Pete Astudillo

Pedro Astudillo (born on December 1, 1963), is an American singer-songwriter, record producer, and dancer. Referred to as "the Latino Babyface" by The Daily Journal, he is credited as a key figure behind Selena's signature music style. Astudillo wrote or collaborated on some of the most popular Tejano music songs of the 1990s and was inducted into the Tejano Roots Hall of Fame in 2019. His impact...

Pedro Astudillo (born on December 1, 1963), is an American singer-songwriter, record producer, and dancer. Referred to as "the Latino Babyface" by The Daily Journal, he is credited as a key figure behind Selena's signature music style. Astudillo wrote or collaborated on some of the most popular Tejano music songs of the 1990s and was inducted into the Tejano Roots Hall of Fame in 2019. His impact on the United States Latin music scene lies in his role as a songwriter collaborator, according to Billboard magazine. After high school, he pursued music education, forming Los Bad Boyz with Joe Ojeda. Discovered by a local DJ, they joined Selena y Los Dinos, integrating in December 1988. Astudillo's addition involved harmonizing with Selena and performing various roles within the band. Astudillo's contribution to songwriting for the group began with "Besitos" (1989), co-written with the group's producer-songwriter A. B. Quintanilla, leading Selena y Los Dinos to explore the cumbia genre. His compositions for Ven Conmigo (1990) contributed to its commercial success, ranking among the longest-running albums on the US Billboard Regional Mexican Albums chart. Supported by Los Dinos and signed to Q-Productions, Astudillo released his debut solo album, Entregate a Mi, in January 1992. Astudillo remained dedicated to Selena y Los Dinos, contributing to songwriting while on tour. He and A. B. co-wrote "Como la Flor" (1992), which became one of the most popular songs recorded by an artist of Mexican descent in the US. At the 1994 BMI Latin Music Awards, Astudillo received Songwriter of the Year honors. He co-wrote "Amor Prohibido" and "Bidi Bidi Bom Bom" for Selena's Amor Prohibido (1994), both becoming chart-toppers on Billboard's Hot Latin Songs chart, while the latter became the most successful US Latin single of 1994. On March 31, 1995, Selena was shot and killed and Astudillo resumed performing during the opening of Sea World Texas, while still recovering from his mother's death the year prior. Astudillo released Como Te Extrano (1995), with the title track serving as a tribute to Selena and Astudillo's mother, Paz. The titular track peaked at number one on the Regional Mexican Songs chart, remaining for ten consecutive weeks. Astudillo received Most Promising Band honors at the 1996 Tejano Music Awards and began to be hailed as the "next big thing" in the Tejano market. At the 1996 BMI Latin Music Awards, Astudillo tied with Juan Luis Guerra for Songwriter of the Year. Si Tu No Estas (1997) failed to replicate the commercial success achieved by its predecessor, as well as ¿Dónde Estás Amor? (1999). Astudillo left Q-Productions in 2001 to forge his label, Peace Rock Records, and released his albums independently. After a stint as a rocker with Ruido Añejo in the early 2010s, Astudillo returned to Tejano music with his band, Pete Astudillo y Tekno-Mex. His collaboration with A. B., on "Pelón" for Boyz of Kumbia, peaked at number 38 on Billboard's Regional Mexican Songs chart in April 2021. Life and career 1981–1988: Early life and career beginnings Pedro Astudillo was born on December 1, 1963, at the Las Palmas ranch in Laredo, Texas. His parents, Pedro and Paz Astudillo, were Mexican immigrants from Guerrero, and arrived in the United States in 1962. Until he was 13 years old, Astudillo worked alongside his family on farms thinning beets and potatoes. He described working in the fields as demanding but rewarding. Astudillo worked as a dishwasher and later a cook at his family's restaurant. Singing in his church choir gave Astudillo an outlet, although he initially felt shy about it. Astudillo found himself drawn to music class. At the age of nine or ten, Astudillo began writing love poems and songs to express himself. Astudillo acknowledged that it was never a planned endeavor to become a singer, but rather a surprise discovery. He initially began singing on a whim, without any preconceived notions of pursuing it as a career. As he continued writing, Astudillo found himself enamored with singing and composing lyrics. Astudillo remained hopeful of a music career despite his lack of funds. Astudillo graduated from Laredo Nixon High School in 1982. In 1984, after spending a few years at Laredo College, he quit college to open a restaurant with his brother in Loveland, Colorado. He later reapplied to college after moving back to Laredo. Astudillo met Joe Ojeda through a mutual friend, who was seeking a lead singer. They formed Los Bad Boyz, making their debut at the catering business of Astudillo's brother, Rogelio. Rogelio often recommended Los Bad Boyz to patrons who were unable to afford live music. Los Bad Boyz faced challenges securing larger gigs and rejection from promoters, even after offering to perform for free. Astudillo attributed this to their relative obscurity and the skepticism surrounding a two-person band. Feeling overwhelmed by its challenges, Astudillo and Ojeda considered quitting music. During one of their performances at a flea market, they were discovered by local DJ, The Bird El Locutor #2. Astudillo described it as a stroke of luck, feeling they were in the right place at the right time. In August 1988, The Bird extended Los Bad Boyz a regular slot at Rox-Z's in Laredo, though they performed unpaid. Despite their performances, Los Bad Boyz went unnoticed as they were relatively unknown. The club's owners and workers appreciated their music, prompting The Bird to propose to management that whenever a popular band or performance was scheduled, Los Bad Boyz could open for them. The following month, Los Bad Boyz opened for Selena y Los Dinos. The group consisted of lead singer Selena, A. B. Quintanilla as the band's producer-songwriter, and bassist, Suzette Quintanilla on drums, keyboardist-songwriter Ricky Vela, and Jesse Ybarra on guitar. Selena y Los Dinos was managed by the Quintanilla's father Abraham Quintanilla. By 1988, Selena y Los Dinos was ranked the most requested band in ten out of fifteen Tejano music radio stations in Texas. Astudillo remarked that he knew who Selena was, but noted that he was not too into Tejano music at the time. Abraham was initially skeptical of Los Bad Boyz opening for Selena y Los Dinos because they were a two-person group. However, Los Bad Boyz's performance made a positive impression on Selena y Los Dinos and Abraham. After the show, Abraham approached Los Bad Boyz and inquired about their management and booking, offering his business card, and requested them to call him to discuss potential future collaborations. Abraham asked Los Bad Boyz if they would go on the road with them as their opening act, which they did for the next two months. They opened for Selena y Los Dinos in various cities, as a strong friendship between Astudillo and A. B. began to develop. Astudillo stated how he and Ojeda "were happy just to be on the same stage with [Selena y Los Dinos]", and thought that the group was "just being polite" when they were asked to continue to support the group as opening acts. Astudillo likened Selena y Los Dinos to the "Latino Brady Bunch" and described Selena as "goofy, crazy and loud". A. B. gradually persuaded Abraham, though initially reluctant due to financial concerns, to incorporate Los Bad Boyz into the group. Ultimately, A. B. convinced Abraham, allowing Astudillo and Ojeda to integrate into Selena y Los Dinos. Astudillo and Ojeda joined the group on December 25, 1988, following a show in Midland, Texas. Astudillo experienced a profound sense of fulfillment when he was invited to join Selena y Los Dinos, feeling as though his aspirations had finally materialized. Astudillo's addition to Selena y Los Dinos involved harmonizing with Selena and performing duets with the singer, as well as being a hype man, dancer, and roadie. Astudillo often performed duets with Selena on tour, while Ojeda joined as the second keyboardist. Astudillo brought complex lyrics and melodies with lots of chords to his songwriting assistance for the group. 1989–1991: Selena y Los Dinos During the 1989 Tejano Music Awards, Rick Trevino invited Selena y Los Dinos to be the opening act for the awards ceremony after La Sombra declined the offer. Representatives from CBS Records and newly formed EMI Latin attended the awards event to scout for new acts. EMI Latin's president, Jose Behar, wanted to sign Selena y Los Dinos to his label, while CBS was offering twice EMI's offer. Abraham found EMI Latin's proposal appealing due to the potential for a crossover deal, and he intended for his children to be the first musicians to sign with the company. The production of the group's debut album began in June 1989. The goal of Selena was to be an introduction to the international Latin music market, with future sights into an English-language crossover. The band became "a bit more trendier and a little bit cutting-edge" on Selena with experimental production and songwriting. It was the first album with any production and songwriting assistance from Astudillo and Ojeda. Astudillo discovered his ability to write songs when he started collaborating with A. B. It wasn't until their initial songwriting session that Astudillo thought he could "do that." Vela and Astudillo began elaborating the arrangements in their music production. The track "Besitos", Astudillo's first contribution to songwriting for the group, marked a significant turning point for the band. The track inspired the group to experiment with cumbia music in subsequent releases. Astudillo's collaboration with A. B. guided the band towards a more danceable style infused with cumbia influences. This fusion, according to Pamela Colloff of Texas Monthly, drew elements of funk and hip-hop, creating a distinctive and vibrant sound. During the recording sessions for the duet "Amame, Quiereme", Astudillo felt overwhelmed by the professionalism of Los Dinos in the studio, as the group had high expectations for him to match their level. It was Astudillo's first recording session in a studio, and Suzette remarked that Astudillo was noticeably nervous during the sessions. Astudillo was removed from the studio after an unsuccessful session; he expressed his disappointment at not meeting the desired range. After a friend of his successfully hit the required range and with encouragement, Astudillo retried and met the required demands for the track. Astudillo said his aspirations of recording in a professional studio inspired him not to give up. Writing for the El Paso Times, Maria Cortes Gonzalez called Astudillo's vocals on the track as being "sexy", and "seductive". "Amame, Quiereme" was nominated for Vocal Duo of the Year at the 1990 Tejano Music Awards. Astudillo and Abraham wrote "Sukiyaki"–originally a 1960s Japanese song by Kyu Sakamoto–into a Spanish-language song. Vela, who intended to be involved in the writing process, acknowledged Astudillo's songwriting skills and Spanish fluency, ultimately preferring Astudillo's approach for "Sukiyaki". Astudillo assisted with the arrangements for "My Love" on Selena, to which Selena's biographer, Joe Nick Patoksi, interpreted the track as an homage to Madonna. Astudillo recorded the duet with Selena on "Yo Te Amo" for Ven Conmigo (1990), which was nominated for Vocal Duo of the Year at the 1992 Tejano Music Awards. The band opted for a bridge-interlude structure for "Yo Te Amo", instead of their usual recycled chord progression, reflecting their growth and evolution. Patoski found that the song's form wasn't distinctly Texan or Mexican but represented international Spanish music that was masked within a slow cumbia framework. Other tracks Astudillo wrote for Ven Conmigo includes, "Baila Esta Cumbia", "Enamorada de Ti", and "No Quiero Saber". "Baila Esta Cumbia" was certified 6× platinum (Latin) by the Recording Industry Association of America (RIAA), denoting 360,000 units consisting of sales and on-demand streaming in the United States. The compositio