that we're going to work over the next 10 months." Music and lyrics Dreaming of You is a multigenre work of American pop and Latin music. It incorporates the diverse stylistic influences of techno, hip-hop, pop rock, dance-pop, regional Mexican music, Tejano, R&B, disco, and flamenco music. The first half of the album comprises R&B and pop ballads, while the remainder contains Latin-themed influences that profile Selena's music career. Music journalists said producers who worked with Selena tried to caricature her with Paula Abdul, Amy Grant, Celine Dion, Whitney Houston, Mariah Carey, and Madonna. Newsweek magazine called Selena's English-language recordings "a blend of urban pop and Latin warmth". According to AllMusic's Stephen Erlewine, the album's mood is spicy, celebratory, and exuberant. "I Could Fall in Love" and "Dreaming of You" are lyrically identical; called "confessional ballads", both recordings speak of despair, heartbreak, and fear of rejection from a man the songs' narrators are falling in love with. The lyrics of "Dreaming of You" also explore feelings of longing and hope. Larry Flick of Billboard magazine wrote that "Dreaming of You"s idealistic lyrics have an "affecting poignancy that will not be lost on AC [radio]." "God's Child (Baila Conmigo)" employs an off-beat rhythm that is energetic, dark, mysterious, and its lyrics suggest subterfuge and counter-hegemony. The song has elements of rumba, flamenco, rock, R&B, and Middle Eastern music. "Captive Heart" has 1980s funk; Achy Obejas of the Chicago Tribune said it was intended for contemporary hit radio. The disco house track "I'm Getting Used to You", which makes use of cha-cha, explores a volatile relationship. Mario Tarradell of The New London Day said "Captive Heart" and "I'm Getting Used to You" border on new jack swing—a popular R&B subgenre pioneered by Jade and Mary J. Blige. The producers of the soundtrack of the 1995 romantic comedy-drama film Don Juan DeMarco—in which Selena played a mariachi singer—decided not to include her recordings of "Tú Sólo Tú" and "El Toro Relajo". Christopher John Farley of Time magazine said the producers who excluded the songs regretted this move following the impact of Selena's death. According to Denise Segura and Patricia Zavella in their book Women and Migration in the U.S.-Mexico Borderlands: A Reader (2007), "Tú Sólo Tú"—a Pedro Infante cover—and "El Toro Relajo" are about unrequited love and were recorded in a ranchera-style. Selena recorded "Tú Sólo Tú" con ganas—a Spanish-language aphorism that translates