Nov 26th 2009
There has never been so much choice in entertainment. Last year [2008] 610
films were released in America, up from 471 in 1999. Cable and satellite
television are growing quickly, supplying more channels to more people
across the world.
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“Both the hits and the tail are doing well,” says Jeff Bewkes, the head
of Time Warner, an American media giant. Audiences are at once
fragmenting into niches and consolidating around blockbusters. Of
course, media consumption has not risen much over the years, so
something must be losing out. That something is the almost but not quite
popular content that occupies the middle ground between blockbusters
and niches. The stuff that people used to watch or listen to largely
because there was little else on is increasingly being ignored.
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Offer music fans a virtually infinite choice of songs free of charge, and they will still gravitate to hits.
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Will Page of PRS for Music, which collects royalties for British
songwriters, calculates that the most popular 5% of tracks on Spotify
account for 80% of all streams.
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“People want to share the same culture,” explains Roger Faxon, head of
EMI Music Publishing. Music is an intensely social medium, most
enjoyable when it is discussed and shared with friends. Because choice
in music—and, to an extent, other media—is collective as well as
individual, it is hardly surprising that people cluster around popular
products.
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