermo Rigondeaux Ortiz (born 1980), Cuban boxer
Héctor Ortiz Ortiz (born 1950), governor of the Mexican state of Tlaxcala
Héctor Herrera Ortiz (born 1959), Cuban Olympic medalist (1992) in the 800 meters
Hilda Ortiz Clayton (1991-2013), American U.S. Army specialist and war photographer
Ismael Ortiz (born 1982), Panamanian swimmer in the 2004 Olympics
Juan Laurentino Ortiz (Argentine poet) (1896–1978)
Junior Ortiz (born 1959), Puerto Rican baseball catcher
Joell Ortiz (born 1980), American rapper
John Ortiz (born 1969), American actor and co-founder of LAByrinth Theater Company
Jorge Ortiz (Argentine footballer) (born 1984)
José Ortiz (disambiguation), numerous individuals
Josefa Ortiz de Domínguez (a.k.a. La Corregidora) (1768–1829), conspirator and supporter of the Mexican War of Independence
Judith Ortiz Cofer (born 1952), Puerto Rican author
Leonor de Todos los Santos de Borbón y Ortiz (born 2005), Princess of Asturias
Letizia Ortiz Rocasolano (born 1972), Queen of Spain
Lisa Ortiz (born 1974), American actress
Ludwig Ortiz (born 1976), Venezuelan judoka
Luis Ortiz (Puerto Rican boxer) (born 1965), Puerto Rican boxer
Luis "Perico" Ortiz (born 1949), Puerto Rican trumpet player and composer
Manuel Ortiz or Halloween (wrestler) (born 1971), Mexican professional wrestler
Manuel Ortiz de Zárate (1887–1946), Chilean artist
Manuel Antonio Ortiz (fl. 1840–1841), president of Paraguay 1840–1841
Marisela Escobedo Ortiz (1958–2010), Mexican social activist, killed while protesting the murder of her daughter
Martha Ortiz, Mexican chef
Omar Ortiz (born 1976), Mexican football (soccer) player
Opie Ortiz (contemporary), American tattoo artist
Ortiz (wrestler), Puerto Rican professional wrestler
Oscar Alberto Ortiz (born 1953), Argentine football player, and winner of the 1978 World Cup
Óscar Ortiz (El Salvador) (born 1961), Salvadoran politician
Óscar Ortiz (tennis) (born 1973), Mexican tennis player
Pascual Ortiz Rubio (1877–1963), president of Mexico 1930–1932
Paul Ortiz (contemporary), UK guitarist and musician
Pedro Ortiz Dávila (a.k.a. Davilita) (1912–1986), Puerto Rican popular singer
Ramón Ortiz (born 1973), Dominican baseball player
Raúl Scalabrini Ortiz (1898–1959), Argentine writer, journalist, essayist, and poet
Ricky Ortiz or Richard Young, American professional wrestler
Roberto María Ortiz (1886–1942), president of Argentina 1938–1942
Russ Ortiz (born 1974), American baseball player
Shalim Ortiz (born 1979), Puerto Rican/Dominican-American singer and actor
Solomon P. Ortiz (born 1937), US Representative from Texas
Stalin Ortiz (born 1981), Colombian basketball player
Telma Ortiz Rocasolano (born 1973), sister of Letizia, Princess of Asturias
Tito Ortiz (born 1975), American mixed martial arts fighter
Tony Ortiz, American sportscaster and sports talk show host
Victor Ortiz (born 1987), American boxer
Xavier Ortiz (born June 29), Mexican actor and singer
Yolanda Ortiz Espinosa (born 1978), Cuban diver
Yñigo Ortiz de Retez (fl. 1545), Spanish maritime explorer

See also[edit]
Ronnie Ortiz-Magro, American television personality, Jersey Shore
Roxanne Dunbar-Ortiz (contemporary), American professor and activist
Comet White–Ortiz–Bolelli, comet discovered in 1970
This disambiguation page lists articles associated with the title Ortiz.
If an internal link led you here, you may wish to change the link to point directly to the intended article.
Retrieved from "https://en.wikipedia.org/w/index.php?title=Ortiz&oldid=819728353"
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Abdalá Bucaram Ortiz

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Ana Alicia Ortiz

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Claudia Ortiz

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Enrique Ortiz (disambiguation)

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Félix Ortiz

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Guillermo Rigondeaux Ortiz

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Héctor Herrera Ortiz

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José Ortiz (disambiguation)

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Letizia Ortiz Rocasolano

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Ortiz (wrestler)

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Telma Ortiz Rocasolano

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Yolanda Ortiz Espinosa

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