User:AJona1992/sandbox2

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"Just Another Day"
Single by Jon Secada
from the album Jon Secada
ReleasedMarch 16, 1992 (1992-03-16)
Genre
Length
  • 5:27 (album version)
  • 4:15 (edit)
LabelSBK
Songwriter(s)
  • Jon Secada
  • Miguel A. Morejon
Producer(s)Emilio Estefan, Jr.
Jon Secada singles chronology
"Dias Como Hoy"
(1989) 		"Just Another Day"
(1992) 		"Do You Believe in Us"
(1992)

"Just Another Day" is a song by Cuban-American singer-songwriter Jon Secada. It was released in March 1992 as the lead single from his self-titled debut album (1992). Written by Secada and Miguel Morejon, the song reached number five on the US Billboard Hot 100 and number two on the Adult Contemporary chart. It also peaked at number one in Sweden, at number two in Canada, and at number five in the United Kingdom and New Zealand. The song was also recorded in Spanish as "Otro día más sin verte", which topped the US Billboard Hot Latin Tracks chart, peaked at number one in Panama and Uruguay, and reached the top-five in Colombia, El Salvador and Mexico. Gloria Estefan sings background vocals on the song and is given writing credit for the Spanish-language version.

Background and production

Jon Secada auditioned for his school's musical adaption of Charles Dickens' A Christmas Carol,[1] discovering his passion for music. He enjoyed the status it brought him, as it began attracting friends, which was what he desired. Secada went on to attend the University of Miami, where he earned a master's degree in Jazz Vocal Performance. While providing backing vocals for various artists, he became composed songs for Japanese instrumentalists, Takanaka and Seiko, Venezuelan singer Jose Luis "El Puma" Rodriguez, Mexican vocalist Luis Miguel,[2] and Spanish singer Julio Iglesias.[3] In 1987, music producer Emilio Estefan, was given a demo tape of Secada,[4] by Jorge Casas and Ray Ostwald, former classmates of Secada.[2] The tape evoked a range of emotions in Emilio, as he believed that Secada has a chance at success.[2] In 1988, Secada released a Spanish-language album, while it highlighted his baritone and emotive delivery, it was overlooked.[2] In 1989, he became a backup vocalist for Gloria Estefan,[5] and wrote "Say" for Gloria's Cuts Both Ways (1989), before composing six tracks on her Into the Light (1991) album. Two of the singles Secada wrote, "Coming Out of the Dark" (1991) and "Can't Forget You" (1991), peaked at number one on the US Billboard Hot 100 chart.[6] Secada provided backing vocals for Gloria during her world tour for the album.[4]

Secada aspired to become a soloist,[6] despite Emilio cautioning him that it would require time.[3] Emilio guided Secada in developing his songwriting trajectory,[2] and advised him on refining his abilities. Emilio encouraged him to compose his own music and cultivate a unique sound. He emphasized the importance of working on his appearance and striving to enhance it to the best of his abilities.[7] Emilio provided a demo tape of Secada to EMI Records vice president of A&R Nancy Brennan and chairman Charles Koppelman, who both enjoyed it.[1] Brennan and Koppelman flew from New York City to London to see Secada perform at Wembley Stadium where Gloria introduced him.[7] After six hours of negotiations, around 5 a.m., Secada signed a recording contract with the label.[3] Koppelman expressed an interest in Secada flourishing as a singer capable of being a non-format artist. Emilio found Secada's timing as a soloist auspicious, finding limited musical alternatives to rap and metal at the time. He described Secada as a pop and R&B artist and believed that Secada represented a unique genre that people were yearning for.[8] Emilio became Secada's manager,[4] and producer.[9]

Faced with concerns about a scarcity of original material, Secada sensed the urgency to swiftly demonstrate to record executives his artistic essence. He then contacted Miguel Morejon and the two of them secluded themselves in a period of intense emotional exhilaration and penned several songs. There was one in particular that ignited the greatest excitement within them, "Just Another Day", which was completed in 30 minutes and was envisioned by both of them as being the album's titular track.[1] Secada felt that Morejon played a pivotal role in his artistic growth and development as a musician. Phil Ramone produce "Just Another Day" and "Angel", and Secada said that he felt lucky to have him produce both tracks.[1] Secada believed that "Just Another Day" serves as a testament to the emotional state he was in during that period of his life, representing a vibrant mixture of various heartfelt sentiments.[1] The song was recorded at Crescent Moon.[3] Recognizing the market potential, Jose Behar approached Koppelman and requested the possibility of having Secada create a Spanish version of "Just Another Day".[1] Gloria provided backing vocals on "Just Another Day", her first recording of providing backing harmonies for another artist, as well as co-writing the Spanish version of the track, "Otro Día Más Sin Verte".[2] Secada felt that Gloria was instrumental for translating the track.[1]

Music and lyrics

"Just Another Day" is an uptempo pop and soul romantic ballad,[a] characterized by its lively skipping rhythm and adult contemporary and R&B metallic shuffle beats.[b] With Latin music influences,[16][10] it contains pulsating house music rhythms that broaden its appeal across multiple formats.[17] "Just Another Day" narrates a melancholic chronicle of lost love.[16] Constructed under a catchy hook,[13] the track is laced with a seductive Soul II Soul rhythmic cadence, where Secada chants: "I don't want to find another way to make it through the day without you",[18] capturing the lyric's narrative of love's sporadic nature,[11] in a baritone-tenor vocal range.[4] The Palm Beach Post called the track, along with "If You Go" and "Angel", as an integration of Secada's Latin rhythms with American pop and R&B tones.[19] This is echoed by Deborah Davis of El Norte, who found the track to be a mixture of R&B with the sound and passion of Latin music.[20] Raquel Riaño of El Confidencial, called the track a catchy and romantic pop song.[21]

Stephen Holden of The New York Times lauded Secada's ability to transform a "lovelorn ballad" into an impactful song by infusing it with a driving beat, while his intense vocal performance lent it authenticity and credibility.[22] Lyrically, the protagonist desperately cling to a relationship, hoping that their partner's inconsistent behavior will change. Expressing his emotions, he confesses that without her, "it's just another day".[8] Charlie Martin of The Messenger, finds the song's message lacking as it depicts a person who is constantly depressed due to the unpredictable presence of their love interest.[8] Joseph Atilano of Inquirer.net, found the song to boast a lively beat that resembles a dance floor anthem. He found the lyrics to have delivered a poignant impact, particularly resonating with the broken-hearted and lonely. Atilano finds Secada pouring his heart out, expressing his deep emotions for the woman he loves, despite the woman's unrestraint indifference, leaving him feeling lost and adrift without her love.[10] María Ivette Vega Calles of El Nuevo Dia called it an "alternative ballad".[23]

Critical reception

"Just Another Day" was released in both English and Spanish, aimed to capture both markets.[24] While Ricard Riccio of St. Petersburg Times lauded the track as an exceptional rejuvenating pop song and commended Emilio's sound production, he criticized Gloria's backing vocals for failing to prevent the overall blandness of the songs on the album.[11] Waterloo Region Record deemed the Spanish version to be an improvement over the English version, applauding Secada's emotive vocals set against an assortment of minor keys and unpredictable melodies. This combination, according to the review, resulted in an almost anthemic expression of poignant longing.[25] The Spokesman-Review called it "easy yet catchy".[24] Jim Abbott of Orlando Sentinel found it to feature "lilting Latin-flavored flare".[26] Chuck Campbell of The Knoxville News-Sentinel lauded Secada's vocal delivery on the track as being powerful and restrained, saying that Michael Bolton should take note, while finding the song's structure to be simple.[9] While praising "Just Another Day" as a "dynamic radio hit", Ernie Long of The Morning Call urged Secada to reduce the dramatic intensity of his vocal delivery on the tracks. Long expressed concern that the singer's tendency to "belt out every song like it's hit last" could be detrimental to him, which has plagued Rick Astley and Bolton.[27]

Don Mayhew of The Fresno Bee found the song to be a mundane journey of lost love and questions the necessity of having "a Richard Marx wannabe".[28] Mario Tarradell of The Miami Herald, found the song to have been tailored for radio play.[13] A reviewer in the Huddersfield Daily Examiner expressed their boredom from listening to "Just Another Day", as it failed to evoke the same joyous emotions it once brought them. The reviewer found solace in the discovery of superior soul tracks found elsewhere on the album.[12] Billboard's Chuck Taylor felt that Secada revolutionized the top 40 radio in the 1990s with "Just Another Day", "Angel" (1993), and "If You Go" (1994), as though applying a blowtorch to the airwaves.[29] Michael Paoletta, also from Billboard, found Secada's singles "Just Another Day", "Whipped" (1994), and "Too Late Too Soon" (1997), to have marked the singer's success in club scenes in the early 1990s.[30] Ramiro Burr found his vocals on the song containing an emotional intensity of Bill Medley.[15] Atilano listed "Just Another Day" as one of his top songs for Valentine's Day, while uncertain if the lyrics are based on real-life experiences for Secada, Atilano finds it to evoke a tug at the listener's heart and the emotional connection is a triumph for Secada. He finds the raw emotion emitting from the song carries still holds over 20 years later.[10] Musicologist Thomas R. Harrison, felt that Latin artists embraced the notion of releasing albums in both languages, such as Secada with "Just Another Day", recognizing their ability to captivate and appeal to diverse markets without hesitation.[31] Desmond Child, who produced Ricky Martin's "Livin' la Vida Loca" (1999) that resulted in several Latin artists attaining the summit of the Hot 100, felt that it was "an amazing moment", finding Latin crossover movement had been stagnant and devoid of progress since Secada's "Just Another Day".[32]

It elevated Secada into a prominent figure on a national scale.[13] It served as one of the tracks that propelled him into reaching an audience beyond the American Latino community.[33] "Otro Dia Mas Sin Verte" catapulted Secada to fame.[34] Esquire ranked "Otro Dia Mas Sin Verte" at number 38 on their list of the top 100 greatest Spanish songs of all time.[35] Espectaculos BCN ranked "Otro Dia Mas Sin Verte" number five on their list of the 25 best summer songs of the 1990s.[36] Riaño felt that people resonated so strongly with "Otro Dia Mas Sin Verte" that it became one of those songs which, regardless of personal taste, either evoke nostalgic sighs or elicit frustrated exclamations after being played relentlessly in the 1990s. Rino considered the track, along with "I Promised Myself", has become a part of music history.[21]

Ian Russell of Kilmarnock Standard called the song "dynamic".[37]

"Just Another Day" was recognized as one of best-performing pop songs of the year at the 1993 BMI Pop Awards and again in 1994.[38][39]

"Otro Día Más Sin Verte" won Song of the Year at the first BMI Latin Awards in 1994.[39]

The Spanish version is a "standout".[40] It has since become one of his favorite songs of his career.[41]

Promotion

Following the album's release, Secada embarked on a nationwide tour, engaging in personal appearances and visiting radio stations across the United States, ranging from San Angelo, Texas to Los Angeles. Patterson Clark of The Miami Herald, believed that the crucial aspect was the distribution of the album to radio stations that are surveyed by Billboard magazine.[7] Secada appeared on The Tonight Show on June 4, 1992.[2] Following the song's success in the United States, Secada embarked on a promotional tour in England in July 1992, to promote the single.[6] He first toured in Europe, followed by Latin America.[7] A Spanish-language version of the song was released, Tarradell considered the label's ability to promote a Spanish version on Latin radios as being an additional advantage.[13] Following "Otro Dia Mas Sin Verte"'s inclusion on Baywatch, Tom Foster of TVovermind, felt that the show appeared to be the kind of television series that would feature the type of songs Secada sings, given its combination of action and drama within a cohesive and compact format.[42] In 2014, Secada appeared in a bilingual promotional advertisement for Wendy's parodied "Otro Dia Mas Sin Verte", that People en Espanol dubbed as being comical.[43]

Secada performed "Otro Dia Mas Sin Verte" at the 1992 Acapulco Festival in Mexico. The audience enthusiastically encouraged the singer to return for an encore, during which Secada performed "Just Another Day". The performance received positive acclaim as it inspired the audience to stand up and dance.[44] He performed the song during a performance at Radio City Music Hall on March 26, 1995, where Holden found the singer's falsetto range as having an "unusual strength and staying power". He found his performance of "Just Another Day" and "Mental Picture" (1994) as having a vocal performance that carries authentic emotional weight, though found the overall acoustics suffered from muddiness with the percussion and background singers that overpowered the keyboards and guitars, resulting in a lack of musical focus.[45] In December 1999, he performed the song at the 11th annual BellSouth Big Orange New Year's Eve celebration.[46] On August 2, 2000, Secada performed "Just Another Day" at the Philadelphia Museum of Art, which was visited by George W. Bush during his presidential campaign.[47] In December 2002, he performed a sing-a-long rendition of "Just Another Day" during the Colors of Christmas celebration by the Ordway Center for the Performing Arts. Jon Bream of the Star Tribune found the singer to have exuded the charm of Barry Manilow, yet distinguished himself with a more captivating voice and being "much cuter".[48] On May 31, 2007, Secada performed the song with the Florida Orchestra backing him at the Florida State Fairgrounds in Tampa, Florida.[49] On October 6 and 7, 2011, Secada performed the song during the Epcot International Food & Wine Festival at Disney World.[50]

Chart performance

North America

"Just Another Day" was released at the lead single off of Jon Secada.[51] It made its debut at number 99 on the Billboard Hot 100.[3] Secada experienced nervousness as "Just Another Day" made its debut on the chart, contemplating the possibility of quickly fading off the chart from where it began. Record executives appeared content and were optimistic about its chart trajectory.[1] Emilio told Secada that "Just Another Day" would likely only peak at number 20 on the chart, expressing to Norma Niurka of El Nuevo Herald, that he deliberately gave him false hopes to avoid Secada becoming too cocky.[3] When the track reached number six, Emilio and Gloria called Secada to inform him to which the singer fell silent for a moment before crying over the phone.[3] The label promoted Secada across various domestic and international outlets. This encompassed showcase performances and extensive radio exposure.[1] "Just Another Day" reached the top ten of the chart on the week ending July 18, 1992, just as its Spanish counterpart, "Otro Dia Mas Sin Verte", spent its third week at number one on the US Billboard Hot Latin Songs chart.[52] Both versions were simultaneously promoted by the label; SBK Records worked the pop field, while its affiliate EMI Latin promoted it on Latin music stations, an unusual circumstance in the US.[52] "Just Another Day" spent 11 consecutive weeks in the top ten of the Billboard Hot 100 chart.[51] "Otro Dia Mas Sin Verte" was the most-played song on radio stations in Providence, Rhode Island and Washington, D.C., in the week ending July 3, 1992.[53] It was the most-played song in Miami in the week ending August 28, 1992,[54] and the second-most played song in Dallas,[54], New York City,[53], and the fifth most-played track in Houston and Boston.[54][53]

Secada expressed his astonishment at the song's popularity, expressing his delight over the positive reception it has received.[2] He expressed how he wasn't prepared for the song's popularity, saying that he never thought he would reach such heights.[3] While Secada was touring, he visited Latin radio stations as well as contemporary hit radios and adult contemporary stations, treating their influence equally.[52] Secada enjoyed the advantage of "Just Another Day" being a nonformat recording, due to the substantial monetary demand and influence one must have for radio promotion and marketing.[1] The track became a hit on the US Adult Contemporary and Mainstream Top 40 charts, reaching numbers five and ten, respectively.[55][56] It also appeared on the Billboard Rhythmic listing, peaking at number 26.[57] "Just Another Day" was certified gold by the Recording Industry Association of America for shipping over 500,000 copies.[58] The Spanish version, "Otro Día Más Sin Verte", gave Secada his first number one on the Billboard Hot Latin Tracks chart,[59] topping the ranking for five weeks and was the fourth best-performing Latin single of 1992. In Canada, it peaked at number two and reached number one on the country's adult contemporary chart according to RPM.[60][61] "Just Another Day"'s constant demand on radio prevented his "Do You Believe in Us" (1992) song from attaining the top positions of the Adult Contemporary and Hot 100 charts.[62] "Just Another Day", "Do You Believe in Us" and "Angel" gained Secada recognition as a smooth and versatile pop singer who delivers songs in both English and Spanish.[63] "Just Another Day" ranked at number 15 on Billboard's top Latin and Brazilian songs to have appeared on the Hot 100 in its first 50 years.[64]

"Otro Dia Mas Sin Verte" gained significant popularity in Mexico, receiving extensive airplay on radio stations throughout the country.[65] "Just Another Day" received a double platinum certification,[66] and later attained 5x platinum for selling 500,000 copies.[51] The Spanish version received a gold certification. The song propelled Secada to become one of the most renowned singers in Mexico.[51] In 1992, the single became one of the best-selling in the United States.[51] The recording launched Secada into international recognition,[67] opening doors for him worldwide and granting him extensive radio exposure in Mexico.[68] Singles such as "Otro Dia Mas Sin Verte", "Angel", and "Ensename", contributed to Secada's sales enhancements. He attributed his rise to success to "Otro Dia Mas Sin Verte" as well as the guidance provided by Emilio and Gloria.[67] By 2002, "Just Another Day" continued to receive heavy airplay in Mexico.[69]

On September 12, 1992, "Just Another Day" received a gold certification from the Recording Industry Association of America (RIAA) for sales of 500,000 copies.[70] Along with its Spanish version, "Just Another Day" has sold one million copies in the US and five million copies worldwide.[51]

The label aimed to replicate Secada's chart success across different markets by capitalizing on the rising popularity of the Barrio Boyzz.[52] Koppelman felt that Secada's bilingual success was "not a fluke", as he believed there was potential for Latin music to crossover into pop.[52] Influence by Secada's achievements, the label began actively encouraging its other bilingual artists to explore recording in both languages. This approach attracted the attention of non-Hispanic artists, such as Bryan Adams, Jon Bon Jovi, and Boyz II Men, who began releasing Spanish-language singles. The label acknowledges that to some extent, a certain division between the two markets will always exist, but the level of success Secada achieved surpassed the label's expectations. While believing there is abundant untapped potential, the label became increasingly motivated to capitalize on those opportunities.[71] Following the success of "Just Another Day", Secada's expectations and his life underwent an immediate transformation. Having caught a glimpse of success, he became driven and ambitious, no longer willing to settle for anything less than striving for further achievements.[1] To commemorate the 20th anniversary of "Just Another Day", Secada released "I'm Never Too Far Away" (2012).[72] Secada expressed his aspiration for every song he writes to transcend into the realm of being a definitive and universally well-received song. He yearns for his compositions to retain a timeless allure, resonating with audiences for decades beyond their initial release.[69]

South America

It received gold and platinum certifications.[51] The song ranked among the top ten best-performing and most popular songs in La Paz, based on polls conducted by local radio stations.[73]

The song led Secada to be known as one of the most iconic singer-songwriters of the 1990s in Latin America and Europe.[74]

Europe and Australasia

Music videos

Gloria makes a cameo appearance in the music video.[2] While a music video for "Just Another Day" was produced, a European tour began.[3] In the video, critic Carol Vernallis, describes Secada's arms rising overhead in a triumphant gesture, with the camera tilts upward, synchronizing with a modulation up a whole step, mirrors the musical progression found in "Just Another Day". Vernallis believed the most frequently encountered key change in pop music videos involves shifting up a whole step, typically occurring around two-thirds into the song. This modulation, Vernallis asserts, is easily discernible, akin to stepping onto a higher platform, and conveys a sense of overcoming obstacles and reaching an elevated level. Vernallis finds that singers often raise their hands above their heads during this particular moment, as with Secada in "Just Another Day". In the video, Secada symbolically opens the doors of a church, and both he and the building are bathed in radiant white light from the outdoors.[75]

Koppelman collaborated with Jose Behar to produce the music video in Spanish. He explained that his approach worked in the US and believes it will translate well in other countries similar to the experience they had with Tracy Chapman; an African-American folk singer the label vigorously pursued in multiple formats that enabled her to sell albums in countries unfamiliar with its genre.[52] Foster contends that while "Otro Dia Mas Sin Verte" music video is in Spanish, the non-verbal cues and body language of the two individuals in the video would be easily understandable to non-Spanish speakers.[42]

The visual was nominated in the category of Video of the Year at the 5th Annual Lo Nuestro Awards in 1993, but ultimately lost to "Una Rosa Es una Rosa" by Mecano.[76][77] Kevin Layne won Best Director for "Otro Dias Mas Sin Verte" at the 1993 Billboard Latin Music Awards.[78] VH1 featured Secada as their artist of the month, while the label enhanced the momentum of "Just Another Day" by launching a television advertising campaign, supplementing the promotional efforts.[62]

Covers

Former New York Yankees center-fielder Bernie Williams, remade "Just Another Day" for his Moving Forward (2009) album. Secada provided lead vocals on the track,[79] accompanied by the Harlem Boys & Girls Alumni Choir. Business Wire found the rendition to be an "energetic reprise".[80] In 2009, Secada released Expressions: The Jazz Album, featuring jazz renditions of his songs including "Just Another Day".[81] Holden found the jazz version of "Just Another Day" as having a sturdy rhythmic foundation.[82]

Track listings

  • US CD single (K2-19748)
  1. "Just Another Day" (English edit) – 4:15
  2. "Just Another Day" (Spanglish edit) – 4:15
  3. "Just Another Day" (Spanish edit) – 4:15
  4. "Just Another Day" (dance mix) – 5:42
  5. "Always Something" (live—recorded in Rotterdam, Holland, May 10, 1991) – 4:13
  • UK CD single (CDSBK35)
  1. "Just Another Day" (English edit) – 4:15
  2. "Just Another Day" (Spanglish edit) – 4:15
  3. "Just Another Day" (dance mix) – 4:15
  4. "Always Something" (live) – 4:13

Credits and personnel

Credits adapted from the album's liner notes.[83]

Charts

Sales and certifications

Region Certification Certified units/sales
Australia (ARIA)[100] Gold 35,000^
Germany (BVMI)[113] Gold 250,000^
United Kingdom (BPI)[114] Silver 200,000^
United States (RIAA)[58] Gold 500,000^

^ Shipments figures based on certification alone.


Notes

  1. ^ "mid-to-fast tempo",[10] uptempo pop,[11] uptempo pop and soul,[2] soul,[12] ballad,[13] a romantic pop.[14]
  2. ^ lively skipping rhythm,[2][15] metallic shuffles of adult contemporary and R&B beats.[15]

See also

References

  1. ^ a b c d e f g h i j k Secada 2014.
  2. ^ a b c d e f g h i j k Lannert 1992a.
  3. ^ a b c d e f g h i Niurka 1992, p. 42.
  4. ^ a b c d Pitts, Jr. 1992, p. 5.
  5. ^ Novas 2007, p. 323.
  6. ^ a b c Horton 1992, p. 38.
  7. ^ a b c d Clark 1992, p. 63.
  8. ^ a b c Martin 1992, p. 11.
  9. ^ a b Campbell 1992, p. 15.
  10. ^ a b c d Atilano 2017.
  11. ^ a b c Riccio 1992, p. 21.
  12. ^ a b Anon. & 1992ah, p. 16.
  13. ^ a b c d e Tarradell 1992, p. 66.
  14. ^ Larkin 2011.
  15. ^ a b c Burr 2004, p. 600.
  16. ^ a b Lannert 1992b, p. 12F.
  17. ^ Campbell 1992, p. 13.
  18. ^ Morse 1992, p. 9.
  19. ^ Anon. 2007, p. 46.
  20. ^ Davis 1996, p. 12.
  21. ^ a b Riaño 2021.
  22. ^ Holden 1994.
  23. ^ Vega Calles 2017.
  24. ^ a b Anon. & 1992ag, p. 99.
  25. ^ Anon. & 1992af, p. C17.
  26. ^ Abbott 1992, p. 76.
  27. ^ Long 1992, p. 63.
  28. ^ Mayhew 1992, p. 115.
  29. ^ Taylor 2005, p. 74.
  30. ^ Paoletta 2000, p. 31.
  31. ^ Harrison 2011, p. 35.
  32. ^ Bronson 2003, p. 881.
  33. ^ Sandall 1997, p. 22.
  34. ^ Anon. 2021.
  35. ^ Coscarón 2022.
  36. ^ Villanueva 2022.
  37. ^ Russell 1992, p. 101.
  38. ^ Borzillo, Carrie (May 29, 1993). "Carey, Bolton Take Top Honors At BMI Pop Awards" (PDF). Billboard. 105 (22): 84. ISSN 0006-2510. Retrieved June 9, 2023.
  39. ^ a b Lichtman, Irv (June 4, 1994). "Parton, Morejon, Warner Music Tops for BMI" (PDF). Billboard. 106 (23): 24. ISSN 0006-2510. Retrieved June 9, 2023.
  40. ^ Grein 2009.
  41. ^ Fernandez 2019.
  42. ^ a b Foster 2018.
  43. ^ Anon. 2014.
  44. ^ Anon. 1993g, p. 44.
  45. ^ Holden 1995.
  46. ^ Anon. 1999, p. 3733.
  47. ^ Anon. 2000b, p. 16A.
  48. ^ Bream 2002, p. 4B.
  49. ^ Fink 2007, p. 19W.
  50. ^ Anon. 2011.
  51. ^ a b c d e f g Anon. 1994a, p. 34.
  52. ^ a b c d e f Lannert 1992, p. 10.
  53. ^ a b c Anon. & 1992ak, p. 63.
  54. ^ a b c Anon. & 1992al, p. 64.
  55. ^ a b Anon. & 1992ab.
  56. ^ a b Anon. & 1992ac.
  57. ^ a b Anon. & 1992ad.
  58. ^ a b Anon. 1992r.
  59. ^ a b Anon. & 1992ae.
  60. ^ a b Anon. 1992t.
  61. ^ a b Anon. 1992u.
  62. ^ a b Armoudian 1993, p. 22.
  63. ^ Lannert 1994, p. 11.
  64. ^ Anon. 2008, p. 23.
  65. ^ Anon. 1993h, p. 36.
  66. ^ Anon. 1993b, p. 40.
  67. ^ a b Anon. 2000, p. 31.
  68. ^ Anon. 1993d, p. 49.
  69. ^ a b Céspedes 2002, p. 9.
  70. ^ Grein 2009, p. 12.
  71. ^ Rohter 1993.
  72. ^ Anon. 2013.
  73. ^ de Guadalupe 1993, p. 59.
  74. ^ Rosa del Pino 2017.
  75. ^ Vernallis 2004, pp. 173, 190.
  76. ^ Lannert, John (30 March 1993). "Secada Lead Latin Noms Following Grammy Win". Billboard. Vol. 105, no. 10. p. 121. ISSN 0006-2510. Archived from the original on 9 January 2023. Retrieved 3 January 2013.
  77. ^ "Lo Nuestro – Historia" (in Spanish). TelevisaUnivision. Archived from the original on 26 June 2015. Retrieved 8 March 2014.
  78. ^ Anon.a 1992, p. 11.
  79. ^ Hau 2009, p. 29.
  80. ^ Anon. 2009a.
  81. ^ Anon. 2009b.
  82. ^ Holden 2009, p. C10.
  83. ^ Secada 1992.
  84. ^ a b c d e f g h Anon. 1992s.
  85. ^ a b c d e Anon. & 1992aj, p. 60.
  86. ^ Anon. 1992a, p. 31.
  87. ^ Anon. 1992b, p. 24.
  88. ^ Anon. 1992c, p. 22.
  89. ^ Anon. 1992v.
  90. ^ Anon. 1992w.
  91. ^ Anon. 1992x.
  92. ^ Anon. 1992y.
  93. ^ Anon. 1992z.
  94. ^ Anon. & 1992aa.
  95. ^ Anon. 1993f, p. 52.
  96. ^ Anon. 1993c, p. 53.
  97. ^ Anon. 1993e, p. 48.
  98. ^ Anon. & 1992am, p. 68.
  99. ^ Anon. 2015, p. 40.
  100. ^ a b Ryan 2011, p. 247.
  101. ^ Anon. 1992d, p. 8.
  102. ^ Anon. 1992e.
  103. ^ Anon. 1992f, p. 17.
  104. ^ Anon. 1992g.
  105. ^ Anon. 1992h.
  106. ^ Anon. 1992i.
  107. ^ Anon. 1992j.
  108. ^ Anon. 1992k.
  109. ^ Anon. 1992l, p. 8.
  110. ^ Anon. 1992m.
  111. ^ Anon. 1992n, p. YE-38.
  112. ^ Anon. 1992o, p. LMQ3.
  113. ^ Anon. 1992p.
  114. ^ Anon. 1992q.

Works cited

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