1968-1982: Early life and music career Suzette Michele Quintanilla was born on June 29, 1967, in
Corpus Christi, Texas, to
Abraham Quintanilla, a former
Army musician and vocalist for the
Chicano band Los Dinos, and Marcella Quintanilla (née Samora). She was the second of three children; her older brother
A.B. Quintanilla was born in 1963, and her younger sister,
Selena Quintanilla was born in 1971. At the time of Suzette's birth, Abraham was active with Los Dinos, whose recording,
Los Dinos a Go Go, was released under Bernal Records in 1968. Los Dinos' commercial viability declined, prompting Abraham to prioritize economic stability over musical pursuits. After several unsuccessful investments, he relocated his family to
Lake Jackson, Texas. He shifted toward a more conventional lifestyle, though he continued his musical aspirations by singing in his spare time. Abraham began instructing A.B. in
bass guitar, prompting Selena to sing in front of them for attention. After realizing that Selena could sing, Abraham recalled, "I saw the continuation of my dreams." Abraham formed a band comprising his children: A.B. on bass, Selena as lead vocalist, and a visiting cousin from Arizona as the drummer. When their cousin's father demanded his return, Suzette was tasked as the drummer. Suzette expressed discomfort with drumming, which she viewed as a traditionally masculine role, and was initially resistant to participating, often fighting against it. Suzette perceived female drummers as uncool and expressed a strong aversion to playing the drums. Selena had persuaded Suzette to remain in the band and helped her overcome being shy. The drum set Suzette inherited from her cousin, who was playing right-handed, required her to adapt and learn how to play in a configuration opposite to her dominant hand. She was self-taught under the guidance of Abraham, A.B., and her cousin before he departed. Early on, Suzette struggled with confidence, often feeling inadequate for the band. She noted that while Selena and A.B. could effortlessly isolate and identify individual instruments within a song, she lacked that intuitive ear, describing herself as feeling "like a loser" because musicianship did not come naturally to her and required significantly more effort on her part. With years of persistent practice, Suzette eventually developed her skills to a point where playing became second nature, comparing it to "riding a bicycle". She reached a level of proficiency where she could detect when a musician was off-tempo or out of sync. Although initially unenthusiastic, the children participated regularly in rehearsals and performances. Suzette admitted that she harbored a long-standing dislike for performing as a drummer, having expressed her hatred for the role for many years. Abraham would entertain relatives with the band, the children frequently opposed it, but eventually learned to like playing. According to Selena's biographer, Joe Nick Pastoski, Suzette "had a quick mind, a sharp wit, and the physical wherewithal to play drums". Suzette, during training, never used her wrist while drumming, which she felt held her and the band back. She eventually became more proficient at the drums. In the summer of 1980, Abraham opened Papa Gayo's, a
Tex-Mex restaurant featuring Selena and Company as the restaurant's entertainment. While not performing, the children helped by busing the tables. Abraham, longing to re-enter the music industry, left his job to manage the venture full-time, occasionally joining the band as an additional guitarist. Suzette continued to resist performing at the restaurant, as it was frequented by kids from her school and their families. She felt deeply self-conscious while performing at the restaurant. One night, a local
disc jockey saw the group perform and told Abraham, whom he knew during his time with Los Dinos, that Selena had potential. Abraham said he "won't take her childhood away from her. I'm not going to push her." During the
1980s oil bust that resulted in a recession in the United States, Papa Gayo's was closed by March 1981. Abraham filed for bankruptcy, and the family was evicted from their home. The family moved from Lake Jackson back to Corpus Christi, where they lived with relatives. Abraham decided to promote the band, now called
Selena y Los Dinos, playing
Tejano music. The children opposed playing Tejano music and wanted to perform English-language pop songs.
1983-1988: Selena y Los Dinos In 1983, Selena y Los Dinos recorded their first singles on
Freddie Records. The singles received little airplay and generated no sales. In 1984, Freddie Records released the group's first
cassette album Selena y Los Dinos, but offered negligible marketing support, deeming the group an unviable investment compared to its more established roster. Freddie executives dismissed Selena y Los Dinos as underdeveloped, advising Abraham to revisit the idea in six years, predicting they lacked immediate commercial viability. Abraham severed ties with Freddie Records and moved the band to
Bob Grever's Cara Records, where they released
The New Girl in Town (1985). Shortly thereafter,
Manny Guerra departed Cara Records to establish G.P. Productions, dissolving the group's contract and bringing them into his label in 1986. During this period, Selena y Los Dinos performed relentlessly at private events, community fundraisers, local functions, and any venue that offered potential exposure. The rigorous schedule was socially isolating for Suzette, who noted that their only presence at school dances was as the featured entertainment. Abraham relentlessly sought performance opportunities for Selena y Los Dinos, lobbying promoters despite repeated rejections rooted in gender bias and a preference for male acts. His efforts met little success, and promoters eventually dismissed him as unreasonable and stopped engaging. Ruben Cubillos, a
Houston promoter, characterized Selena y Los Dinos as "kids making noise" and occasionally discordant, yet acknowledged their drive and potential. Abraham faced widespread doubt about Selena's market appeal and the band's distinctiveness amid a saturated regional scene. His persistent advocacy earned him a reputation for being difficult and emotionally volatile in industry circles. The group's earnings were minimal, often covering only travel expenses. Abraham prioritized paying band members
Ricky Vela and Roger Garcia before dividing any remaining funds among his children, which were frequently insufficient beyond eating at
Whataburgers. Reflecting on this period, Selena stated, "We wanted to make it, so we did everything we could". In 1985, Selena y Los Dinos performed on the
Johnny Canales Show. Their 1986 single, "
Dame Un Beso" generated considerable airplay, becoming Selena y Los Dinos' first commercially acclaimed single of their career. The song was one of the most played songs on radio stations in Texas while ranking at number one in
El Paso, Texas. Their album,
Alpha was a moderate success for the group, which provided them with a growing fan base. Selena's win for the
Tejano Music Award for Female Entertainer of the Year caused controversy as audiences were shocked that a 15-year-old dethroned the genre's frontwoman
Laura Canales. Selena y Los Dinos was also nominated for Most Promising Band, making Selena the only female artist to be nominated outside of the Female Vocalist category.
Alpha was also nominated for the
Tejano Music Award for Album of the Year, while A.B. introduced a
drum machine to support Suzette. In April 1987,
And the Winner Is... was released, which followed
Muñequito de Trapo (1987). The album alludes to the accolades Selena y Los Dinos accrued since their entry into the music industry.
And the Winner Is... encompassed "
La Bamba", a pop cover of
Ritchie Valens 1957 song, which was released as a single in the summer of 1987. Tim Baker of
Newsweek characterized the track as a "clubbified remix". "La Bamba" emerged as the most memorable track off
And the Winner Is..., and was released in the wake of the success of
Miami Sound Machine. "La Bamba" entered the US
Billboard Hot Latin Tracks chart in August 1987, marking Selena y Los Dinos' inaugural appearance on a
music chart; it eventually peaked at number 20. Selena y Los Dinos' version was released around the same time as
Los Lobos' rendition, which supported the film
La Bamba (1987). Abraham recollected how A.B. could not rival Hollywood, and the group's version began to decline on the chart as Los Lobos ascended; "we were an unknown group, they knocked us away," Abraham later remarked. In 1988, Selena y Los Dinos released
Preciosa and
Dulce Amor, marking a turning point in their career. The band became one of Texas's most requested Tejano groups on radio stations. At the
1989 Tejano Music Awards, following
La Sombra's withdrawal, Rick Trevino invited Selena y Los Dinos to open the ceremony. The event drew industry executives, including scouts from
CBS Records and newly established
EMI Latin. While CBS presented a higher financial offer, EMI Latin president
José Behar expressed a strong interest in signing the group. Abraham favored EMI's proposal, drawn by the label's promise of a future
crossover into the mainstream market. Abraham was intent on positioning his children as pioneers of the new imprint, the group rebranded simply as Selena.
1989-1995: Band crew chief, Q-Productions and Selena's death Production on the group's debut album began in June 1989, aiming to break into the international
Latin market with plans for an English-language crossover.
Selena featured trendier, more
experimental sounds and marked the first collaboration with newcomers
Pete Astudillo and
Joe Ojeda. Suzette took over the group's marketing and managed their merchandise. She sold T-shirts, ball caps, and beer-can coolers featuring the Selena y Los Dinos logo. In 1991, after attending a concert,
Yolanda Saldívar became a fan and repeatedly asked Abraham for permission to start a
fan club after finding no souvenirs from that night. After meeting her, he agreed, allowing her to run it from
San Antonio. Suzette became the contact person between Saldívar and the family. Suzette was focused on merchandising and welcomed Saldívar's involvement. They became friends and Saldívar became part of the family. Suzette informed Abraham of Selena and
Chris Pérez's relationship, which they had attempted to keep hidden from their parents. According to Pérez, Suzette previously assured them she would deny any knowledge if questioned. Abraham strongly opposed the relationship and pressured Pérez to end it. Pérez later speculated that Suzette's disclosure may have stemmed from a disagreement between the sisters or a moment of tension. Following the confrontation, A.B. and Suzette temporarily limited their communication with Pérez. After a subsequent, more intense dispute in which Abraham fired Pérez, Selena and Pérez secretly eloped on April 2, 1992. Abraham opened his recording studio and talent-management firm,
Q-Productions, in late 1993, while Suzette ran marketing for artists signed to the label. Suzette became the group's crew chief and began to play a pivotal role in shaping the band's style and refining their visual presentation. Suzette emphasized that Selena y Los Dinos did not adhere to conventional Tejano music formulas; instead, their sound emerged organically from their lived musical experiences. As a female-fronted ensemble—an anomaly within the genre—they deliberately chose not to emulate prevailing norms. Their guiding philosophy was to focus on cultivating their own artistic identity rather than imitating others, noting that if audiences enjoy what they are doing, "that's all you got to worry about." After
Ven Conmigo (1990) became the first Tejano album by a woman to sell 50,000 units,
Entre a Mi Mundo (1992) marked the group's breakthrough, and
Amor Prohibido (1994) became the best-selling Tejano album of all-time, EMI Latin believed Selena was ready to crossover. She signed with
SBK Records to begin work on an English-language pop album, while Suzette and the band stepped back as pop producers took over. Suzette expressed uncertainty about her ability to drum in a pop music context. In January 1995, determined to improve her drumming skills, she hired a professional drummer to accelerate her learning curve, particularly in refining her technique and transition from playing with her forearm to proper wrist use. She also wanted to understand how to read music, despite not needing that skill in performance; her dedication reflected a growing embrace of her identity as a drummer. While Selena expressed reservations on the crossover album because her family would not be there performing with her, Suzette reassured her that, although they wouldn't all be onstage with her during her English-language tour, they would still be supporting her on the side. Suzette recalled how the family's role was evolving as Selena began her transition into the English-language pop market. Due to Abraham's fear of flying, Suzette was set to take over as Selena's manager. On March 9, 1995, Saldívar attended a meeting with Suzette, Abraham, and Selena, during which she was confronted about discrepancies in financial records and missing funds from the fan club and
Selena Etc. boutiques. Suzette's perception of Saldívar shifted after learning of prior complaints and the findings of Abraham's investigation. She regarded Saldívar as highly manipulative, who exploited privileged access to information for personal gain. Frustrated by Saldívar's evasiveness to Abraham's questions, Suzette accused her of dishonesty and being a thief. Terri Langford of the
Brazosport Facts, characterized Suzette's conduct during the meeting as a verbal assault on Saldívar. On March 31, 1995, Saldívar lured Selena to her hotel, where she
shot and killed the singer. That morning, Suzette had just woken when she received a phone call from a mutual friend, relaying information from her friend at the police department that something had happened to Selena. She was told to go to the hospital immediately. Suzette later admitted she remembers nothing about what happened after that moment. Suzette expressed a sense of personal responsibility for introducing Saldívar to Selena. She conveyed feelings of betrayal, noting that Saldívar had become a friend and felt that she had manipulated her way into their circle. Media coverage of Selena and speculations surrounding her death ranged from marginally credible assertions to hyperbolic and patently spurious claims. Following Selena's death, the Quintanilla family resolved to preserve her legacy, devoting themselves to promoting Selena's name in various media. An individual falsely claiming to be the family's spokesperson began appearing in televised interviews. Intensified media scrutiny and public reaction strengthened the family's resolve to safeguard Selena's image, especially as unauthorized projects proliferated without their consent, and cultural divergences increasingly fueled public and televised conflicts. On July 10, 1995, the Quintanilla family and Pérez signed a
settlement agreement, granting Abraham executorship over Selena's estate, including rights to her likeness, business interests, properties, and assets. Abraham asserted that his children and Pérez lacked his depth of industry knowledge, claiming that without his leadership, the business would collapse. The remark was poorly received, prompting negative public and media reactions, with critics portraying him as overly controlling in familial and professional contexts. Suzette refuted claims of being controlled by Abraham, asserting her independence and noting that she lived separately with her husband, maintaining her household and life.
1995-2009: Selena Etc. and fashion entrepreneurship Following Selena's death, Suzette and Pérez deliberated over the future of the Selena Etc. boutiques, initially questioning the viability of maintaining both locations. Suzette initially hesitated to take on the responsibility of managing the stores, but volunteered to run them. Ultimately, Suzette and Pérez resolved to keep the stores open in honor of Selena's vision, which Suzette regarded as her own. Her decision to manage the boutiques stemmed from a deep sense of devotion, believing Selena would have done the same for her. Suzette retired from performing and redirected to expanding the boutique's reach. In an interview with
Estylo, she clarified that her decision did not stem from relinquishing her aspirations, but rather from a diminished passion for performance following Selena's death. She explained that she couldn't envision herself performing without Selena. She felt no desire to play in another band, as a part-owner of Selena y Los Dinos, she was unwilling to relinquish autonomy or take direction from someone else. Suzette opened the Corpus Christi store on April 20, and the San Antonio store on May 16 with fans lining up hours before the stores opened, assuming management, and responsibility for the administrative operations of both locations. She received help from her uncle Isaac Quintanilla, who handled the relationships with the manufacturing companies that supply the store. The Selena Etc. boutiques became pilgrimage sites for fans, requiring traffic control to manage the crowds. The constant outpouring of grief overwhelmed Suzette, leading her to work from home. She described the experience as chaotic and emotionally exhausting, often retreating to cry after hearing fans' stories, contributing to a period of depression. Though initially unprepared for retail challenges, she eventually found purpose in running the boutiques. She oversaw the completion of projects Selena had begun, including the publication of a Winter 1995 fashion catalog featuring the singer's final designs. She collaborated with Pérez to finalize a fragrance line that was in development at the time of Selena's death. After Selena's death, boutique sales surged. Suzette emphasized that their efforts to protect Selena's image stem from a commitment to her legacy, not profit. In May 1996, Suzette, Abraham, and Isaac launched a clothing line inspired by Selena's design sketches, with input from Sandra Gaona, who had collaborated with Selena before her death. The collection drew pre-orders from
Spain, the United States,
Ecuador, and Mexico. In February 1997, clothing manufacturer Jerell began developing a Selena-branded apparel and accessories line under a licensing deal with Suzette. The clothing line, co-designed by Suzette and Sandra Salcedo, debuted in
New York showrooms in September. Salcedo's designs were inspired by Selena's personal and evening wear, avoiding her signature
spandex, rhinestones, and
bustiers. Suzette believed the line reflected Selena's vision: stylish, youthful, comfortable, and affordable. Aimed at young women, the collection included
sportswear and launched to strong industry praise, highlighting Selena's cultural influence. The summer 1998 fashion line shipped to 50
Sears locations in Hispanic markets, later expanding to over 200 Sears and
J.C. Penney stores nationwide. Focus groups favored the bright, upbeat designs and valued the inclusion of Selena's signature as a branding element. Sales soared in the first week, prompting the establishment of a toll-free number to help customers locate the nearest Sears store carrying the collection. Salcedo described the collection as a modern take on retro
1960s and
1970s styles, featuring
silhouettes, and a cleaner, fashion-forward palette. Suzette called the line "very hip, very sexy, [and] very fun", a sentiment echoed by consumers and industry insiders. Roy Campbell of
The Philadelphia Inquirer praised the collection for its blend of vibrant junior trends with Selena's signature stretch fabrics. Doreen Rivera of
Latina magazine noted the fashion industry's historic neglect of the Hispanic market, calling the Selena line a powerful affirmation of its style and influence. While some saw it as niche, Suzette rejected that label, insisting the collection had universal appeal. Strong early sales led Sears to expand the line to more stores and request a children's collection. The summer 1998 line entered markets in Mexico and
Puerto Rico, with the "Selena" label gaining international recognition and spotlighting the Hispanic youth market. Initially projected to earn $5 million, the line doubled expectations, generating $10 million in its first year. A portion of the proceeds supported the Selena Foundation. The venture also created new jobs based in
Dallas. By October 1998, Salcedo and Suzette began work on the Spring 1999 line, completing designs by December. Suzette developed her business acumen through her work managing the boutiques. In October 1999, Suzette opened Moon Child, a standalone children's clothing store. The store was aimed at parents seeking contemporary fashion-forward styles for their children. She extended the reach of Moon Child and Selena's fashion lines into major retailers, including J.C. Penney,
Mervyn's, and Sears, and secured contracts with the U.S. Army and
U.S. Navy for distribution on military bases nationwide. Suzette contributed beauty tips for Hispanic women in
Latina Beauty (2001), a bilingual fashion book published by the editors of
Latina magazine. Some critics have questioned her continued involvement in projects related to Selena, suggesting it may be an attempt to capitalize on her sister's works. Suzette responded that she would not have continued the fashion line if she believed it was contrary to Selena's wishes. Rose Ybarra of
The Monitor believed Suzette had a strong eye for fashion, shaped by her attention to detail and training in
cosmetology. In 2002, production of the Selena label was discontinued as the boutiques shifted to selling non-Selena-branded clothing. Suzette explained that the cessation was partly due to a stalled transition into
Walmart, which disrupted plans for broader distribution. By March 2005, the Selena Etc. boutique began profiting, following the closure of the San Antonio location, closure of the salon portion of the store, and focusing on women's and children's clothing. Writing for
Latina magazine, Damarys Ocaná called the boutiques "a trendy business" following its restructuring, while foot traffic at the remaining store was erratic. The San Antonio location closed as Suzette found managing it from her Corpus Christi office logistically challenging. The Corpus Christi store closed in June 2009, with the remaining memorabilia subsequently relocated to the Selena Museum.
1996-present: Management at Q-Productions and Selena Museum Suzette questioned why she couldn't follow in the footsteps of A.B. or Perez, who continued working in music after Selena's death. She admitted that she had no desire to perform with anyone else, leaving her unsure of what path to take. Recognizing this uncertainty, Abraham gradually began mentoring her in the business side of the music industry. Suzette began marketing artists for Q-Productions, including a then-unknown
Jennifer Peña. She selected the name and conceptual direction of
Mariposa (1999), Peña's third studio album. Suzette explained that the title symbolized Peña's artistic growth and personal evolution as a performer. Suzette oversees the styling and wardrobe for musicians under Q-Productions, as well as their merchandising, designing artwork, and developing concepts for
music videos. Suzette was dissatisfied with earlier
art direction, she took on the role herself at Abraham's encouragement. Abraham informed Suzette of his intention to eventually step down from the business and designated her as his successor. By March 2005, Suzette had assumed leadership and management of Selena's image branding. She oversees all marketing and merchandising initiatives related to the singer. Additionally, Suzette manages other Q-Productions musicians, including
Isabel Marie,
Los Tres Reyes, and Jorge Roel y Potrillo, and develops other emerging musical acts. In 1998, the family expanded Q-Productions and opened the Selena Museum; in 2019, it had attracted 22,000 visitors. Initially, Suzette believed opening a Selena museum was a great idea, but she found the experience emotionally difficult and, at times, deeply saddening. She expressed that visiting her office at the museum was emotionally challenging, as display cases of Selena's outfits constantly surrounded her. Over time, however, her outlook shifted as she observed the admiration of visitors expressed while engaging with the museum. Seeing their happiness helped her adopt a new perspective, making the experience more manageable and meaningful, and she began frequently engaging with visitors. Suzette served as a consultant for
La Leyenda, a multi-format CD release commemorating the 15th anniversary of Selena's death. Released on March 9, 2010, by EMI Latin, the collection ranged from an affordable edition to an elaborate collector's set. Suzette noted the varied formats ensured accessibility for all fans. In addition to messages from Selena's family, band, and friends, Suzette included fan messages in a commemorative booklet, emphasizing that the project was intended to celebrate Selena's career rather than a source of sorrow. Suzette has since dedicated her efforts to preserving Selena's legacy, while also supporting and creating opportunities for emerging Latin American musicians. Addressing public criticism surrounding Selena's posthumous releases, Suzette remarked that many fail to recognize the family's responsibility in preserving Selena's legacy, stating, "If we don't, who will?". She also refuted claims of financial exploitation, noting misconceptions about her father's earnings and emphasizing his instrumental role in their success. Addressing public misconceptions, Suzette remarked that critics assume the family seeks to prevent others from profiting off Selena's name when their concern lies in maintaining the integrity of the singer's memory, saying "To them, it's just a fast buck", but to the family, "it's about keeping Selena's image alive." During the
Great Recession, Suzette acknowledged that Q-Productions felt the effects, noting that music sales often declined during economic downturns. Despite this, she emphasized that the business continues to move forward, actively seeking new talent and working across various production areas, including music videos, artwork, and audio. Q-Productions' line of music DVDs has been distributed across Texas in major retailers such as
H-E-B,
Best Buy, and Walmart. By March 2010, Suzette had become vice president of Q-Productions. By May 2016, she was promoted to president and CEO. Her transition into this leadership position marked a period of renewed personal fulfillment. In this role, she oversees the company's operations, manages the Selena Museum, and directs licensing efforts for Selena-related ventures. Concerning Selena's image, Suzette became highly selective about projects involving the singer, turning down numerous offers that didn't align with her family's values or her vision of how Selena should be represented. Suzette turned down a lucrative collaboration with a major clothing brand that proposed putting Selena's image on underwear and socks. Despite the hefty paycheck, Suzette declined, explaining that before accepting any brand partnership, she always asks herself if Selena would be okay with it. As CEO, Suzette remains actively involved in the music industry, guiding the record label's mission to promote Tejano artists. Suzette directed the music video for Las Fenix's "Cosquillitas" (2013) and contributed backing vocals to several tracks on their sixth studio album,
Heliópolis (2013).
1995-present: Preserving Selena's image 1995-2009 On August 29, 1995, the Quintanilla family announced the development of a biographical film to be directed by
Gregory Nava. The resulting
Warner Bros. film production,
Selena (1997), with Abraham serving as executive producer, featured a then-unknown
Jennifer Lopez in the titular role—an appearance that launched her career. Actress
Jackie Guerra, who portrayed Suzette in the film, found it virtually impossible to accompany Suzette in
South Texas without being swarmed by fans. Suzette's private home videos documenting her family's daily life while on tour were instrumental in aiding
Edward James Olmos in his portrayal of Abraham. The recordings offered critical insight into the family's interpersonal dynamics, many of whom were unaware of Suzette recording them and Abraham's demeanor, enriching the authenticity of Olmos's performance. Suzette recalled the family's initial reluctance to move forward with a
Selena biopic, believing it was far too soon after her death. After being informed by their attorneys that Hollywood studios were already developing unauthorized projects and faced with the possibility of losing control over their narrative, the family ultimately agreed to proceed. Despite facing intense criticism and accusations of capitalizing on Selena's death, Suzette reflected that if people truly understood their motives, they would see things differently. Suzette testified during
Saldívar's murder trial, which began on October 9, contradicting Pérez's testimony on Saldívar's employment status on March 31, her life and upbringing, and spoke about the March 9 meeting. Valdez felt that Suzette provided detailed information that proved invaluable to the case. Saldívar was found guilty of first-degree murder and sentenced to life imprisonment. Since being incarcerated, Saldívar has accused the Quintanilla family of only loving Selena for her money. The initial two years following Selena's death were challenging for Suzette, who credits her husband and her family with sustaining her emotional stability during that period. Suzette described the first two years as a blur, stating she felt lost and had no recollection of that period. She noted that her focus was on trying to regain stability, describing the period as emotionally complex and disorienting. Liza Ybarra portrayed Suzette in the
Broadway musical
Selena Forever (2000), and selected the actress who played Selena in the Spanish-language adaptation in Mexico. Suzette became one of the board directors for
Laredo National Bank in June 2000. In 2002, she executive-produced spoken-word production
liner notes for EMI Latin's reissued studio albums by Selena. On March 31, 2004, Suzette, along with her parents and members of Selena y Los Dinos, appeared live on
Univision's
Primer Impacto to announce
Selena ¡Vive!, an all-star benefit concert that aired in April 2005 to commemorate the 10th anniversary of Selena's death. Suzette and Abraham collaborated to curate a lineup of artists to perform at the event. It marked the first reunion of Los Dinos performing since Selena's death. Suzette returned to the drums for the first time in a decade, joining A.B.'s
Kumbia Kings performance that night. The broadcast became the most-watched Spanish-language program in U.S. television history. In March 2005, Suzette collaborated on the design of commemorative Selena cups sold at
Circle K stores as part of a promotional partnership with
Coca-Cola.
2010-2019 Suzette recorded and performed her drum segment for A.B.'s "
Nací para Sufrir", on his album,
La Vida de un Genio (2010), following a previous desire to return to drumming. Suzette, A.B., and Abraham announced
Fiesta de la Flor, an annual two-day festival in Corpus Christi. Suzette emphasized that the festival reflects cultural pride, celebrates family, and honors the values Selena embodied. The 2015 and 2016 Fesita de la Flor festivals drew 100,000 visitors and contributed an estimated $25 million to the local economy. Suzette served as a judge for the Miss Chiquitita competition during the Fiesta West Texas festival during the Cinco de Mayo celebration in 2015. On January 3, 2016, The
Corpus Christi Caller-Times named Suzette its Newsmaker of the Year in recognition of her significant contributions to the success of the Fiesta de la Flor festival. On July 16, 2015,
MAC Cosmetics announced a multi-product collection inspired by Selena, following widespread fan petitions. Suzette collaborated with the brand, contributing to the development and design of the collection. It was the most significant launch in the company's history, and became one of the most in-demand releases in MAC Cosmetics' history. The products sold out online within minutes, prompting fans—including those in Chicago—to camp outside retail stores for hours ahead of the line's in-store launch in October 2016. The product sold out within an hour at some locations. In an unprecedented move, MAC implemented an online waitlist and announced plans to restock the collection, implementing purchasing limits on the products. The restock marked a rare exception for MAC Cosmetics, which traditionally does not restock limited edition collections, regardless of their popularity. Daniela Herrera of
People en Español, attributed the collection's revival to the influence of Latina consumer power, which she believed played a pivotal role in persuading MAC Cosmetics to restock the collection. On February 26, 2020, MAC announced the release of a second installment of its Selena-inspired makeup collection, collaborating with Suzette on its designs. Suzette collaborated with sculptors on the creation of a
wax figure of Selena for
Madame Tussauds Hollywood, providing guidance remotely via
Skype while they worked on the mold in
London. In April 2016, Suzette contributed to the design of Corpus Christi's new
bus wraps, which were featured on two RTA buses. On November 6, 2016, Suzette and designer David Melgar curated a fashion apparel showcase featuring selections from
Forever 21 and
Urban Outfitters, styling with branded Selena T-shirts, for Fashion Week San Antonio. Suzette brought branded graphic T-shirts featuring Selena to major retailers such as Forever 21,
Hot Topic,
Target, and Urban Outfitters. Following a January 2017 announcement that news anchor
María Celeste Arrarás was developing
a television series based on her 1997 book, ''Selena's Secret'', Suzette publicly denounced the project on
Instagram. She criticized Arrarás as being disingenuous and claimed the book was filled with fabrications, asserting that its primary source was the woman responsible for Selena's death. In March 2018, reusable Selena-themed bags featuring designs created by Suzette were sold at H-E-B stores. Some proceeds benefited the Selena Foundation and the
Boys & Girls Clubs of America, selling out in hours. In April,
Stripes stores launched a limited edition line of Selena commemorative collectible cups across locations in Texas and Louisiana. Suzette collaborated on the design process, and some proceeds supported the Selena Foundation. Stripes released three new designs by Suzette in February 2019, and two new designs by Suzette in February 2020. On December 12, 2018,
Netflix announced the development of
Selena: The Series, a biographical drama created in collaboration with the Quintanilla family. It was executive produced by Suzette and Abraham and its writer
Moisés Zamora, as well as Jaime Davila, Rico Martinez, and Simran A. Singh. Suzette met
Noemi Gonzalez, who was cast to portray her. However, Suzette was not allowed on set due to the
COVID-19 pandemic. Suzette and Abraham were sued for $1 million by
Moctesuma Esparza, producer of the
Selena (1997) film. Esparza believed the Netflix series violated a contract he had signed with Abraham in 1995, which granted him exclusive rights to Selena's story. Following the series release, it ranked at number one on Netflix in the United States, Mexico, and throughout
Central and
South America. Critics and fans felt that
Selena: The Series sidelined its titular character, focusing instead on the patriarchs in the Quintanilla family, while fans criticized the casting choice of Serratos. Suzette asked Serratos whether she had anticipated the controversy surrounding her casting as Selena. Serratos responded affirmatively, noting that her husband questioned whether she should accept the role. Despite knowing the potential backlash, Suzette admired Serratos's willingness to take on the challenge, calling her a "fierce Latina". In response to criticism following the series' release, Suzette stated that she would never apologize for the decisions she makes alongside her family regarding how they honor and represent Selena's legacy.
2020-present In February 2020, the Fiesta de la Flor festival was canceled due to a financial disagreement with the Corpus Christi Convention & Visitors Bureau (CVB). Suzette revealed plans for
Selena XXV, a live all-star tribute concert scheduled at the
Alamodome and broadcast on Univision on May 9, 2020. The concert was canceled due to the COVID-19 pandemic. On September 4, 2020, Pérez sparked controversy on social media by alleging that the Quintanilla family was attempting to erase his presence from Selena's legacy. In response, Suzette publicly addressed the claims, offering evidence to refute them. Suzette responded on Instagram, posting videos aimed at disproving the assertion. She described the claim as unfounded and emphasized that Pérez remains an acknowledged part of Selena's story. One of the videos, filmed inside the Selena Museum, featured Suzette showing that photos of Pérez with Selena and the band remain on display, unaltered, reinforcing his continued presence within her legacy. On December 1, 2021, Bumpboxx collaborated with Suzette to launch a Selena-themed
bluetooth boombox. Suzette contributed to the visual design and artistic direction of
Moonchild Mixes (2022). The album used recordings Selena recorded in the 1980s. A.B.
detuned Selena's vocals provided her with a deeper sound, making the singer sound older than she was in the original recordings. The album's production was the first project that A.B., Abraham, and Suzette participated in since the 2004 release of
Momentos Intimos. The release sparked controversy, with critics and fans questioning its ethics and authenticity. Journalists from
NPR,
Rolling Stone, and the
Los Angeles Times expressed discomfort with the digital recreation, calling it potentially exploitative and artificial.
Joe Bennett, a forensic
musicologist and professor at
Berklee College of Music, explained that digitally aging Selena's voice is a relatively simple process using isolated recordings and digital software. Fans and critics accused the Quintanilla family of exploiting Selena's name for profit for
Moonchild Mixes. In an appearance on
Good Morning America, Suzette addressed the criticism, dismissing it with the remark, "What critics? We don't care about them." She emphasized that the family would continue to make decisions regarding their music, their sister, and their band on their terms. Suzette hoped the public would recognize that everything they do is carried out with "love, care, and beauty." It was nominated for Latin Pop Album of the Year at the 2023
Billboard Latin Music Awards. In January 2025, the documentary
Selena y Los Dinos, premiered at the
Sundance Film Festival, with Suzette and A.B. serving as executive producers. Directed by
Isabel Castro, the documentary featured previously unreleased
VHS footage captured by Suzette. It received a U.S. Documentary Special Jury Award for Archival Storytelling and was screened at the
South By Southwest Film Festival. On May 13, Netflix acquired the documentary and announced it would be released during the upcoming winter season. On April 23, 2025, Suzette partnered with
St. Jude Children's Research Hospital to launch a Selena-themed shirt, with proceeds benefitting families receiving care at the hospital. == Philanthropy ==