This week’s Pick to Click is right up front, so you can listen while you read about some… updates to Billboard magazine’s chart methodologies. Woo hoo! (Trust me, the song’s pretty.)
This week Billboard magazine changed the way it compiles some of its singles charts, including the Hot Latin chart. The magazine started including streaming data from Pandora, and it “rebalanced the ratio among sales, airplay and streaming, accounting for changes in music consumption patterns, i.e., increases in streaming and decreases in sales.” This rebalancing happens every once in a while, but figuring in the Pandora data is new. You might think we’d notice the Pandora effect on the Hot Latin chart, since Latin music is 11% of what gets streamed on Pandora, where 25% of users identify as Hispanic. It’s also worth noting that, in 2016, two thirds of Pandora’s most popular Latin songs were Regional Mexican, and that the list was dominated by hot young studs singing Sierreño: Ariel Camacho, Los Plebes del Rancho, Crecer Germán, and Adriel Favela‘s genre foray “Tomen Nota.” Teen idols taking over!
But if you compare this week’s chart with the one from three weeks ago (or with last week’s), not much seems to have changed. Shakira’s “La Bicicleta” abruptly disappeared from its place in the top 10, and Banda MS‘s “Tengo Que Colgar” now appears only on the Regional Mexican Airplay chart. (Good! Whenever I stream that song it makes my phone run slower.) But on the whole, songs that were climbing before have continued their trajectory, some older songs have dropped off, and Regional Mexican still occupies eight of the top 25 spots, a consistent ratio in recent weeks. Hot young Sierreño stud Ulices Chaidez has two songs in the top 25 — but he did last week, too. So maybe this continuity simply means Billboard got its rebalance right, and that its charts reflect music as it’s actually listened to.
While we’re talking chart data, the Top Latin Albums chart also got an update: it switched from a sales-only formula to “a multi-metric methodology, blending pure album sales, track equivalent album (TEA) units, and streaming equivalent album (SEA) units.” (The big album chart, the Billboard 200, has done this for a while now.) This created much more dramatic changes from last week to this week, mostly in favor of artists whose fans skew younger. Continue reading “Teoría de la Evolución (Desfile de Éxitos 2/11/17)”
But Camacho’s not totally gone — his fleet fingers have left their prints all over radio and internet. You can hear his influence in the teenaged Sierreño-with-tuba trio Ulices Chaidez y Sus Plebes — hmmm, wonder where they got that name — who were quickly picked up by Camacho’s label DEL Records. To further confuse or simplify matters, Los Plebes’ hotshot tubist Omar Burgos is now one of Chaidez’s Plebes. Chaidez, Burgos, and rhythm guitarist Mario Arredondo are charting with two songs: the machete-fetishizing “Andamos en el Ruedo,” 
Both songs appear on Bebeto’s new album No Que No (Banda y Tololoche) (Disa), whose cover depicts our wary knight scowling through his emotional armor, riding across the desert with a fine Arab charger. Singular excursions aside, it’s a pretty straightforward banda pop album, and it may prove to be El Bebeto’s best since his 2011 debut. VALE LA PENA at least.
and Regulo Caro, one of the people on the continent most resembling a cousin of Gerardo Ortiz, is back with the title song of his new album En Estos Dias (DEL), which NorteñoBlog totally needs to hear. The song is a slow, long reflection on prison life that sounds like it was written and recorded in real prison time. As I listened I found myself drawing involuntary hashmarks on the wall.
Further down, two Remex Records acts have replaced themselves on the radio with remakes. The more notable is ace flarer-of-nostrils Edwin Luna and his banda of second fiddlers, La Trakalosa. Given our troubled and uncertain times on both sides of the Great Wall of Trump, NorteñoBlog finds comfort in watching Luna grimace his way through another extravagant video meant to highlight his perennially nascent acting chops. (He acts in both color and black and white!) No hay nada nuevo bajo el sol. “Dos Monedas” was previously a hit for Ramón Ayala, and it was written by Jesse Armenta — You know him! He wrote some political barnburners for Los Tigres, including “El Circo,” thus winning himself a chapter in the book Narcocorrido — and it’s another heartbroken sob story.
Afortunadamente, the job of “young dreamy norteño singer with enviable hair” is not so hard to fill, and this week’s charts have two hopefuls squeezing through the Coronel-shaped void. At #20 on the Regional Mexican radio chart is L.A.’s teen corridero 
NorteñoBlog 