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Gloria Trevi
Trevi in 2022
Born	Gloria de los Ángeles Treviño Ruiz (1968-02-15) February 15, 1968 (age 57)
Other names
Occupations	Singer songwriter actress
Years active	1984–present
Works
Spouse	Armando Gómez ​ (m. 2006)​
Children	3
Awards	Full list
Musical career
Genres
Instruments
Labels	Ariola BMG Mexico Univision Universal Latin
Website	gloriatrevioficial.com

Gloria de los Ángeles Treviño Ruiz (born February 15, 1968), known professionally as Gloria Trevi, is a Mexican singer-songwriter and actress. Rolling Stone magazine has described her as the “Queen of Mexican Pop” and Billboard has ranked her among the greatest Latin pop singers of all time. She has sold over 20 million records worldwide, making her one of the best-selling Latin music artists in history.

At the age of 15, Trevi began studying performing arts at Televisa‘s Centro de Educación Artística (CEA). In 1984, after meeting the record producer Sergio Andrade, she joined the girl group Boquitas Pintadas, which released one album before disbanding. Andrade later became her manager and producer. In 1989, Trevi rose to fame as a solo artist with her album …¿Qué Hago Aquí?, which included the single “Dr. Psiquiatra”. In the early 1990s, she released albums such as Tu Ángel de la Guarda (1991) and Me Siento Tan Sola (1992), which included singles like “Pelo Suelto“, “Con los Ojos Cerrados”, and “Me Siento Tan Sola”.

In the late 1990s, her name became linked to the so-called Trevi–Andrade scandal, in which Andrade was accused of sexual abuse, corruption of minors, and forced labor. Trevi and other women charged as accomplices and spent nearly five years in pre-trial detention, until a 2004 criminal trial in Chihuahua acquitted her of all charges, while Andrade was convicted. In 2018 she publicly identified herself as a victim of Andrade. In a subsequent civil trial in California in 2026, Trevi and another woman were again accused alongside Andrade of similar offenses; both were acquitted and legally recognized as his victims, while Andrade was once again convicted. Her life and career has been dramatized in the biopic Gloria (2014) and biographical TV series Gloria Trevi: Ellas soy yo (2023)

Trevi resumed her career, achieving four number-one albums on the Billboard Top Latin Albums chart, including Gloria (2011) and El Amor (2015). She also had charting singles such as “Todos Me Miran“, “Cinco Minutos“, and “No Querías Lastimarme”. She is an inductee of the Songwriters Hall of Fame and has received several awards, including three Premios Lo Nuestro (including a Lifetime Achievement Award), a Billboard Latin Music Award, three Latin American Music Awards, the BMI Latin President’s Award, and the Hispanic Heritage Foundation‘s Legend Award.

Gloria de los Ángeles Treviño Ruiz was born on 15 February 1968, in Monterrey, Nuevo León, at Hospital Christus Muguerza, to an upper-middle-class family. Her parents are architect Manuel Treviño Cantú and Gloria de los Ángeles Ruiz Arredondo. From her parents’ marriage, she is the eldest and only daughter among four brothers. She was raised in Ciudad Victoria, Tamaulipas, until the age of 10. There she attended the Colegio Antonio Repiso, a private all-girls Catholic school.

Her parents divorced when she was 10 years old, after which she returned to her native Monterrey to live with her mother and brothers. Trevi has commented that her parents’ divorce affected her greatly, writing her first songs. During this period, she lived in the Obispado neighborhood, where she was a neighbor of comedian Cepillín‘s family.^[1] Trevi did not consider herself a good student and expressed her love for music and writing from a very young age.

She also has two half-sisters from her father’s second marriage, as well as a half-sister and a half-brother from her mother’s second marriage.

At 15, she participated in a contest from variety show XE-TU, in which they got to find a look-alike of Lucero‘s character Chispita. The show awarded her a one-year scholarship to study at Televisa‘s Centro de Educación Artística (CEA). With her mother’s permission, she moved to Mexico City alone at the age of 15 to take advantage of her scholarship and pursue an artistic career. During her classes, she studies under Martha Zavaleta, but fails to obtain any projects. At 16, her friend, television host Ricky Luis, recommended her to audition for Sergio Andrade, who was already an established producer and songwriter in the industry.

Andrade accepted her during the audition and added her to his project Boquitas Pintadas. The girl group consisted of her, Pilar Romero, Mónica Murr, Claudia Rosas, and María Raquenel Portillo. During their training, she met Portillo (born in 1969) who was Andrade’s wife at the time. The group’s name was a homonym of the Argentine novel Heartbreak Tango. Andrade signed them to Mexican WEA and produced most of the songs of their self-titled debut album. Trevi wrote the song “Amor Cavernícola”. They debuted performing in Siempre en Domingo. The group eventually was a commercial failure and disbanded at the same year.

After the group’s dissolution, Trevi faced financial difficulties. According to statements compiled from sources, she worked teaching aerobics classes. Trevi did not abandon her artistic training. She continued studying music, singing, and dance, maintaining her relationship with Sergio Andrade, who remained a key figure in her professional development. During this time, she wrote songs that would eventually become the demo for her debut solo album ¿Qué Hago Aquí?.

…¿Qué Hago Aquí? began recording in 1988 at A DAT Studios in Glendale, California, under the direction and production of Sergio Andrade. Additional sessions were held at a home studio in Cuernavaca, Mexico. Trevi wrote all of the songs on the album. Initially an independent project, it was financed by Trevi’s mother and developed by Andrade. Once completed, the album was presented to Mexican BMG‘s Ariola, which later signed Trevi. On July 31, 1989, the album’s title track “¿Qué Hago Aquí?” was released as Trevi’s debut single, though it failed to achieve commercial success.

In January 1990, the album’s second single, “Dr. Psiquiatra,” debuted on Mexican radio during an early morning broadcast. According to Trevi, the song premiered around 3 a.m., prompting her to stay awake by drinking coffee so she could listen and request it multiple times. The track gradually gained popularity and played a key role in establishing her presence in the Mexican music scene.^[2] She later performed the song during her solo debut on Siempre en Domingo, hosted by Raúl Velasco.^[3]

Her distinct image—featuring untamed hair, ripped tights, and leather vests—contributed to her reputation as one of Latin America’s pioneering female rock performers.^[2] The single eventually went platinum, while the album was certified triple gold.^[4] In 2018, Rolling Stone ranked “Dr. Psiquiatra” at number 16 on its list of “The 50 Greatest Latin Pop Songs”.^[2] “El Último Beso”—a Spanish-language cover of Wayne Cochran’s 1961 single “Last Kiss”—marked Trevi’s first appearance on Billboard‘s Hot Latin Songs chart later that year.^[2] Trevi won Best Musical Breakthrough at the 1991 TVyNovelas Awards.^[5]

In 1991, Gloria Trevi released her second album, Tu Ángel de la Guarda, which established her as a major star in the Spanish-speaking music world. The album opened doors for her across Latin America and among the Latino community in the United States. Her popularity soared to such an extent that she sometimes performed up to three concerts in different cities on the same day. That same year, she made her film debut in Pelo Suelto, a semi-autobiographical movie that broke attendance and box office records in Mexico.

Trevi also expanded her artistic repertoire by publishing a comic book magazine, Las increíbles, insólitas e inverosímiles aventuras de Gloria Trevi, illustrated by herself, and releasing the controversial calendar Calendario de la Trevi 92, which sold over 300,000 copies in just four months. In late 1991, she embarked on her first international tour, performing in around Latin America. In 2015, Billboard included Tu Ángel de la Guarda in the “50 Greatest Latin Albums of the Past 50 Years”.

That same year, Trevi began working on her next album, Me Siento Tan Sola, which was released in 1992. The album incorporated more socially and politically charged themes, with the single “Zapatos Viejos” standing out; the song also lent its title to her second feature film. In 1992, she appeared on the popular Spanish television show Un, dos, tres, which helped her gain recognition in European audiences. She returned to South America for a third tour, where Argentine critics named her “the most beloved foreign artist”. At the end of the year, she released another calendar, La Trevi 93, which achieved even greater commercial success than its predecessor.

In 1993, Trevi performed at the prestigious Viña del Mar International Song Festival in Chile, where she received multiple awards, including Festival Queen, Most Popular Artist, Sexiest Artist, and the Silver Gaviota (Gaviota de Plata). Cultural figures such as writer Carlos Monsiváis and painter José Luis Cuevas analyzed her as an artistic and cultural phenomenon, highlighting her spontaneity and her ability to subvert traditional female stereotypes in pop music. Subcomandante Marcos, the leader of the far-left Zapatista movement, was reported to have said, “If she comes, the flowers of the jungle will embrace her”.

In 1994, Trevi release her fourth studio album, Más Turbada Que Nunca. The record was considered more mature in terms of its concept, lyrics, and musical style, and it aimed to encourage reflection on various aspects of life and society; going gold the same day of its release. During this period, she took up residence in Los Angeles, from where she organized concert tours throughout the US. Her growing international presence drew attention from major media outlets, including The New York Times, The Wall Street Journal, The New Yorker, and L’Espresso in Italy.

By the mid-1990s, increasing public scrutiny emerged regarding the extent of control that Sergio Andrade, Trevi’s manager, exerted over her career and personal life. José Luis Villarreal, then marketing director of BMG Ariola Mexico, asserted that Trevi had been entirely shaped by Andrade, referring to him as her “Dr. Frankenstein“. Trevi’s working environment began to raise concern among those close to her. Maritza López, a photographer for Trevi’s calendars, recounted that while she was initially able to communicate freely with both Trevi and Andrade, Andrade gradually imposed stricter control. López and other collaborators claimed that Trevi would only communicate through Andrade, often avoiding eye contact and responding submissively with phrases like “yes, sir” or “no, sir”.

Observers also began to note the presence of a group of young women around Andrade who appeared to be living under restrictive conditions. Some were reportedly kept in isolation and were not permitted to speak or eat without permission, contributing to a growing sense of unease. In 1995, this increasingly controlling environment coincided with a noticeable downturn in Trevi’s professional career. Although she signed a multimillion-dollar contract with Televisa, reportedly worth US$6 million, the resulting project—a game show—failed to gain traction or critical attention. The program’s lackluster performance stood in stark contrast to her earlier works’ success.

In March 1996, Trevi gave a series of concerts at the Auditorio Nacional in Mexico City. During the performance on March 13, she announced on stage her temporary retirement from live performances, citing personal reasons. At age 28, and prior to the public emergence of the Trevi–Andrade scandal, she explained that her decision was part of a promise made to God, connected to Andrade’s reported diagnosis of spinal cancer. Trevi stated that she would not perform live again until Andrade had fully recovered, and she suggested that it might be her final concert.

In January 1997, Trevi and Andrade, withdrew from the public eye. Rumors circulated that Andrade was receiving medical treatment in Italy, but no official statements were made regarding their whereabouts. In March 1998, Andrade’s ex-wife, Aline Hernández, published a memoir alleging severe abuse during their marriage. The book accused Andrade of maintaining a coercive environment involving underage girls, and implicated Trevi as an accomplice in some of the misconduct. Hernández described physical abuse, confinement, and manipulation through promises of fame.

Although initially dismissed by some as a publicity stunt—especially given its promotion by Televisa’s rival network TV Azteca—the book was soon followed by similar allegations from other young women. Multiple accusers claimed they had been subjected to confinement, physical abuse, and sexual exploitation while under Andrade’s supervision, with several asserting that Trevi was complicit in the abuse. Some reported that these experiences began when they were as young as twelve. Public opinion became sharply divided. While some continued to defend Trevi as a victim of manipulation by Andrade, others questioned her role in the alleged crimes. Media coverage intensified, and Trevi’s image as a feminist and rebellious artist suffered significant damage.

On August 15, 1998, Trevi appeared in a televised interview on Televisa, in which she denied the accusations and expressed her continued loyalty to Andrade. Despite her claim that she was not hiding, she returned to seclusion shortly afterward. In March 1999, the parents of a missing 17-year-old girl filed criminal charges against Trevi and Andrade, alleging corruption of a minor and kidnapping. The girl, who had been placed in Andrade’s care at age 12 with the expectation of launching a music career, later gave birth to a child at 15 and left the baby in a hospital in Spain. A warrant for Trevi, Andrade, and longtime associates María Raquenel Portillo Jimenez (also known as Mary Boquitas) and Marlene Calderón Jiménez entourage was issued in November 1999. The case took a new turn when Yapor reappeared and denied having been kidnapped or abused. Despite this, authorities continued investigating similar allegations from other women.

On January 13, 2000, Brazilian police, acting on a request from Interpol and Mexican authorities, arrested Trevi, Andrade, and María Raquenel Portillo in Rio de Janeiro. Their arrest was widely covered in Mexican media. All three were detained and faced extradition to Mexico to face charges related to corruption of minors and related offenses.

The Trevi–Andrade scandal (also dubbed the Trevi–Andrade clan) refers to the series of allegations primarily involving Mexican singer Gloria Trevi and former record producer Sergio Andrade of sexual abuse, rape, kidnapping and corruption of minors. In the late 1990s prosecutors accused the pair of luring underage girls into their touring entourage and sexually exploiting them.^[6][7] After Trevi and Andrade fled Mexico in 1998, an international manhunt culminated in their arrest in Rio de Janeiro in January 2000.^[8] Trevi was eventually extradited to Mexico in 2002 and tried in Chihuahua; in September 2004 a judge acquitted her (and two assistants) for lack of evidence.^[9][10] Andrade was convicted in March 2005 of rape, kidnapping and corrupting minors, and sentenced to nearly eight years (credited largely to time served).^[11] It became a sensational international story, covered in major news outlets in Mexico, the US and Latin America. It has had lasting impact on Mexican pop culture and public debate, with Trevi’s career later revived amid ongoing controversy.

The scandal traces back to 1998–99, when accusations surfaced that Andrade had operated a “sex cult” around his musical acts, with Trevi as a participant. A pivotal moment occurred in 1998 when a male baby abandoned in a convent in Spain was identified as the child of Karina Yapor, a former backing singer for Trevi. Yapor’s mother filed a complaint in Chihuahua, Mexico, charging Andrade – and by implication Trevi – with rape, kidnapping and corruption of a minor. Around the same time, former proteges including sisters Karla and Katia de la Cuesta and ex-assistants (notably Aline Hernández in a 1998 exposé book) alleged they had been recruited to Andrade’s ensemble as teenagers and then subjected to abuse and confinement. These allegations provoked a lengthy criminal inquiry in Mexico. By early 1999 investigators had issued arrest warrants for Trevi, Andrade, backup singer María Raquenel “Mary Boquitas” Portillo and others on charges of kidnapping, sexual abuse and corrupting minors.

In late 1998 Trevi and Andrade vanished from public view, reportedly fleeing Mexico to avoid prosecution. Interpol issued an international warrant. On 13 January 2000 Brazilian police arrested Trevi, Andrade and Portillo in a Copacabana apartment in Rio de Janeiro. At the time Mexican prosecutors alleged the group had kidnapped girls and coerced them into sexual relations with Andrade. Brazilians detained the trio and initiated Mexican extradition proceedings. Brazilian authorities also noted that Trevi, while in jail, became pregnant and gave birth to a son–a fact of intense public scrutiny–. Trevi claimed she had been raped in custody, but Brazilian DNA tests identified Andrade as the father of the baby, his name was Ángel Gabriel.

Over the next two years Trevi remained jailed in Brazil, initially fighting extradition. In October 2002 she waived further appeals, reportedly concerned for custody of her young child, and was flown back to Mexico under police escortlatimes.comlatimes.com. (Andrade was extradited separately in 2003.) On arriving in Mexico in late 2002, Trevi was taken to a prison in Chihuahua pending trial.

The Gloria Trevi criminal trial began in early 2004 in Chihuahua. She faced charges of rape, kidnapping and corruption of minors, essentially as an accomplice to Andrade’s alleged crimes. Prosecutors presented testimony from former protegees (including Yapor and the De la Cuesta sisters) who accused Trevi of helping to recruit girls into Andrade’s entourage and facilitating their abuse. The defense argued she had been an innocent victim of Andrade’s manipulations.

On 21 September 2004, judge Javier Pineda Arzola delivered the verdict: Trevi was acquitted of all charges. Portillo (“Mary Boquitas”) and another backup singer, Marlene Calderón, also stood trial and were likewise cleared. The judge concluded that there was insufficient evidence (no “legal cross-over”) to prove Trevi knowingly participated in crimes against the minors. (Notably, Judge Pineda cited Andrade’s own statements in her defense). Portillo received the same verdict, while Calderón had served much of their five-year pre-trial detention on parole and were fully exonerated.

The Sergio Andrade’s trial proceeded separately. In March 2005 a Chihuahua judge found Andrade guilty of rape, kidnapping and corruption of minors for orchestrating the abuse of at least one girl (Karina Yapor). He was sentenced to seven years and ten months in prison. However, the judge credited Andrade with roughly five years time served in Mexico and Brazil, citing his good behavior and lack of prior record. As part of the sentence Andrade was ordered to pay about $90,000 in reparations to Yapor and her family (plus a small fine). He paid these amounts and essentially walked free shortly after sentencing. (a Mexican official later confirmed Andrade was released in 2005 after serving his time). No appeal altered these outcomes. Among legal documents and media accounts, Andrade was later described as the ringleader of the scandal.

Jane Does v. Trevi
Court	Los Angeles County Superior Court
Full case name	Doe K.C.1 and A.H.2 vs. Trevi, Andrade, Portillo, et al.
Prior actions	Filing of initial lawsuit on December 30, 2022; Trevi’s countersuit against Sergio Andrade filed on December 27, 2023; additional lawsuit filed by Jane Doe 3 and Jane Doe 4 on December 29, 2023; lawsuit against Gloria de los Ángeles Ruiz Arredondo filed in December 2023.
Subsequent actions	Hearing on January 12, 2024, to determine use of pseudonyms; hearing on May 2, 2024, denying dismissal of Trevi’s countersuit; hearing scheduled for June 5, 2024; notification of lawsuit against Trevi’s mother on June 26, 2024.
Judge sitting	Jared D. Moses
Sexual abuse Child abuse Civil lawsuit California lookback window Gloria Trevi Sergio Andrade

Doe K.C.1 and A.H.2 vs. Trevi, Andrade, Portillo, et al. are a series of lawsuits filed in Los Angeles County Superior Court, beginning on December 30, 2022, against Mexican singer Gloria de los Ángeles Treviño Ruiz (Gloria Trevi), her former manager and music producer Sergio Andrade, and others, alleging sexual abuse and exploitation of minors.

On December 30, 2022, two women, identified as Jane Doe K.C.1 and Jane Doe A.H.2, filed a lawsuit in Los Angeles County Superior Court (Case: Doe K.C.1 and A.H.2 vs. Trevi, Andrade, Portillo, et al.). The plaintiffs, who were 15 and 13 years old at the time of the alleged events, claim that Trevi and Andrade sexually abused them. The complaint alleges the defendants “used their status to gain access, manipulate, and exploit” the girls, coercing them into sexual relationships over several years, primarily in California. The plaintiffs describe severe physical and sexual abuse, including rape, whippings, beatings, forced starvation, and forced abortions, during tours and at residences linked to Trevi and Andrade. Trevi has denied these allegations.

California’s legal “lookback window” for past child abuse cases allows civil lawsuits to be filed beyond the statute of limitations. On December 27, 2023, Trevi files a countersuit against Sergio Andrade in California. In the filing, Trevi claims she was recruited by Andrade as a teenager and subjected to brutal abuse, including repeated rapes and physical torture, during her career. She describes Andrade as “the true predator” and herself as a victim of “calculated grotesque abuse” meant to break her spirit. Trevi argues that if she is found liable for any harm, her responsibility should be reduced or eliminated because Andrade was the primary culprit. Andrade has not yet responded to this countersuit.

On December 29, 2023, two additional plaintiffs, identified as Jane Doe 3 and Jane Doe 4 (sisters), filed a separate lawsuit in Los Angeles against Trevi, Andrade, and María Raquenel “Mary Boquitas” Portillo. The lawsuit alleges the defendants operated a “sex cult”, with Trevi recruiting young girls for sexual encounters with Andrade and actively participating in the abuse. Jane Doe 3 claimed that in 1995, Trevi brought her to Andrade’s room, pushed her inside, and later congratulated her for “saving her sister” after the assault. The plaintiffs further allege that companies linked to Trevi, such as Conexiones Americanas and Magical Image Entertainment, were used to conceal the abuses, including forcing abortions and prohibiting victims from speaking about the crimes.

On January 12, 2024, the court held a hearing to determine whether the plaintiffs could proceed using pseudonyms, as the case remained confidential. Trevi, meanwhile, posted on social media celebrating the New Year with her family, with her husband publicly advocating for resolving the matter. Trevi has largely avoided detailed public statements, maintaining she was also a victim of Andrade and denying any complicity.

On May 2, 2024, a hearing addressed a motion by the original plaintiffs (K.C. and A.H.) to dismiss Trevi’s countersuit as “vague.” Judge Jared D. Moses denied the motion, allowing Trevi to clarify details during the discovery phase and proceed with her lawsuit against Andrade. A further hearing was scheduled for June 5, 2024.

On June 26, 2024, Gloria de los Ángeles Ruiz Arredondo, Trevi’s mother, was notified of another civil lawsuit filed in December 2023 by three alleged victims of the “clan”. The lawsuit accuses her of enabling sexual abuses between 1995 and 2000. Alongside Trevi, Andrade, and Portillo, the filing names companies (Conexiones Americanas, Excis, Magical Image) allegedly used to “facilitate sexual abuse and exploitation”. The plaintiffs seek damages for the harm caused.

A professional relationship between Mexican writer Sabina Berman and Gloria Trevi developed in the early 2010s, when Berman was commissioned to write the screenplay for the 2014 biopic Gloria and the related book Gloria: Una historia sobre la fama y la infamia, based on interviews with Trevi and additional research.^[12][13] Trevi later disputed aspects of her portrayal, filing three lawsuits against Berman—concerning an article in Gatopardo, the film’s script, and a third unspecified claim—alleging misrepresentation; all were dismissed by the courts.^[14] Berman defended her work as accurate, which resulted in a public dispute between the two.^[15]

In 2025, Berman stated on X (formerly Twitter) that she had refused to testify against Trevi in Gloria Trevi v. Patricia Chapoy, TV Azteca, noting that this had been among several points of friction with Ricardo Salinas Pliego, then her employer at TV Azteca, and had contributed to her dismissal from the network.^[16]

The case has been referenced in several forms of entertainment media. The 2014 biopic Gloria, directed by Christian Keller, was one of fourteen films shortlisted by Mexico to be their submission for the Academy Award for Best Foreign Language Film at the 88th Academy Awards. At the 58th Ariel Awards, it was nominated for 14 categories, winning Best Actor (Marco Pérez), Best Actress (Sofía Espinosa), Best Sound, Best Film Editing and Best Makeup.

The 2023 biographical television series Gloria Trevi: Ellas soy yo, produced by Carla Estrada for TelevisaUnivision, further explored the story. Additionally, María Raquenel Portillo created her biographical podcast A Boca Cerrada through the Uforia Audio Network in 2023.

Rosalia Vila Tobella (born 25 September 1992), known mononymously as Rosalía (Spanish: [rosaˈli.a], Catalan: [ruzəˈli.ə]), is a Spanish singer and songwriter. She has been described as an “atypical pop star” due to her genre-bending musical styles. After studying musicology at the Catalonia College of Music, she completed her studies with honours through her debut album, the flamenco-inspired Los Ángeles (2017), a collaborative cover project with Raül Refree.

Her second album, El mal querer (2018), was a critical and commercial breakthrough. Reimagining flamenco with pop and urbano music, it produced the hit singles “Malamente” and “Pienso en tu mirá“, won the Latin Grammy Award for Album of the Year, and has been listed among Rolling Stone‘s 500 Greatest Albums of All Time. She subsequently achieved global success by exploring urbano music on the singles “Con altura” (2019) and “Yo x ti, tú x mí” (2019).

Her third studio album, Motomami (2022), marked a departure from flamenco towards an experimental twist on reggaeton and Latin pop. It became the best-reviewed album of the year on Metacritic and spawned the international hits “La Fama“, “Saoko“, and “Despechá“. Her upcoming fourth album Lux (2025) has been preceded by the lead single “Berghain“.

Throughout her career, Rosalía has achieved the highest number of number-one singles in Spain for a female Spanish artist, with eleven. Her accolades include two Grammy Awards, eleven Latin Grammy Awards (including two Album of the Year wins), four MTV Video Music Awards, and the Billboard Women in Music Rising Star Award. In 2019, she became the first Spanish-language act to be nominated for Best New Artist at the Grammys. She has also been listed among Rolling Stone‘s greatest singers of all time, and Billboard named her one of the greatest female Latin pop artists of all time.

Of course. Here is the table with the “Year” column placed first, as is standard on Wikipedia.