Beginning her career in 1975 as lead vocalist for the then exclusively Spanish-language band, Miami Sound Machine, before crossing over to mainstream pop success with the international hit singles "Dr. Beat" (1984) and "Conga" (1986), Estefan emerged as one of the biggest new stars in the mid-'80s, predating the still nascent Latin pop explosion by a decade, and scoring a series of propulsive dance hits rooted in the rhythms of her native Cuba, before shifting her focus to softer, more ballad-oriented fare.
Born in Havana, Cuba, the young Gloria Fajardo was raised primarily in Miami, FL, after her father, a bodyguard of Cuban president Fulgencio Batista, was forced to flee the island following the 1959 coup helmed by Fidel Castro. In the fall of 1975, Fajardo and her cousin Merci Murciano auditioned for the Miami Latin Boys, a local wedding band headed by keyboardist Emilio Estefan. With their addition, the group was rechristened Miami Sound Machine and four years later, Fajardo and Estefan were wed. As Miami Sound Machine began composing their own original material, their fusion of pop, disco, and salsa earned a devoted local following, and in 1979 the group issued their first Spanish-language LP on CBS International. Despite a growing Hispanic fan base, they did not cross over to non-Latin audiences until "Dr. Beat" topped European dance charts in 1984.
With 1985's Primitive Love, Miami Sound Machine recorded their first English-language effort, scoring three Top Ten pop hits in the U.S. alone with the infectious "Conga", "Bad Boy", and "Words Get in the Way". Following 1987's triple-platinum Let It Loose, Estefan took top billing and the group changed its name to Gloria Estefan & The Miami Sound Machine in 1988, reeling off four Top Ten hits - "Rhythm Is Gonna Get You", "Can't Stay Away from You", the chart-topping "Anything for You", and "1-2-3". 1989's Cuts Both Ways was credited to Estefan alone and generated her second #1 hit, "Don't Wanna Lose You". However, on March 20, 1990, while touring in support of the album, her bus was struck by a tractor trailer. Estefan suffered a broken vertebra that required extensive surgery and kept her off the road for over a year. Her husband Emilio and the couple's son were injured in the crash as well, but all three recovered. Estefan resurfaced in 1991 with Into the Light, again topping the charts with "Coming Out of the Dark", a single inspired by her near-fatal accident. Two more cuts from the album, "Can't Forget You" and "Live for Loving You", secured her foothold on the adult contemporary charts.
With 1993's Mi Tierra, Estefan returned to her roots, recording her first Spanish-language record in nearly a decade and earning a Grammy Award for Best Tropical Latin Album; on the follow-up 1994 covers collection, Hold Me, Thrill Me, Kiss Me, she also recalled her dance-pop origins with a rendition of the Vicki Sue Robinson disco classic, "Turn the Beat Around". Another all-Spanish effort, Abriendo Puertas (1995), earned her a Grammy as well, while Destiny featured "Reach", named the official theme of the 1996 Summer Olympics. As Latin pop made new commercial headway, thanks to the efforts of acts like Ricky Martin and Enrique Iglesias, Estefan reigned as the most successful crossover artist in Latin music history, with international record sales close to the 50 million mark. In 1999, she also made her feature film debut alongside Meryl Streep in Music of the Heart, recording the film's title song as a duet with *NSYNC, and scoring both a massive pop hit and an Oscar nomination in the process. A new Spanish-language album, Alma Caribeña, followed in the spring of 2000. Several months later, Estefan was awarded a Grammy for Best Music Video for "No Me Dehes de Querer" at the inaugural annual Latin Grammy Awards. Her husband, Emilio, won for Producer of the Year. - Jason Ankeny, All Music Guide
Appearances and tours
In April 2004, Estefan appeared on the Fox Broadcasting Company’s program, American Idol, but declined an offer to be an official judge, saying she did not like to “judge” others.
On July 28, 2004, in a press conference hosted by Donald Trump at the Trump Tower, Estefan announced that her then-upcoming tour would be her final one. The Live and Re-Wrapped Summer/Fall 2004 Tour, her first tour in eight years was produced by Clear Channel Entertainment. The tour featured Estefan’s greatest hits, along with new material from Unwrapped.
In December 2006, Estefan appeared as a special guest singer on the UK talent show The X Factor.
Gloria's 11th studio album,Miss Little Havana. The Miss Little Havana Songfacts says that the first nine tracks tells the tale of a young girl who hooks up with the wrong guy in Miami after moving there from Cuba. All of these tracks were written or co-written by Pharrell Williams of The Neptunes. It is described by Estefan as a project in the vein of her 1998 hit album gloria!.
Songfacts reports that "Hotel Nacional" debuted at #1 on Billboard's Latin countdown - the first time a female artist had achieved that feat since the chart was introduced in 1986. Both "Wepa" and "Hotel Nacional" achieved number one on Billboard Latin Songs and on Billboard Hot Dance Club Songs.
Estefan started a reality show called The Next: Fame Is at Your Doorstep opposite Joe Jonas, Nelly and John Rich on the CW Network, where she, and the other three mentors are searched for the next big star, to record an album with Atlantic Records. Unlike other music reality shows, in this program, the mentors selected the "candidates" for the show, and trained them for a live performance, where they'd be voted for the best act of the day. The first season ended in October 2012, with musician Michael Ray, as the big finalist.
This same year, Estefan appeared as a musical guest in Tony Bennett's compilation of duets with Latin-American musicians, Viva Duets with a rendition of the song, "Who Can I Turn To (When Nobody Needs Me)". Weeks later, she helped the American version of Teleton, releasing the charity single "Por Un Mundo Mejor" along with Mexican singer Lucero, Dominican rapper El Cata and Mexican pop band, Reik. A video for the song was shot, with them recording the song, which was marked as the official hymn for the foundation.
In May 2013, she appears doing another duet with the song "Think I'm In Love Again" as part of the albums Duets released by Paul Anka.
Estefan has announced she was working on a new album of covers, The Standards, released in September 2013. The album will feature some collaborations with artists like Laura Pausini, Dave Koz and Joshua Bell, and the selection of songs are mostly songs from the Great American songbook. Estefan released the first single, "How Long Has This Been Going On?", digitally on Amazon and iTunes on July 9, 2013
Official website: http://www.gloriaestefan.com
Sex In The 90's
Gloria Estefan Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Stay up all night, party, go to bed with the sun
Always on the dance floor to the end of the night
But if I go home alone and everything is alright
Love and romance
Just ain't the same anymore, what can you do?
Accept or ignore
Thought I was wise about the ways of the world
But you gotta be crazy to have
Sex in the ninetys
Sex in the ninetys
Oh Saturday night I should decide what to do
Should I stay or should I play?
But whatever that is, I think the question's with who
Spontaneity's dead we should accept our own fate
Make a serious commitment to the nine seven six date
Come a long way baby
Sayin' it true
And if the seventys freed our inhibitions
What good did it do?
Gotta shut it in, get it out turn it away
'Cause you gotta be crazy to have
Sex in the ninetys
Sex in the ninetys
Sex in the ninetys
Sex in the ninetys
You've come a long way baby
Sayin' if true
If the seventys freed our inhibitions
What good did it do?
Gotta shut it in, get it out turn it away
'Cause you gotta be crazy to have
Sex in the ninetys
Sex in the ninetys
Sex in the ninetys
Sex in the ninetys
Sex in the ninetys
The lyrics to Gloria Estefan’s song Sex In The 90's express the singer’s struggle with the changing attitudes towards love and romance in the 90s. She acknowledges that she loves to have fun, stay up all night partying and dancing until the end of the night. But she also shares that if she goes home alone, everything is alright. The singer suggests that love and romance just aren't the same anymore, and people need to accept or ignore this change. She once thought she was wise about the ways of the world but now believes one must be crazy to have sex in the 90s.
Saturday night poses the question of what to do and with whom. The spontaneity is dead, and one should accept their fate and make a serious commitment. The singer sarcastically remarks that we've come a long way since the seventies but what good did it do us if we cannot express our views with freedom. Lastly, the singer concludes with the words “Gotta shut it in, get it out turn it away 'Cause you gotta be crazy to have sex in the nineties.” She ends on a skeptical note, stating that we might as well keep our thoughts and urges to ourselves since the new age hardly provides a suitable ground for them to thrive.
Line by Line Meaning
Tell me that I'm crazy 'cause I love to have fun
People may think I'm crazy, but I love having fun.
Stay up all night, party, go to bed with the sun
I love partying so much that I can stay up all night until the sun rises.
Always on the dance floor to the end of the night
I love dancing so much that I won't leave the dance floor until the party is over.
But if I go home alone and everything is alright
Even if I don't meet anyone special, I am still content and happy with my night.
Love and romance
Love and romance are important to me.
Just ain't the same anymore, what can you do?
Love and romance are not the same as they used to be, and I'm not sure how to deal with that.
Accept or ignore
There are two choices, accept the changes or ignore them.
Thought I was wise about the ways of the world
I thought I understood how the world worked.
But you gotta be crazy to have
But in the 90s, you have to be crazy to have
Sex in the ninetys
Sex in the 90s is different from before.
Sex in the ninetys
Sex in the 90s is different from before.
Oh Saturday night I should decide what to do
On Saturday night, I must decide what to do.
Should I stay or should I play?
Should I stay home or go out and party?
But whatever that is, I think the question's with who
Whatever I decide to do, the real question is who will I do it with.
Spontaneity's dead we should accept our own fate
Spontaneity is gone, so we should accept our own fate.
Make a serious commitment to the nine seven six date
Schedule a date for the future and commit to it.
Come a long way baby
We have come a long way since the 70s.
Sayin' it true
That is really true.
And if the seventys freed our inhibitions
If the 70s liberated us from our inhibitions.
What good did it do?
What good did it really do?
Gotta shut it in, get it out turn it away
I have to keep my feelings inside and turn away from them.
'Cause you gotta be crazy to have
Because in the 90s, you have to be crazy to have
Sex in the ninetys
Sex in the 90s is different from before.
Sex in the ninetys
Sex in the 90s is different from before.
Sex in the ninetys
Sex in the 90s is different from before.
Sex in the ninetys
Sex in the 90s is different from before.
Sex in the ninetys
Sex in the 90s is different from before.
Lyrics © Universal Music Publishing Group
Written by: GLORIA M. ESTEFAN, JON SECADA
Lyrics Licensed & Provided by LyricFind