Chasing the Long Tail
Posted by Dan Lea
Chris Anderson’s article, “The Long Tail,” had special resonance for me. I spent about half of my 28 years in radio doing music “disc jockey” shifts (we called ourselves “air personalities,” as we stopped jockeying any kind of discs in the mid to late 90s). I understand all too well Anderson’s diagram showing the anatomy of the long tail, with a small number of major hits clustered on one end, and the long tail of lesser-appeal material trailing off into infinity. Our limitation on the radio was time, just as the limitation in (now scarce) music stores is shelf space.
We could only play one song at a time on the airwaves. If you selected a song from the “hits” end of the spectrum, you stood the best chance of holding a large share of your audience. If you selected one of your girlfriend’s personal favorites from the obscure end of the spectrum, most of your audience would tune over to one of your many competitors and would not come back until they screwed up and played something the listeners did not care for. For this reason, the choice was taken completely away from the djs and the playlists were programmed based on research, music testing, and safe hits. Hence the repetition and general lack of adventure of most stations. Many a radio programmer learned the hard way that while everyone says they want to hear more songs, they really want to hear more songs they like. Hit a clunker, and they’re off to someone who gives them what they want. Fewer listeners means lower ratings, lower advertising revenue, and lost jobs for those who steered their employers’ multi-million-dollar broadcast facilities in the wrong musical direction.
I know, of course, that there are many off-the-beaten-path songs that are beloved by a smaller, widely dispersed audience. Still, I was stunned at the statistics Anderson shared about how well those lesser known songs perform on digital music platforms, which can afford to offer up hundreds of thousands of songs for listeners to choose on their own time from anywhere in the world. Some of the radio stations I once worked for played around 300 songs, total. Current hits were played several times a day, while older nuggets might turn up once a month. The digital jukebox company, Ecast, offers up 150,000 songs on their barroom music service. Astonishingly, 99 percent of them are selected for at least some play each month. Some are played more than others, obviously, but digital storage and worldwide distribution make it possible for music and entertainment services like Rhapsody, Pandora, Netflix, and Amazon Prime to make money off the obscure works, too.
I’m delighted when one of these services offers up something I would never have had access to under the media limitations of my youth. When a movie about early 1960s folk musicians called “Inside Llewyn Davis” came out a few years ago, I could not find it in a local theater, despite a supporting role played by Justin Timberlake. On signing up for Amazon Prime a couple of months ago, I was finally able to see it. That prompted me to look for the soundtrack. It was readily available via digital download, and a few cd copies were available as imports or used. I doubt I ever would have found that in a local record store.
There is still room for hits. Part of the appeal of a hit is the shared experience of enjoying it together. Crank Rick Springfield’s “Jesse’s Girl” in a room full of children of the 80s like myself and you will find everyone singing along. But, as Anderson points out, “Everyone’s taste departs from the mainstream sometime” (7). Now we can find those songs, too.
Sure, you’ll find a lot of junk as the barriers to publishing music and movies come down, but when the cost is low, I don’t mind stopping the weird indie movie I was watching and trying something else. And, as Howard Rheingold outlines in chapter three of his book, “Net Smart,” this makes room for globe-spanning communities of like-minded movie, book, and music fans to sift through the rabble, pick out the gems, and share their favorites with one another.
I still make time for my radio friends, especially in the car, but I’m glad that as I bang out my blog, I can listen to the late 80s Minneapolis alternative rock band “Trip Shakespeare,” even though I only know two people who remember them. Maybe I’ll find some more now!
This site uses Akismet to reduce spam. Learn how your comment data is processed.