Doradas translates to "golden." While it might seem like a simple adjective, its use in this song is particularly evocative and ties directly into the rich imagery of Tijuana.
Julieta Venegas sings about "calles doradas" (golden streets), which paints a picture of a city full of promise, history, and perhaps even a touch of faded glamour. It's a beautiful and slightly poetic way to describe the city, hinting at its past glory and enduring allure.
Julieta Venegas grew up in Tijuana, and this song is her arguing with the city's own mythology. The first verse asks for the postcard: Quiero verte en tus días de gloria (I want to see you in your glory days), Caminar por tus calles doradas (Walk through your golden streets). Then the actual history turns up. De la guerra huía la gente (People were fleeing the war), she sings, and names Korea, and Las colinas se hicieron hogar (The hills became home). The one name she drops is Rita, who really did dance there before Hollywood took her: Imagino a Rita bailando / Debutando en el agua caliente (I imagine Rita dancing, making her debut at the Agua Caliente), the casino that gave the border its reputation for fiestas y apuestas y azar (parties and bets and chance).
The chorus is where she pushes back. Leyendas de Tijuana me persiguen (Tijuana legends follow me around) is a complaint rather than a boast, and the line after it settles the argument: No definen lo que eres en / Mi corazón (They don't define what you are in my heart). What she wants is the ordinary, present-tense version she ends on, Aquí está mi ciudad, firme en su lugar (Here is my city, standing firm in its place). The last minute stops telling stories and just points at how many there are: Se escuchan en cada rincón de esta ciudad (You hear them in every corner of this city).