Gloria Thalia Paulina

a little fun dump fan page of three popular Mexican Pop Artists of the 90s

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Gloria Trevi - Una Rosa Blu (October 2nd, 2007)

On October 2nd, 2007, Gloria Trevi released her seventh studio album Una Rosa Blu, produced by Sergio George. Una Rosa Blu became one of the top-selling albums by a Mexican singer in the late 2000s and of all time, even placing in the top 10 for biggest first-week sales for a Mexican album. It quickly became one of her best-selling albums ever and marked a major turning point in her career, fully repositioning her as one of the biggest stars in Latin music once again.

This era followed the massive impact of her 2006 single “Todos Me Miran,” which reached #1 and became her first number one hit since 1994. That success played a huge role in rebuilding her momentum and setting the stage for Una Rosa Blu to dominate. With this album, she officially returned to A-list status, marking her first major peak era since Más Turbada Que Nunca (1994).

The album also expanded her international reach, gaining popularity across Europe, including countries like Russia, helping further internationalize her career. It was followed by a hugely successful tour that ran from 2007 to 2009, where she sold out arenas and major venues across Mexico, the United States, and Latin America.

The album was certified Platinum in Mexico and has sold approximately 7.5 million copies worldwide, making it one of the best-selling albums of her entire career.

The album produced several successful singles in Mexico:

Psicofonía (August 7th, 2007) — #8

Cinco Minutos (March 31st, 2008) — #2

Pruébamelo (July 12th, 2008) — #1

El Favor De La Soledad (January 15th, 2009) — #1

Lo Que Una Chica Por Amor Es Capaz (May 22nd, 2009) — #4

With Una Rosa Blu, Gloria Trevi didn’t just continue her comeback—she completed it. After years of rebuilding her image and career in the mid 2000s, this album fully restored her place at the top, proving her longevity and reestablishing her as one of the most powerful and influential pop icons in Latin music.

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Paulina Rubio - Ananda (September 18th, 2006)

On September 18th, 2006, Paulina Rubio released her eighth studio album Ananda, produced by Cachorro López. The album became a major commercial success across Latin America and Europe, even reaching notable popularity in countries like Finland. It quickly established itself as one of the top-selling Mexican albums of the mid-2000s and was recognized as one of the fastest-selling releases of her career at the time.

The album was followed by a hugely successful international tour that ran through 2008, taking her across multiple continents and selling out numerous concerts worldwide. This era reinforced her status as a global Latin pop powerhouse during the 2000s.

Ananda was certified Gold and has sold approximately 4 million copies worldwide, making it one of the most successful albums by a Mexican artist of that decade.

The album produced several singles in Mexico:

Ni Una Sola Palabra (July 23rd, 2006) — #3

Nada Puede Cambiarme (January 11th, 2007) — #16

Ayúdame (April 6th, 2007) — #16

Qué Me Voy A Quedar (October 12th, 2007) — #5

With Ananda, she continued to evolve her sound while maintaining strong commercial appeal, proving her staying power and solidifying her place as one of the defining Latin pop icons of the 2000s.

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Thalía - El Sexto Sentido (July 19th, 2005)

On July 19th, 2005, Thalía released her ninth studio album El Sexto Sentido, produced by Thalía herself. The album became a strong commercial success across Latin America, Europe, and even Japan, further proving her global appeal during the mid-2000s. It was considered a financial success worldwide, continuing her streak as one of the most consistent and bankable Latin pop artists of her generation.

The album was certified Gold in Mexico and has sold approximately 3.2 million copies worldwide, making it one of the best-selling Mexican female pop albums of 2005. During this era, she maintained a dominant presence across music, media, and pop culture, with the album being nearly impossible to escape at the time.

The album produced several successful singles in Mexico:

Amar Sin Ser Amada (June 10th, 2005) — #1

Un Alma Sentenciada (October 28th, 2005) — #6

Seducción (February 10th, 2006) — #12

Olvídame (May 12th, 2006) — #20

No, No, No (July 21st, 2006) — #1

With El Sexto Sentido, she continued to evolve artistically while maintaining her commercial power, reinforcing her position as one of the leading Latin pop stars of the 2000s and keeping her momentum strong on a global scale.

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Gloria Trevi - Cómo Nace El Universo (November 30th, 2004)

On November 30th, 2004, Gloria Trevi released her sixth studio album Cómo Nace El Universo, marking her long-awaited comeback after 9 years since Si Me Llevas Contigo (1995). This album came after the most chaotic and controversial period of her life, completely reshaping her career, image, and legacy.

1997 marked her last “normal” year before everything changed—during this time she released the single “¿Qué Pasa En La Azotea?” and her iconic Trevi Calendar 97, while also being recognized as one of the biggest fashion icons of the 90s as the decade was coming to an end. However, everything shifted in April 1998 when Aline Hernández, her former backup singer and close friend, released the book La Gloria Por El Infierno. The book became one of the best-selling in Mexico and exposed disturbing allegations about Trevi’s life and the abuses carried out by her manager Sergio Andrade, including claims of manipulation and a system involving underage girls being promised fame but subjected to control and abuse.

That same month, Trevi broke her silence, strongly denying all accusations and claiming they were lies fueled by media outlets like TV Azteca. From April to October 1998, she went on numerous interviews defending Andrade and rejecting the allegations, while also releasing what would become her last single of that era, “No Soy Monedita De Oro.”

In November 1998, another major scandal emerged when the parents of a girl named Karina accused Gloria Trevi, Sergio Andrade, Mary Boquitas, and Marlene Calderón of kidnapping their daughter. Following this, all four fled Mexico and went into hiding. Throughout 1999, Trevi lived in Brazil under difficult conditions, reportedly staying in a small apartment alongside other girls while evading authorities. In October 1999, she gave birth to a baby girl who tragically passed away after 30 days.

On January 13th, 2000, Gloria Trevi, Sergio Andrade, and Mary Boquitas were captured and arrested in Brazil, facing serious criminal accusations. From 2000 to 2002, they remained imprisoned in Brazil. During the early period of incarceration, Trevi continued to defend Andrade, but by late 2001—after revealing she was pregnant while in prison—she began distancing herself from him. Both she and Boquitas later described themselves as victims of manipulation, abuse, and control, having been involved with Andrade since their teenage years.

In February 2002, Trevi gave birth to a baby boy while still in Brazil. Later that year, in December 2002, she was extradited to Mexico to continue her legal case. Throughout 2003, she remained imprisoned in Chihuahua, where she also released a book sharing her experiences and perspective on everything she had gone through. That same year, Mary Boquitas was also extradited to Mexico.

Finally, on September 21st, 2004, Gloria Trevi, Mary Boquitas, and Marlene Calderón were released from prison due to lack of sufficient evidence. Her release sparked massive public reaction across Mexico, with crowds of fans celebrating in the streets after years of controversy, absence, and uncertainty.

Just weeks later, in October 2004, she officially returned to music with her comeback single, followed by the release of Cómo Nace El Universo in November. The album was met with commercial success, marking the beginning of her image rebuilding and reclaiming her place in the music industry. It was certified Platinum in the United States and has sold approximately 1.8 million copies worldwide.

The album produced three singles in Mexico:

En Medio De La Tempestad (October 11th, 2004) — #2

El Domador (February 7th, 2005) — #35

Eres Un Santo (May 16th, 2005) — #20

Following the album’s release, she embarked on a successful comeback tour that lasted through 2006, performing across Mexico, the United States, and Latin America, selling out arenas and reconnecting with her audience. This era symbolized not just a return to music, but a full personal rebirth—reclaiming her voice, her career, and her identity after years of hardship.

In 2005, she also welcomed another baby boy, marking a new chapter in her personal life. With Cómo Nace El Universo, Gloria Trevi re-emerged stronger, beginning a fresh start and slowly rebuilding her legacy after everything she endured during those difficult abusive years with Sergio Andrade.

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Paulina Rubio - Pau-Latina (February 10th, 2004)

On February 10th, 2004, Paulina Rubio released her seventh studio album Pau-Latina, a defining project in her career that showcased her creative control and evolution as an artist. The album became a massive success across Mexico and Latin America, and also performed strongly in the United States, further cementing her international appeal.

Pau-Latina was followed by a hugely successful tour and marked one of the most dominant eras of her career. With constant media attention, chart-topping hits, and widespread popularity, she became one of the hottest and most talked-about pop stars of the mid-2000s. The album was certified Platinum in Mexico and has sold approximately 5 million copies worldwide, making her one of the top-selling artists of 2004.

The album produced several successful singles in Mexico:

Te Quise Tanto (December 22nd, 2003) — #2

Algo Tienes (May 17th, 2004) — #1

Dame Otro Tequila (August 23rd, 2004) — #1

Mía (April 1st, 2005) — #15

This era elevated her to new heights, solidifying her status as a defining pop icon of her generation. With Pau-Latina, she fully stepped into her legacy era—becoming an A-list global Latin pop star and one of the most influential artists of the 2000s.

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Thalía - Thalía (July 8th, 2003)

On July 8th, 2003, Thalía released her eighth studio album and first English-language project Thalía, produced by Steve Morales. This album marked a major crossover moment in her career, as she entered the U.S. mainstream music market and expanded her global reach even further. It became her best-selling English-language album and one of the most successful English releases by a Mexican female artist in the early 2000s.

The album achieved strong commercial success in the United States, reaching #11 on the Billboard 200, while also performing well in Mexico, where it earned a Gold certification. Overall, it has sold approximately 2.5 million copies worldwide, highlighting her growing international appeal during this era.

The album produced several singles across multiple markets:

I Want You (May 2nd, 2003) — #22 (Billboard Hot 100)

Baby I’m In Love (August 15th, 2003) — #51 (Billboard Hot 100)

Cerca De Ti (November 14th, 2003) — #1 (Mexico)

Don’t Look Back — #25 (US Dance Club Songs)

Dance Dance (The Mexican) (August 13th, 2004) — #6 (US Dance Club Songs)

With this release, she elevated her career to new heights in the American market, opening doors and solidifying herself as one of the most recognizable Latin crossover artists of the time. This era further reinforced her status as a global pop star and one of the leading Latin voices breaking into mainstream U.S. music in the early 2000s.

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Paulina Rubio - Border Girl (June 18th, 2002)

On June 18th, 2002, Paulina Rubio released her sixth studio album and first English-language project Border Girl, produced by Doug Morris. This album marked a major turning point in her career, as she officially entered the U.S. mainstream music market. It became one of the best-selling Mexican female pop albums in the United States during the early 2000s, helping expand her global recognition and opening doors within the American music industry.

The album achieved success both internationally and in her home country, earning Platinum certification in Mexico and Gold in the United States, while reaching #11 on the Billboard 200. It has sold approximately 3.5 million copies worldwide, solidifying her crossover appeal during this era.

The album produced several singles across different markets:

I’ll Be Right Here (Sexual Lover) (June 29th, 2001) — #49 (Czech Republic)

Don’t Say Goodbye (April 30th, 2002) — #41 (Billboard Hot 100)

The One You Love (August 20th, 2002) — #97 (Billboard Hot 100)

Casanova (October 9th, 2002) — #4 (Spain)

Libre (March 3rd, 2003) — #5 (Mexico)

With Border Girl, she successfully transitioned into the English-language market while maintaining her Latin fan base, becoming one of the most visible and talked-about Latin pop artists in the U.S. at the time. This era firmly established her as an international crossover star and one of the hottest pop acts bridging Latin and American pop in the early 2000s.

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Thalía - Thalía (May 21st, 2002)

On May 21st, 2002, Thalía released her seventh studio album Thalía, produced by Emilio Estefan. The album became a major international success, particularly across Europe, where it charted strongly—including in countries like Switzerland—further proving her global appeal and making her one of the few Mexican artists to achieve notable success in non-Spanish-speaking markets.

The album was followed by a highly successful tour across Latin America and Europe, continuing her dominance as a global pop star in the early 2000s. It was certified Gold and has sold approximately 4.6 million copies worldwide, becoming one of her strongest-performing albums of the era.

The album produced several hit singles in Mexico:

Tú Y Yo (March 12th, 2002) — #1

No Me Enseñaste (July 23rd, 2002) — #1

¿A Quién Le Importa? (November 19th, 2002) — #14

Dance Dance (The Mexican) (March 18th, 2003) — #6

With massive success in her home country and growing international recognition, this era kept her at the top of the industry, reinforcing her image as one of the defining Latin pop “it girls” of the early 2000s.

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Thalía - Arrasando (April 25th, 2000)

On April 25th, 2000, Thalía released her sixth studio album Arrasando, produced by Emilio Estefan. The album became a massive commercial success and one of the best-selling Mexican female pop albums of the early 2000s, further expanding her global reach. It achieved strong chart performance in multiple regions, including Europe—most notably Hungary—solidifying her status as an international pop force.

The album was certified Platinum in Mexico and has sold approximately 6.8 million copies worldwide. During this era, she maintained a dominant media presence and proved herself as one of the most bankable Latin artists of the time.

The album produced several successful singles in Mexico:

Entre El Mar Y Una Estrella (March 28th, 2000) — #1

Regresa A Mi (May 9th, 2000) — #7

Arrasando (August 22nd, 2000) — #3

Reencarnación (April 10th, 2001) — #8

Rosalinda (May 15th, 2001) — #34

With a string of sold-out concerts across Latin America, the United States, Europe, and Asia, this era marked a peak in her international touring power. She also gained attention in Africa, particularly in South Africa, where her cover of “Pata Pata” resonated with audiences. Arrasando ultimately reinforced her position as one of the most successful and globally recognized Latin pop artists of her generation.

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Paulina Rubio - Paulina (April 12th, 2000)

On April 12th, 2000, Paulina Rubio released her fifth studio album Paulina, produced by Estefano. Marking her first album in four years since Planeta Paulina (1996), this project represented a major comeback and reinvention at the start of the new millennium. After wrapping up her previous era in 1997, she reunited with Timbiriche in 1998 for a sold-out concert, and in 1999 expanded her career internationally—especially in Spain—where she hosted Vive El Verano and began working on new music under a new label.

Upon release, Paulina became a massive commercial success and one of the best-selling Mexican female albums of the 2000s. The album was everywhere—dominating radio, television, and magazines—solidifying her as a bankable superstar and ushering in a new era of international recognition. It was certified 4x Platinum in Mexico and has sold over 8 million copies worldwide, becoming one of the most successful albums of her career.

The album produced a string of hit singles in Mexico:

Lo Haré Por Ti (January 11th, 2000) — #4

El Último Adiós (July 17th, 2000) — #1

Y Yo Sigo Aquí (October 13th, 2000) — #1

Yo No Soy Esa Mujer (April 12th, 2001) — #3

Vive El Verano (June 9th, 2001) — #10

Sexi Dance (June 26th, 2001) — #15

Tal Vez, Quizá (September 24th, 2001) — #20

With a massive tour spanning 2000–2001, she sold out some of the biggest shows of her career and expanded her reach into Europe, further internationalizing her image. This era firmly established her as the “it girl” of Mexico in the early 2000s and marked a defining peak in her global pop dominance.

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Thalía - Amor a la Mexicana (June 24th, 1997)

On June 24th, 1997, Thalía released her fifth studio album Amor a la Mexicana, a career-defining project that became one of the most successful albums by a Mexican female pop artist of all time. The album achieved massive international success, reaching markets across Latin America, Europe—including countries like Greece—and beyond. It was certified Gold in Mexico and has sold over 15 million copies worldwide, marking a major global breakthrough in her music career.

The album produced several hit singles that dominated the charts in Mexico:

Amor a la Mexicana (May 20th, 1997) — #1

Por Amor (September 23rd, 1997) — #1

Mujer Latina (October 24th, 1997) — #8

Noches Sin Luna (January 21st, 1998) — #1

De Donde Soy (August 4th, 1998) — #15

This era fully internationalized her career, establishing her as one of the few Mexican pop stars to successfully break into global markets. With constant media attention and worldwide recognition, she became the definitive “it girl” of Mexico in the late 1990s.

Continuing her dominance in entertainment, she later starred in her final telenovela Rosalinda in 1999, which became another massive international success across Latin America and beyond, further solidifying her legacy as both a music and television icon.

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Paulina Rubio - Planeta Paulina (August 22nd, 1996)

On August 22nd, 1996, Paulina Rubio released her fourth studio album Planeta Paulina, a project she took creative control over as producer. The album was considered a bold and risky move in her career, showcasing a more experimental and personal sound compared to her previous work. Despite this shift, it achieved moderate success across Mexico and Latin America, while she maintained her status as one of the biggest pop stars of the mid-1990s.

The album has sold approximately 1.8 million copies worldwide and produced several singles in Mexico:

Siempre Tuya Desde La Raíz (June 3rd, 1996) — #5

Solo Por Ti (September 16th, 1996) — #15

Miedo (November 28th, 1996) — #40

Enamorada (February 24th, 1997) — #1

Over time, Planeta Paulina has gained recognition for its individuality and artistic direction, with “Enamorada” in particular becoming a standout hit and later embraced as an LGBTQ+ anthem in Mexico. Even with more moderate commercial performance, this era proved her versatility and ensured she remained one of the most relevant and talked-about pop figures of her time.

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Gloria Trevi - Si Me Llevas Contigo (November 13th, 1995)

On November 13th, 1995, Gloria Trevi released her fifth studio album Si Me Llevas Contigo, produced by Sergio Andrade. While the album saw more moderate commercial success compared to her previous releases, it still maintained her position as one of the biggest and most talked-about pop stars of the mid-1990s across Mexico and Latin America. She continued touring throughout 1995 and 1996, with major performances including a standout show at the Auditorio Nacional in March 1996.

The album sold approximately 1.5 million copies worldwide and produced three singles in Mexico:

Ella Que Nunca Fue Ella (October 20th, 1995) — #18

Si Me Llevas Contigo (January 8th, 1996) — #26

Lloran Mis Muñecas (March 20th, 1996) — #90

Despite its more modest chart performance, Trevi remained a powerful cultural icon in Mexico. Earlier in 1995, she expanded her film career with Una Papa Sin Catsup, which achieved success domestically and added to her multimedia presence.

One of the most shocking moments of her career came in March 1996, during her concert at the Auditorio Nacional, when she announced her retirement from live performances on stage. Citing the declining health of her manager Sergio Andrade, she promised she would not return to singing until he recovered, even invoking a vow to the Virgin Mary. The announcement stunned fans and marked an unexpected pause at the height of her fame.

In the months that followed, she remained in the public eye through the XETU Remix program (August 1996 – January 1997) and an accompanying XETU promotional tour across Mexico—her only performances after announcing her retirement—keeping her presence alive despite stepping away from full-time touring.

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Thalía - En Éxtasis (September 12th, 1995)

On September 12th, 1995, Thalía released her fourth studio album En Éxtasis, produced by Emilio Estefan. Marking her return to music after three years since Love (1992), the album followed the massive success of her 1994 telenovela Marimar and served as a highly successful comeback. This era elevated her to new heights, solidifying her as one of the most bankable and dominant pop stars of the mid-1990s.

The album was certified 2x Platinum in Mexico and sold approximately 3.5 million copies worldwide, also achieving strong success in Asia. With nonstop media exposure, she became one of the most visible and influential figures in Latin pop during this period.

The album produced several successful singles in Mexico:

Piel Morena (July 22nd, 1995) — #1

Amándote (September 21st, 1995) — #4

María La Del Barrio (November 16th, 1995) — #20

Quiero Hacerte El Amor (January 12th, 1996) — #15

Gracias A Dios (March 7th, 1996) — #1

That same year, she starred in her third telenovela María la del Barrio, which became one of the most iconic and widely recognized novelas in pop culture, gaining international success through dubbing in multiple languages. Her performance earned her a nomination for Best Leading Actress at the 14th TVyNovelas Awards in 1996, further cementing her dual impact in both music and television during one of the peak eras of her career.

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Paulina Rubio - El Tiempo Es Oro (March 21st, 1995)

On March 21st, 1995, Paulina Rubio released her third studio album El Tiempo Es Oro. The album became a major success in Mexico and further elevated her status as one of the biggest pop stars of the mid-1990s. With constant media attention, magazine covers, and strong radio presence, this era solidified her image as one of the most recognizable faces in Latin pop while also expanding her popularity across Latin America.

The album sold approximately 2.5 million copies worldwide and produced several successful singles in Mexico:

Te Daría Mi Vida (January 17th, 1995) — #1

Nada De Ti (February 22nd, 1995) — #3

Hoy Te Dejé De Amar (May 8th, 1995) — #8

Bésame En La Boca (June 19th, 1995) — #30

In June 1995, she expanded into film with her debut movie Bésame En La Boca, adding another dimension to her career at the height of her fame. That same year, she also appeared in the telenovela Pobre Niña Rica (October 1995 – January 1996), continuing to build her presence in both music and television and reinforcing her status as a multi-media star during one of the peak periods of her career.

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Gloria Trevi - Mas Turbada Que Nunca (January 27th, 1994)

On January 27th, 1994, Gloria Trevi released her fourth studio album Mas Turbada Que Nunca, produced by Sergio Andrade. The album was an immediate commercial success, earning a Gold certification in its first week and quickly becoming one of the defining releases of the year. Its widespread popularity across Mexico, Latin America, and Spain helped reinforce her position as one of the most prominent and bankable pop stars of the mid-1990s.

The album was certified Platinum in Mexico and has sold approximately 4.2 million copies worldwide, maintaining strong momentum throughout the year with consistent media attention, radio play, and high public demand. This era further cemented her image as a dominant force in Latin pop culture during the height of her popularity.

The album produced several hit singles that performed strongly in Mexico:

La Papa Sin Catsup (January 2nd, 1994) — #1

¡Que Bueno Que No Fui Lady Di! (March 28th, 1994) — #7

El Recuento De Los Daños (June 20th, 1994) — #1

Siempre A Mi (September 12th, 1994) — #1

Following the album’s release, she embarked on a major tour throughout Mexico, the United States, and Latin America, with many shows selling out. A standout moment of this era was her performance at the Auditorio Nacional in November 1994, further highlighting the scale of her success and the continued strength of her connection with audiences at the peak of her career.

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Paulina Rubio - 24 Kilates (November 16th, 1993)

On November 16th, 1993, Paulina Rubio released her second studio album 24 Kilates, produced by Miguel Blasco. Building on the momentum of her debut, the album became a major success across Mexico, Latin America, and Spain, further solidifying her status as one of the most prominent pop stars of the early 1990s. She remained highly visible throughout this era, frequently appearing on magazine covers and maintaining a strong media presence as her popularity continued to rise.

The album was certified Platinum in Mexico and sold approximately 3.2 million copies worldwide, reinforcing her position as a leading figure in Latin pop and confirming her staying power as a solo artist. Its widespread reach and consistent airplay kept her at the forefront of the music scene during one of the most competitive periods for Latin pop.

The album produced several successful singles that charted in Mexico:

Nieva, Nieva (September 29th, 1993) — #1

Vuelve Junto A Mi (January 14th, 1994) — #8

El Me Engaño (February 3rd, 1994) — #4

Asunto De Dos (June 4th, 1994) — #12

In 1994, she also performed at Viña del Mar in front of an audience of around 15,000 people, showcasing her hits on an international stage and further cementing one of the most impactful years of her early career.