What you didn’t know that night was that the song had a dark origin, that the blonde woman singing next to El Buki had been the singer’s secret girlfriend since she was 14 years old. that the pregnant wife watching from her living room was about to discover what really happened when the cameras were turned off and that 36 years later that same wife was going to open her phone, write on Facebook and utter the phrase that would put the most famous singer of Latin music in a scandal from which he still has not recovered.
The phrase was this (quotation marks). Look through my journalistic notes from years ago to see how I said he put a gun to my head. Beatriz Adriana Flores de Saracho. August 29, 2023. A public post on his personal Facebook account. No paid interviews. no gossip book. It was she herself sitting in her Corona home, in California, writing what she had been keeping to herself for decades.
Today you’re going to discover four things they never told you. First, who was the 14-year-old girl that CBS profono producer Marco Antonio Solis was introduced to in 1980 when he was 20? Why was Marisela’s mother protesting at 2 a.m. when he called the little girl’s house? And why is Marisela publicly defending what happened between them today? Second, the real reason why Beatriz Adriana, one of the most famous and wealthiest ranchera singers in Mexico in the 80s, ended up seeking justice in a Riverside, California court, two
decades later, on the exact day she discovered the betrayal and the gun. Third, how Christian Salas, a Cuban model, appeared in the life of the buk in 1991 in New Jersey, when he was still legally married to Beatriz Adriana in the United States and what happened with seven properties, a recording studio, a golf course and three houses of 800 m² each.
And fourth, what happened to Beatriz Solís, the daughter that Buqui had with Beatriz Adriana, who grew up in Tijuana without a father, who waited 18 years to have Marco Antonio close again and the real reason why her mother chose to speak out in 2023 without caring about the consequences. I’ll let you know when each one arrives, but to understand how this could happen in front of everyone and no one did anything, you need to know the world that Aluki built.
Because this story doesn’t begin the day Beatriz Adriana posted on Facebook. It starts much earlier. Start with something you probably saw on your own television. Ario de Rosales, Michoacán, is a small municipality in west-central Mexico. It has dirt roads, a square with old trees, and a colonial church. There, on December 29, 1959, a boy was born who would be named Marco Antonio Solís Sosa.
He was the fifth of seven siblings, son of Elena Sosa and Antonio Solís, a small- town family with no money, no contacts in the entertainment industry, nothing that promised what was to come. At age 11, the boy worked helping out at a tire dealership. At age 12, he decided to move to Mexico City.
There he found work delivering medicines in a pharmacy. Imagine the 12-year-old boy who leaves Ario de Rosales alone, boards a bus with a cardboard suitcase, and arrives in Mexico City in the 1970s, a city that smelled of combi smoke, freshly made tortillas, and flowers from the downtown stalls. Imagine that boy walking through traffic carrying boxes of medicine heavier than himself, arriving at night at a boarding house where he shared a room with other poor boys.
And yet, despite all that, still finding time to play guitar and dream about singing. You understand where that man came from, because you also came from below. You too migrated in search of a better life. You too had to invent who you were going to be because nobody gave it to you. This is important because the story you are about to hear is not the story of a monster born a monster.
It is the story of a poor boy who grew up to be a giant and who, in the process, crushed the women who opened doors for him. Understanding where it came from doesn’t justify it; it makes the story more cruel. But that boy had something special, a voice, and a cousin, Joel Solís, who also sang. In 1970 the two formed an acoustic duo which they first called the Solís brothers, then the Tarascan suns and finally in 1972, after signing with Discos Melody, Los Bookis.
Buki means child. It is a word from the Purépecha language spoken in Michoacán. A word that the two cousins chose because they were literally children when they started. Marco Antonio was 13 years old. Save that word. You’ll need it to understand the ending. Los Bukis became a phenomenon. In 1975 they recorded Casas de cartón.
In 1976, Falso Amor reached number one on the charts in Central and South America. You remember those songs. You danced them at your 15th birthday party, you sang them in your dad’s car. You put them on the radio while you were washing the dishes. By 1980, Marco Antonio Solís was already one of the most sought-after composers in regional Mexican music.
He was 20 years old. He was handsome, and he sang like few others. Besides being the vocalist for the bookies, he had started working as a producer for other artists within the Profono CBS record label. This is what’s important, because in the record industry of the 80s being a producer meant being an owner.
You decided who recorded. You decided what I recorded. You decided how the singer dressed, how she styled her hair, what interviews she gave, and who she appeared with on television. The producer had absolute power over the artist’s career. And the producer was almost always a man. And almost always the artist was a young girl who came from some town in Mexico without knowing how to read a contract.
Remember, you’re going to need that too. It was in this context that the first meeting took place, in 1980. The offices of Profono CBS in Mexico City. The record label executives wanted to launch a Mexican-American girl who was 14 years old and had a powerful voice. She was the daughter of Mexicans.
She had grown up in the United States and the record label was preparing her to record tropical cumbia. The girl’s name was Marisela, and when she entered that office, she was introduced to the man who was going to produce her first record. That man was 20 years old. He was the lead singer of Los Buquis. It was Marco Antonio Solís.
Imagine the scene. An 80s office. Dark wood paneling . Records hanging on the walls. The smell of cigars from the producers. Marisela, a 14-year-old girl, enters with her parents. She is perhaps wearing a simple dress, her blonde hair is neatly styled, her eyes are full of excitement for what is to come. And on the other side of the desk stands an attractive young man with dark hair who has barely turned 20.
He shakes her hand, smiles at her, and tells her that he is the one who is going to write the songs that she is going to record. That first afternoon was work, it was professional, it was as it should be when a 14- year-old girl is accompanied by her parents in an adult office. But something else began to stir that afternoon between the 20-year-old producer and the 14-year-old singer.
And that something was brewing for three years while they recorded the album without him. 3 years. I was going to sing tropical cumbia because that fascinated me. Those are Marisela’s exact words in an interview she gave in 2018 to journalist Gustavo Adolfo Infante on the program “The Minute That Changed My Destiny.” Quotes, but suddenly everything changed and they told me I was going to meet a member of Los Bukis.
I didn’t know who they were. Remember that name. Marisela, 14 years old, because everything you’re going to hear in this video starts there in a record label office in Mexico City in 1980, when a 14-year-old girl and a 20-year-old man were introduced for the first time. That night, according to what Maraisela herself has said in various interviews over the years, Marco Antonio Solís asked her parents for permission to produce an album for her.
It was work, it was professional. But something else began to happen in the process. The album was called Without Him. It took three years to record. Marco Antonio wrote the songs in the middle of the Buquí tours. Marisela stapled them when she could, because she was still a high school student. And in that process, quotes, he would call me at 2 in the morning when he was doing his concerts and my mom would say to him, “Don’t you know that the girl has to go to school?” Closing quotes.
These are Marisela’s exact words from the same 2018 interview. Marisela’s mother was protesting. The 20-year-old producer would call his 14-year-old daughter at 2 a.m., and the mother’s response in 1980 was to ask him to please let the girl sleep because she had classes the next day . To today’s audience, that sounds like a crime.
For the Mexican entertainment industry of the 80s, that was called professional courtship. And nobody, not the record label, not Televisa, not the press, not the Buquis’ colleagues, gave it a name. But there’s someone else in this story you need to know before this first section ends. A woman who was 25 years old in 1983.
She was already famous throughout Mexico and was about to cross paths with Buqui without imagining what awaited her. Her name is Beatriz Adriana Flores de Saracho. He was born on March 5, 1958 in Nabojoa, Sonora, and had been recording albums since he was 13 years old. At 15, he filmed his first movie with the Mexican actress, La India María.
At 17, he was one of the most recognized ranchera voices in the country. They called her The Nightingale of Nabojoa. Beatriz Adriana in 1983 was everything that Marco Antonio Solís was not yet. She was rich, she was internationally famous, she had movies, records, exclusive contracts and, as she herself would declare decades later, a fortune built with her own work over 15 years.
She was the one who opened the door. That year, 1983, was the year of the release of Marisela’s first album . There at the party, she met Marco Antonio Solís. He was in the middle of promoting his pupil. She was at the peak of her career. They talked and got along well. She invited him to participate in a film she was producing called La Coyota, which was to be filmed in 1984.
What happened during that filming, she herself recounted in August 2023 in the publication that shook Mexico. In Comillas, Marco didn’t even have a car and I thought he was a man of God. Without knowing him, he asked me to marry him. Closing quotes. They got married that same year, 1983. What is documented in Beatriz Adriana’s own words is that she, an established singer, opened all doors for a man who until that moment was the lead singer of a regional Mexican music group.
Listen to this, because what comes next is what the entertainment industry buried for almost four decades. Beatriz Adriana thought she was marrying a rising star. What she received was a man who had been writing secret songs for a teenage girl for 3 years. She didn’t know. Nobody told him. And at the launch party for that teenager’s first album, while Beatriz Adriana smiled and drank champagne, Maricela was in the same room, looking at the man who had met her when she was 14, now flirting with the rich woman who was going to become his
new public wife. Four years later, on a Sunday night in 1986, that same scene was going to be repeated. This time it would be in the National Chamber in front of millions of viewers and the song would have a very specific name, the ideal couple. To understand what was happening, you have to understand how the record industry worked in Mexico in 1984.
Profono CBS, then Fonovisa, then Universal. Those were the big record labels, and they all had the same system. When a girl like Marisela signed a contract at 14, she wasn’t signing a contract like you would sign, like, a job. He signed an exclusivity agreement for 5, 8, or even 10 years. They told her what songs to sing, they told her what clothes to wear, they told her what program to appear on, at what time, and with which singer.
And the person who made all those decisions for her was the assigned producer. In Marisela’s case, the producer was Marco Antonio Solís, 20 years old, who married another woman after 3 years. and with absolute power over the career, public appearances, songs and tours of a girl who had barely finished high school.
You who raised your children by working overtime, who taught your daughter not to let any man take advantage of her. Imagine what it would be like if someone in their 20s with power, money, and fame called your 14-year-old daughter at 2 a.m. and nobody—not the record label, not the press, not the government—did anything about it .
That was the Mexican entertainment industry of the 80s. You saw it with Luis Miguel and his mother Marcela Basteri. You saw him with singers who signed contracts as children. You saw it with artists who ended up in poverty while their producers bought mansions. The system had three legs.
The record label that provided the money, Televisa that provided the screen, and the male producer who made the decisions. The female singer provided the voice and the body, but she didn’t make the decisions. Maricela took 3 years to record her first album. Without Him was released in 1984. It sold millions of copies. She became famous overnight.
Nicknames began to appear in magazines. The Latin Madonna, the queen of romantic music, the iron lady. But the songs on the album had been written by him, the producer, the man who had met her when she was 14 years old and who now, in 1984, was married to Beatriz Adriana and filming a movie with her. Here’s the first thing I promised you.
Perhaps you know a girl who was trapped in a relationship she didn’t know how to get out of, because the man told her he loved her, because the man had power, because the man promised her everything. And when that little girl wanted to look back, she already had a career, contracts, and a public name that depended on him.
Marisela has spoken about her relationship with Marco Antonio Solís many times over the years. In all the interviews she has given, she defends the relationship. She says it was agreed upon. She says her parents took care of her. She says she was in love. That’s what she says today as an adult, as a woman looking back after four decades.
But documented facts are facts. Year 1980. She was 14, he was 20, producer of her album. Calls at 2 a.m., a mother protesting because her daughter had to go to school. Those are the facts, and the facts don’t change even if the victim reinterprets them later. What happened between Marco Antonio and Marisela lasted, in her own words, a couple of years, that is, from 1980 or so until 1982 or 1983.
Coincidence. Just when Marco Antonio Solís crossed paths with Beatriz Adriana at the launch party for Marisela’s first album, and just when he proposed to Beatriz Adriana, without having said a word about his relationship with the teenage singer he had produced for 3 years. And this is where the story took a cruel turn.
In 1985, Beatriz Adriana was already married to the buqui. They lived together, shared work, home, and plans. Beatriz Adriana financially helped her husband to make his way in the industry. She was the established star. He was the promise that was growing. And then one night Beatriz Adriana found out something.
Someone told him, “A colleague in the industry, a secretary at the record label, a friend. There’s no official documented version of who told him what, but what happened next is documented . In 1986, Marco Antonio Solís and Marisela appeared together on Siempre en Domingo with Raúl Velasco. They sang a song he had composed for them.
The song was called La pareja ideal (The Ideal Couple). The Televisa studio in Mexico City is back that night. The warm lights, the old cameras on wheeled carts, the audience in bleachers. Raúl Velasco in his impeccable suit, with that velvety announcer’s voice, introducing the next musical number. Marco Antonio Solís walks to the center of the stage.
He has long hair, a neat mustache, and an open-necked shirt. Marisela appears from the other side. Twenty years old, in a white dress, her blonde hair shining under the studio lights. The two approach each other, look into each other’s eyes, and begin to sing. You are the ideal couple I always dreamed of. While they They sang on stage in thousands of homes across Mexico, families settling into their armchairs on a Sunday night.
The aroma of freshly brewed coffee, children asleep in their mothers’ laps. The sound of the television filling the living room. But in one particular house in Mexico City, a woman wasn’t settling in to enjoy the duet. That woman was Beatriz Adriana, five months pregnant, sitting alone in her living room, silently watching the screen.
You might not have paid attention that night because at the time it seemed like an innocent duet. Two young singers, a romantic song, just another performance like those shown every Sunday on the Televisa channel. But Beatriz Adriana did pay attention, because Beatriz Adriana was in her living room, pregnant, watching live as her husband sang the perfect duet with a woman the entire industry knew had been his lover for years.
He had written that song, Marco Antonio Solís, her husband, the father of the child she carried in her womb. And in every verse, in every note, in every gesture As he and Marisela changed on the National Chamber, Beatriz Adriana understood something she had already suspected, but which now became clear. That relationship hadn’t ended.
That relationship had been there all along, and now they were singing about it on national television as if it were a tribute. The most painful thing was what happened when the song ended. Raúl Velasco approached, smiling. He asked the obvious question, “Is there something between you two?” Marco Antonio Solís smiled.
Marisela lowered her gaze coquettishly, and they both let the answer hang in the air, without denying or clarifying anything. For the gossip press of the time, it was pure gold. For Beatriz Adriana, sitting in her living room with her son Leonardo sleeping in the next room, it was the exact moment her marriage ended, even though legally they still had months ahead of them.
What happened that night in Beatriz Adriana’s house is something only she knows. What happened in the following months is documented. In 1987, the Solís-Beatriz Adriana marriage ended. Or at least that’s what Wikipedia says, what the The press, what the entertainment magazines said at the time. But the truth is more complicated, much more so.
And you’ll understand when you hear what happened two years later, in May 1989, in a small city south of Los Angeles called Corona, California. Corona, California. May 10, 1989. Mother’s Day in the United States. At the Corona Regional Medical Center, a 31-year-old Mexican woman gives birth to a girl. The woman’s name is Beatriz Adriana Flores de Saracho.
The girl’s name is Beatriz Adriana Solís Flores. On the father’s papers, on the birth certificate, the name Marco Antonio Solís Sosa appears. Something doesn’t add up. If the marriage officially ended in 1987, how is it that their daughter was born in 1989? The answer to that question is one of the darkest keys to this whole story, and the answer is this: The marriage of the buquy and Beatriz Adriana was publicly announced as having ended in 1987.
Magazines published it. The press talked about the divorce. Marco Antonio moved out, but the legal divorce never materialized at that time in the way it was reported. And that was explained years later by his daughter, Beatriz Solís, in an interview. There was a bit of confusion there. I don’t think they even knew they were divorced.
What happened is that they were married first in the United States and then in Mexico. When the separation occurred, they divorced in Mexico, but the marriage continued in the United States. Read that again. Slowly, Marco Antonio and Beatriz Adriana were married first in the United States and then in Mexico.
When they separated in 1987, they only divorced in Mexico. In the United States, they were legally still husband and wife. And while they were still legally husband and wife in the United States, two things happened simultaneously. First, Beatriz Adriana had her daughter in California in 1989. Second, Marco Antonio Solís was about to meet the woman who would replace her in his heart and career.
and eventually into his estate. Here’s the second thing I promised you. You spent years in a marriage working for something you thought was yours, building a house, a business, a name for your children. Imagine waking up one day and discovering that everything you invested in that marriage is no longer in your name.
Not the house, not the company, not the recording studio where you worked for 15 years, and that those properties now appear in the name of your ex-husband and another woman who replaced you, a woman you didn’t even know. That’s what Beatriz Adriana discovered in the 90s, slowly, step by step, document by document. The properties she had bought throughout her career before meeting Marco Antonio Solís were in the name of her company.
It was a company she managed as the sole owner. When she married him, according to her own statements in August 2023, part of the management of that company became shared. The normal thing, what any wife would have accepted in confidence. But after the After their separation in 1987, something began to change.
The company’s properties, one by one, began to appear in El Buki’s name, and later in the names of El Buki and his new wife, Cristian Salas. The properties Beatriz Adriana lists in her 2023 public denouncement are specific. Count them carefully. A recording studio where Beatriz Adriana recorded part of her ranchera career, a golf course in Mexico, and three houses, each 800 square meters, built within the golf course.
That’s what she lists in her Facebook post. ” My properties, which I already had in the name of my company, each of them has long been in his and his wife’s names, but without my signature. Everything we had bought together during the marriage is also in their names. My life’s work was stolen from me.” But there’s something more, something Beatriz Adriana told the press in news articles published over the years, long before the separation. 2023.
Something she herself, in her August 2023 post, asked people to look up to verify. Quotation marks. Look in my journalistic notes from years ago how I said he put a gun to my head. End of quotation marks. Listen to that again. A gun to my head, put there by the man who sang ballads of eternal love to the world.
The man who composed “Si no te hubieras ido” (If You Hadn’t Left), the man who spoke of family, faith, and God on stages around the world . That same man, according to her , put a gun to her head. Beatriz Adriana has repeated that phrase in various interviews over three decades. She said it on television programs, she said it to journalists in written notes, she said it in the Riverside court in 2005, and she repeated it in her Facebook post in August 2023.
Marco Antonio Solís has never publicly responded to that accusation. There has been no formal denial, no defamation lawsuit, and no press conference to clarify the situation. The Buki’s silence to this day has been absolute. And in that same Facebook post, Beatriz Adriana revealed something else, something few people had heard before: that she had been forced to sign a confidentiality agreement while hospitalized for a heart complication.
Yes, read that again. A woman in a hospital bed connected to machines, fresh from a heart attack, signing a document that forced her to remain silent forever. Quotes. ” When I was in the hospital after heart surgery, they brought me some papers to sign, and I signed them. When I left the hospital and reviewed the documents, it was a confidentiality agreement.
That’s why I’m now violating that agreement, because I don’t want to die without clearing my name.” End quote. That confidentiality agreement, according to Beatriz Adriana, prevented her from speaking for years. Every time she was asked in an interview about her marriage to the Buki, she remained silent or answered vaguely.
Every time the gossip press pressed her about Cristian Salas, she smiled and changed the subject. Every time her Beatriz Solís, the daughter, would ask her father directly why he lived the way he did while the two of them struggled to survive in Tijuana. Beatriz Adriana couldn’t say what she knew.
That’s why , when she broke her silence in August 2023, she broke everything at once: the asset forfeiture complaint, the accusation about the gun, the contract signed under medical pressure, and that final, chilling phrase: ” If anything happens to me, you know who to send to investigate.” And if you’re getting this far, if you’re listening to this video while you’re cooking, ironing, or waiting for your grandchildren to get home from school, I need you to do one thing.
Subscribe to this channel. I’m not asking you like it’s an advertisement; I’m asking you because these stories of women silenced for decades need someone to tell them in full, with names, dates, and the exact words they said. Because if we, the women who grew up watching these artists on our television, don’t tell them, no one else will.
Every subscription is a vote that… The truth about Beatriz Adriana, about Marisela, about the women who paid the price for men’s fame, should not be forgotten. I return to the story because what comes next is even more powerful. New Jersey, United States, 1991. The Bookis are filming a music video for one of their songs.
The recording is taking place in a studio somewhere in the eastern United States. And for that recording, the production company hired several models. One of the models hired is a Cuban woman, blonde, with long hair and light eyes. Her name is Cristian Salas. Cristian Salas had arrived from Cuba a few years earlier. She was a professional model.
She did music videos, commercials, photo shoots. She was the face any production company wanted in a 90s music video. Beautiful, photogenic, self-assured. On that set, sometime in 1991, Cristian Salas and Marco Antonio Solís met. She herself has said that it was on Sunday the 7th, a date she remembers because for both of them, seven later became their lucky number.
What she has never mentioned in any interview is whether she knew anything. Whether she knew that the man courting her had a marriage officially declared over in Mexico, but still legally valid in the United States. Whether she knew that this marriage had produced a daughter in 1989 in a hospital in Corona, California.
What is documented is that the relationship quickly became official and that on December 16, 1993, Marco Antonio Solís and Cristian Salas were married in the cathedral of Morelia, Michoacán. A Morelia cathedral, a picture-perfect wedding. The lights, the flashes, the impeccable white dress. The white flowers on the altar, the blonde Cuban woman entering on her father’s arm, the singer from Michoacán waiting for her with that smile of his, that smile of a self-assured man, a man who was already someone.
And the guests applauding and the press covering the event as if it were the most romantic wedding of the decade. No one spoke that night about Beatriz Adriana. No one spoke about the 4-year-old girl who lived in Tijuana. No one spoke about the possible Legal trouble in the United States. The Mexican entertainment industry knows how to celebrate new stories while burying the old ones.
And that night in the Morelia Cathedral, they buried Beatriz Adriana in silence. Three years later, in 1996, Los Búquiz disbanded. Marco Antonio Solís wanted to launch his solo career. The other members of the group, who had been playing alongside him for two decades, disagreed with several decisions he made. And the separation was painful, but it worked out well for him.
He released “En Medio Vuelo” as his first solo album. One of the songs on the album was “Si No Te Hubieras Ido” (If You Hadn’t Left), that ballad that became one of the most sung songs at weddings, funerals, and quinceañeras throughout the Spanish-speaking world. You know that song, “Si No Te Hubieras Ido .
” You probably sang it at a wedding. Someone probably sang it at a relative’s funeral. It probably played at a niece’s or granddaughter’s quinceañera. And while they sang it, the guests raised their hands. Their glasses, they sighed, remembering their dead and their lost loves. And no one knew that the man who had composed it, according to his first wife’s accusations, had been capable of putting a gun to a woman’s head.
Wait, hold on, there’s a problem here. If the marriage between Marco Antonio and Beatriz Adriana in the United States was still legally valid, how is it that on December 16, 1993, Marco Antonio Solís married another woman in a cathedral in Mexico? That’s the question Beatriz Adriana asked herself for years.
That’s the question she finally took to court. And that’s one of the accusations that appears in the lawsuit she filed on March 3, 2005. In the document she filed with the Superior Court of Riverside, California, Beatriz Adriana accused Marco Antonio Solís of Vigamía. So you understand what this means, Vigamía in the United States is a federal crime in many states.
A bad habit isn’t. A technical irregularity isn’t a crime either, and if proven, it can lead to… to jail. Beatriz Adriana’s lawsuit also included a specific request: that Marco Antonio Solís pay her retroactive alimony for all the years, that her daughter Beatriz Solís had lived in Tijuana without receiving the money that, according to her, was legally due to her, and that the properties that had passed into the names of El Buki and Cristian Salas be returned or financially compensated.
The trial was long, highly publicized, and deeply humiliating for everyone involved. In 2007, a judge of the Superior Court of California issued his ruling, and the ruling was against Beatriz Adriana. Why? Because the judge decided that the 1987 Mexican divorce was also valid in the United States. Although Beatriz Adriana argued that this divorce had never been processed in U.S.
territory, the judge determined that the Mexican document dissolved the marriage universally, and therefore El Buki’s marriage to Cristian Salas in 1993 was legal. But the trial revealed things that the press had kept quiet about for two decades; for example, that during the marriage between El Buki and Beatriz Adriana, several properties had changed ownership, the recording studio bearing her stage name was registered in his name, and child support for their daughter had been paid irregularly, according to documents filed by Beatriz herself.
Adriana Cristian Salas, in a public appearance related to the Amazon Prime documentary, ” The Letters of My Story,” spoke about the lawsuit. “I thought it was one of the lowest acts. First, accusing him of infidelity, knowing you were married. Second, trying to get him imprisoned. And third, demanding retroactive, lifetime alimony.
” She continued, ” She has the highest fine in Riverside County for perjury to this day.” That specific statement by Cristian Salas has not been confirmed by publicly available Riverside County documents , but it was what she said on camera in the official documentary about El Buki. The interesting thing about the Riverside trial, beyond the verdict, was what it revealed about Marco Antonio’s life.
Solís had led a life of two parallel truths for almost 20 years: one public, brilliant, award-winning, the other private, filled with documents signed without her partner present, properties transferred, and discreet contracts. In court, Beatriz Adriana’s lawyers presented documents showing asset transfers made during the years she was raising her daughter alone in Tijuana.
Houses that appeared in her husband’s name without her signature, a company that went from being jointly owned to being solely his. Bank accounts emptied in specific transfers. The judge did not deny these facts. What the judge determined was that the Mexican divorce validated these asset transfers. A legal decision, but also a devastating one for a woman who had worked for 15 years before meeting her husband.
After the 2007 ruling, Beatriz Adriana went to her home in Corona, California, in silence. She did n’t hold press conferences, she didn’t sue the judge, she didn’t appeal—or at least no public appeal is known— perhaps out of exhaustion. Perhaps she sought legal advice, maybe because of that confidentiality agreement she signed in a hospital, which she herself revealed 16 years later.
Here comes the third thing I promised you. You may have seen this in your own family. The woman who gave everything for a man, the one who helped him build a business, buy a house, have the children he wanted. And when he left, that woman discovered that what she thought were shared assets were actually in his name.
And the lawyer told her there was nothing to be done because that’s how the law works. That, multiplied by the magnitude of an international star, is what happened to Beatriz Adriana, with the difference that she was a millionaire, and even as a millionaire, she lost. And what she lost, someone else gained. Cristian Salas, the Cuban model, the one who met El Buki in 1991 in a recording studio in New Jersey, the one who married him on December 16, 1993, in a cathedral in Morelia, Michoacán.
Today, Cristian Salas lives with Marco Antonio Solís in a The mansion called Mansión Solís, converted into a hotel and spa, is located in Morelia. She manages the family businesses. She has a sportswear line called Salas Activeware. And according to Beatriz Adriana’s accusations , the golf course, the three 800-square-meter houses, and the recording studio are registered in her and her husband’s names.
Marco Antonio Solís and Cristian Salas had two daughters, Marla and Alison. The two were raised in a mansion with every comfort, with a present father who accompanied them to their performances, who produced records for them, and who spoiled them . Marla and Alison grew up with private music lessons, first- class travel, professional photos for magazines, and magazine-worthy birthdays.
The father present at every 15th birthday, every graduation, every moment. Cristian Salas managing the house, the businesses, the image, everything. Those two girls, now young women, grew up knowing that their dad was there. Meanwhile, in Tijuana, a girl who also bore the surname Solís was growing up without a father.
Think about it carefully: in the same country, with the same last name, with the same biological father. Three girls. Beatriz in Tijuana, raised by a mother who had to sing to support her while her father lived 4 hours away and never showed up. Marla and Alison in Morelia, raised in a mansion by their father, who wakes them up every morning.
What made one girl different from the other two? One thing only: the mother. Beatriz Adriana, considered by the bui as the woman who demanded too much from him. Cristian Salas, considered by the buki as the woman who gave him peace. And the children paid the difference. And this is where the ideal couple becomes something else, because the song that Marco Antonio Solís composed for Marisela in 1986, that song that he sang on Siempre en Domingo while Beatriz Adriana watched him pregnant from her living room, that song he
repeated to Cristian Salas almost word for word a decade later. The singer recycled the same formula, and each woman believed she was the first and only ideal partner. Beatriz Solís was born, as I already told you, on May 10, 1989 in Corona, California. But after the media trial and the public separation of her parents, her mother took her to Tijuana and she grew up there.
in a border town with his mother, with his older brother Leonardo, without direct contact with his father. Contact with Marco Antonio Solís was reduced to sporadic phone calls , birthdays, Christmas and little else. Meanwhile, Beatriz Solís’ sisters , Marla and Alison, grew up with their father in the Morelia mansion, traveling with him, and appearing in family photos in magazines.
Beatriz Solís made only one public appearance before the age of 18. In 2007 she appeared on Cristina Saralegui’s show in the United States. He was 18 years old. She had just had her first child, whom she named Leonardo, in memory of her brother who had been kidnapped and murdered in Tijuana in 2000. And in that interview in front of the cameras of the most watched program in the Hispanic world, the daughter of the buki said a phrase that broke Mexico.
Quotes, I did n’t matter to him as a daughter. I don’t think he cares about my career. I want to stand out on my own merits, not because I’m Buuki’s daughter . Closing quotes. 3 years without speaking to his dad. That’s what she confirmed that night on Cristina’s show. Three years of absolute silence between a father who was considered one of the kindest men in show business, according to his public image, and a daughter who lived 4 hours away from him.
What happened next to that girl you will hear in the last part of this video. But first you need to understand one more thing. Something that happened in the summer of 2000 when Beatriz Solís was 11 years old. Something that changed the life of his mother, Beatriz Adriana, forever, and that is indirectly related to a concert by El Buuki in Tijuana.
Rosarito Fair, Tijuana, Baja California. Early July 2000. Marco Antonio Solís is already one of the most famous singers in the Hispanic world. Los Buquis disbanded in 1996. He started his solo career and was a huge success . He has a new wife, Cristian Salas. He has two daughters with her. He has mansions, properties, and sold-out concerts all over the continent.
That week in July 2000, Buquy gave a concert at the Rosarito fair and a 21-year-old was among the audience . His name is Leonardo Martínez Flores. He is Beatriz Adriana’s eldest son. He is Beatriz Solís’s half-brother and is technically the stepson of the buqui. Leonardo had not traveled to Tijuana just to see his stepfather.
He had traveled to see a friend, a young man named Aquiles Bergis Hernández. Achilles had proposed a business deal to him. Buy used cars in the United States, repair them and sell them in Mexico. Leonardo, who was a good mechanic, saw an opportunity. He decided to stay a few days in Tijuana to check on the business and then go to the Buki concert as a favor, as a family gesture.
On July 14, 2000 at 4 a.m., Beatriz Adriana received a call at her home. He was the brother of Achilles Bergis, his name was Themis. And he said, “Speak, Themis, brother of Achilles. Achilles has been kidnapped, and Leonardo was with him. ” Beatriz Adriana got up. She put on pants over her pajamas and flew to Tijuana that same morning.
What she experienced in the following weeks, she recounted in an interview on the program with a lump in her throat. Quotation marks. He was an excellent boy in every sense of the word. He was a gentleman. When I came home tired from work, he would accompany me or stay with his sister to take care of her because he was like a father to her. Closing quotes.
The kidnappers were demanding 00,000. Beatriz Adriana mobilized and asked for help. Maribel Guardia contributed money. Joan Sebastian contributed money. According to multiple reports in the Mexican press, Marco Antonio Solís also contributed money, but the kidnappers did not wait. For several days, Beatriz Adriana negotiated with the kidnappers.
Comillas, “I give them everything.” I begged them, but they wouldn’t. People who don’t know God, who have no feelings. Closing quotes. Those are his own exact words in the interview he gave years later. A female singer, accustomed to applause, begging criminals for the life of her 21-year-old son. And the merciless criminals tied the hands of his 21- year-old son.
They shot him in the head and dumped him in a vacant lot. The mother’s words when she received the news are also in that interview. Quotation marks. They tied my son’s little hands and shot him in the head. They threw it away in a vacant lot. Closing quotes. Read it again slowly. That woman tells a camera in front of millions of people what they did to her son.
And she says “little hands,” because for that mother, her 21-year-old son was still the boy who would straighten her pillow when she came home tired from work. The subsequent investigation published by El Universal revealed that the perpetrators of the murder were a drug trafficker named Humberto Iribe Monroy and a former municipal police officer named Arturo Pérez Ayala.
The motive for the crime, according to the authorities, was a debt of 50 kilos of cocaine that Aquiles owed to Iribe. Leonardo Martínez, Beatriz Adriana’s son , had nothing to do with drug trafficking, according to the investigations themselves. He was in the wrong place at the wrong time and paid with his life. Beatriz Adriana buried her son in July 2000.
She buried him with the uncertainty of not knowing why her boy had met that fate, with the weight of an 11-year-old daughter who had already lost her older brother, and with the silence of an ex-husband who, while she buried the child who took care of her, continued singing, “If you hadn’t left,” on the biggest stages of the continent.
There are testimonies that Buki himself attended the funeral. Some media outlets reported it that way, others denied it. What is documented is that Beatriz Adriana, two years later, in an interview with Gustavo Adolfo Infante, said a blood-curdling phrase: that after Leonardo’s death , no one called her, that no one from the entertainment world accompanied her in her grief, that she felt more alone than ever.
While that mother mourned her son in Tijuana, her other daughter, Beatriz Solís, the 11-year-old, watched everything. The wake, the burial, his mother devastated in her room, his father far away in his mansion in Morelia, with his two young daughters who did have him . That image, that of an 11-year-old girl, understanding too early that her father was not coming, marks the rest of her story.
You who have lost someone, you who know what it’s like to pick up the phone at 4 in the morning and receive news that changes your life forever. Think of that woman, Beatriz Adriana, 42 years old, a famous singer, ex-wife of the buuki, mother of a murdered son and an 11-year-old daughter who has just lost a brother.
Think about what she felt when she buried her son, while on television the man who put the gun to her head, according to her own account, continued singing ballads of eternal love. Here comes the fourth thing I promised you. The fourth thing I promised you at the beginning of this video was this. What happened to Beatriz Solís, the daughter that Buqui had with Beatriz Adriana? And the real reason why her mother chose to speak out in 2023, regardless of the consequences.
Beatriz Solís, after that appearance on Cristina’s show in 2007, decided to give her father a chance . Three years later, in 2010, father and daughter reunited. Marco Antonio Solís produced several songs for him. They started appearing together at events, in interviews, in Instagram photos. The reunion, according to what Beatriz Solís herself has said in some interviews, was slow and difficult.
There were many long conversations, a lot of crying, many years of explanations that perhaps never quite made sense to him. And above all, there was a mother who supported her, saying, “Daughter, whatever you decide with your dad is your decision, I support you.” Beatriz Adriana, with everything that had happened to her, with everything she had to say, chose to remain silent in front of her daughter, because she understood that the girl she raised alone in Tijuana had the right to look for her father, to try,
to see if that relationship could exist. and fell for years, until August 2023. Today Beatriz Solís is 36 years old, lives in the United States, has a good relationship with her father and has done musical tours, even with Marilyn Odesa Cárdenas, Marisela’s daughter . Yes, Marisela’s daughter. The daughter of the woman with whom El Buki sang, the ideal couple on Siempre en Domingo in 1986, while Beatriz Adriana, pregnant, watched him in her living room.
The two daughters, the official daughter from the first marriage and the daughter of the teenage singer, are now stage partners, as if fate had written a cruel song about the next generation. Beatriz Solís has posted photos on her social media with her father, at concerts, and at family events. On Children’s Day, Marco Antonio Solís left a public message that went viral.
Quotation marks. Beautiful, your soul is still that of a child. Closing quotes. A child’s soul. That’s what her father, who abandoned her when she was a child, told her at age 36 in a social media message for the whole world to see. And you, who have read this far, decide how to interpret those words. I’m just telling you about them.
Meanwhile, Beatriz Adriana lives alone in Corona, California, without the assets she says were stolen from her, according to her own statements, without the son she buried in 2000, and with justice denied to her by the Riverside judge in 2007, until she decided to speak out in August 2023 . on Facebook, without filters, without lawyers, and without a media strategy.
And the reason why she spoke out is written in her own words at the end of the post. Why now? Why after so many years? For a very specific reason, Beatriz Adriana was writing her autobiography. a book that I planned to publish and that was going to tell everything. And before publishing it, he decided to release some of what was to come in small doses on his Facebook account.
Perhaps as a test, perhaps to see the public’s reaction, perhaps to protect themselves, because once the complaint was on social media, removing it would be more difficult. And also, as she herself acknowledges in other later interviews, because she felt that her health would not allow it. A woman who had already suffered heart complications, a woman who buried her son, a woman who went through a whole decade of legal litigation and lost.
At 65, that woman felt she could no longer wait, that the time for remaining silent for her daughter had passed, that her daughter Beatriz, now an adult and a mother, could understand a truth that had been kept hidden for decades. Comillas, if anything should happen to me, please, I entrust my little daughter and my grandchildren to you.
And please, you already know who you have to send to investigate. Closing quotes. Read it again slowly. Beatriz Adriana, a 65-year-old woman writing from her home in California in 2023, tells her audience that if anything happens to her, the authorities already know who to send to investigate. That statement carries the weight of someone who believes, rightly or wrongly.
that their life may be in danger. Someone who fights only for money doesn’t write like this. Someone who writes like this is someone who prefers that the truth be written on the internet rather than taking it to the grave. What became of everyone? Marco Antonio Solís is 66 years old today. He remains one of the best- selling singers in the Hispanic world.
In 2021 he reunited with Los Bukis for a world tour that filled stadiums. He owns a mansion converted into a spa hotel in Morelia, has a star on the Hollywood Walk of Fame since 2010, a Latin Grammy for Person of the Year in 2022, and maintains absolute silence regarding the accusations made by his first wife. His public image is impeccable.
The man who sings to God, the man who talks about family, the man who gives interviews talking about love, forgiveness, and the importance of values. The man who travels with his Cuban wife on yachts and poses for photos on social media with inspirational quotes. The man who received the highest recognition from the Latin Grammy Academy in the midst of the scandal of Beatriz Adriana’s complaint.
And this is where the story gets awkward, because the Grammy Academy awarded that recognition in November 2022. Beatriz Adriana published her complaint on Facebook in August 2023, just 9 months later. And when she published her complaint, Booky already had the most prestigious award in Latin music in his living room.
A brutal reputational protection, an image shield that no gossip scandal can break. Do you think it’s a coincidence that Beatriz Adriana’s complaint came out 9 months after that Grammy? I’m not going to tell you. I’m just telling you the dates. You, woman of power, who are listening to this video, decide what to think.
Cristian Salas has lived with the vulture for more than 30 years. She manages the family businesses and has a sportswear line. She appears on Instagram modeling, traveling, posing with her husband, and responded briefly to Beatriz Adriana’s complaint in August 2023 with an indirect Instagram story, without specific names or denials of the accusations.
The Solís mansion is located in Morelia, Michoacán. Today it operates as a hotel and spa. It has beautiful photos online, luxurious rooms, spacious gardens, a huge swimming pool, and event halls where weddings are held. Anyone with money can book a night, and when you sleep there you are sleeping in what, according to Beatriz Adriana’s complaint, was built in part with properties that she considers to belong to her.
It is not illegal. The judge in Riversai has already decided, but it’s brutal. Imagine a couple celebrating their mansion honeymoon, choosing the package that includes a surprise serenade, and that serenade just happens to be a song by El Buki. If you hadn’t left, maybe, or the blessed permission. Meanwhile, Beatriz Adriana, thousands of kilometers away in a house in Corona, California, opens Facebook at 3 a.m. because she can’t sleep.
Marisela continues to sing, she continues to defend in every interview what happened with Marco Antonio when she was 14. She has a daughter, Marilyn Dodesa, who is dedicated to music and has never sung again with El Buki in public. Beatriz Adriana is 67 years old and lives in Corona, California. He is working on his autobiographical book.
She continues to declare, whenever she can, what she considers the theft of her assets. She carries the weight of a son murdered in Tijuana, of a daughter raised far from her father, and of a truth that few want to hear. In his home, as he has mentioned in some interviews, he has photos of Leonardo everywhere. A mother does not get over the death of a child, she only learns to live with that death inside her.
And Beatriz Adriana lives with that death while she continues to see on television screens and on social media how Leonardo’s stepfather sang in packed stadiums just weeks after the burial. And the system, the producer- interpreter system, the heritage of Mexican entertainment, continues to function, continues to produce new Mariselas.
New Beatrices, new Christis. It continues to protect famous men and silence the women who loved them. How many more Beatriz Adriana are there right now in some law firm in California or Mexico City trying to recover what was theirs? How many more, Marisela, now adults, are defending relationships that began when they were still in high school? How many more daughters like Beatriz Solís are waiting for their father to call on their birthday? Look at what’s documented.
The Latin Madonna, as Marisela was called , was launched by a producer who met her when she was 14. Lucero signed a contract as a child. Luis Miguel was recording albums at age 12 while his mother disappeared without explanation. Selena Quintanilla was manipulated by a group that ended up shooting her . Jenny Rivera got up on her own, yes, but she died when her industry still demanded that she sing on a plane that was not in good condition.
The pattern repeats itself, and in each name there is a mother, a wife, a sister, a daughter, a woman who carried the real weight while the applause went to the man. You too have carried that burden. Maybe not on a stage, but at home, enduring extra work, silences, broken promises, raising children that others should have raised with you.
That’s why Beatriz Adriana’s story resonates in your heart, because somewhere in your memory you too have been her. I return to the image we started with. It ‘s Sunday night, 1986. In millions of homes in Mexico and Latin America, the television is tuned to the channel of the stars. The program is always on Sunday. Marco Antonio Solís, vocalist of Los Buquis, comes onto the stage holding hands with Marisela.
They sing a song that he composed for the two of them. The song is called The Ideal Couple. In an armchair in a house in Mexico City, Beatriz Adriana, 5 months pregnant, watches her husband sing with his former lover at the National Chamber. Inside her womb grows the girl who will be born in Corona, California, 3 years later.
It’s going to grow up in Tijuana. She will wait 18 years to have her father close again and will be singing 35 years later on the same stages as Marisela’s daughter. Somewhere in New Jersey, USA, a Cuban model named Cristian Salas is finishing a photo shoot in the immediate future. She does n’t know that in a few years she will marry the man who is currently singing “The Ideal Couple” on “Siempre en Domingo”.
She does n’t know that 30 years later she will own a recording studio, a golf course and three 800 m² houses in Mexico. And in Tijuana, a 5-year-old boy named Leonardo Martínez plays on the floor of his mother’s house. He has 15 years ahead of him and he still doesn’t know that his death in a vacant lot in Tijuana will be the greatest pain for the woman who brought him into the world.
The ideal couple. That was the song. That was the name with which the Mexican entertainment industry celebrated the biggest lie of the Buki in front of millions of female viewers. The ideal couple never existed. There were three women, a daughter, a dead stepson, and an industry system that used them, changed them, dispossessed them, and silenced them.
And now there is a truth written on Facebook from a house in Corona, California, in August 2023. A truth that Beatriz Adriana decided to tell before she died so that it wouldn’t die with her, so that you who are listening to this video, know what really happened when the cameras were turned off. My people, my powerful women who listen to me from Mexico, from the United States, from Colombia, from Argentina, from all the corners where Buuki’s music arrived in the 80s and 90s.
I know that many of you grew up listening to this man, that some of his songs were played at your wedding , that you sang your children the ballads he composed to help them fall asleep. And I know that what you just heard hurts, because discovering that your childhood idol had a side that the industry hid from you is never easy.
I’m not asking you to stop listening if you hadn’t left. I’m not asking you to throw away records from the bookies. Those songs are part of your life and mine, but knowing what happened behind each song changes something. Change how you listen to music. Change how you think about the women who inspired her without receiving credit.
Change how you look at your own daughters when they fall in love with a powerful man. But I also know that you deserve to know the truth. Tell me in the comments what was the first song by El Buki that made an impression on you, where you listened to it, with whom, and at what point in your life. Because those stories, ours, the ones that made it huge, are also part of this story.
And if you made it this far, give this video a like. Not for me, but for Beatriz Adriana, who broke her silence after 36 years and deserves to have her truth heard. By Marisela, who was 14 years old. By Beatriz Solís, who waited 18 years to have a father. By Leonardo Martínez, who didn’t reach 22. Until next time, powerful women.
