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Using Josh Kun’s Audiotopia thesis as a theoretical framework and social critique, this paper will explore the role that Tejana (Texan) music star Selena Quintanilla-Perez’s music plays as audiotopias. Using the audiotopia thesis, this paper will argue that music functions like a possible utopia for immigrant communities on both sides of the United States and Mexico border in imagining ideal borderless Americas. This paper is guided by the following research questions (1) What does it mean to mourn Selena? (2) How does remembering Selena build community on both sides of the border? To Kun “music’s utopian potential, [is] its ability to show us how to move towards something better and transform the world we find ourselves in” (Kun, 2005). Although music cannot topple regimes, break chains or stop bullets according to Kun, in the face of oppression in Mexico and U.S. state sanctioned racism and nativist immigration policy, music serves as a utopian disruption from the oppressive reality of immigrant communities. Music makes the struggles of marginalized communities audible for those who have been traditionally

Bidi Bidi Bom Bom: The Audiotopias of Selena Across the Americas