The Power of Habit: Why We Do What We Do, and How to Change by Charles Duhigg

Author:Charles Duhigg [Duhigg, Charles]
Language: eng
Format: azw3
ISBN: 9781409038696
Publisher: Random House
Published: 2012-04-05T04:00:00+00:00

That question—how do you make a song into a hit?—has been puzzling the music industry ever since it began, but it’s only in the past few decades that people have tried to arrive at scientific answers. One of the pioneers was a onetime station manager named Rich Meyer who, in 1985, with his wife, Nancy, started a company called Mediabase in the basement of their Chicago home. They would wake up every morning, pick up a package of tapes of stations that had been recorded the previous day in various cities, and count and analyze every song that had been played. Meyer would then publish a weekly newsletter tracking which tunes were rising or declining in popularity.

In his first few years, the newsletter had only about a hundred subscribers, and Meyer and his wife struggled to keep the company afloat. However, as more and more stations began using Meyer’s insights to increase their audiences—and, in particular, studying the formulas he devised to explain listening trends—his newsletter, the data sold by Mediabase, and then similar services provided by a growing industry of data-focused consultants, overhauled how radio stations were run.

One of the puzzles Meyer most loved was figuring out why, during some songs, listeners never seemed to change the radio dial. Among DJs, these songs are known as “sticky.” Meyer had tracked hundreds of sticky songs over the years, trying to divine the principles that made them popular. His office was filled with charts and graphs plotting the characteristics of various sticky songs. Meyer was always looking for new ways to measure stickiness, and about the time “Hey Ya!” was released, he started experimenting with data from the tests that Arbitron was conducting to see if it provided any fresh insights.

Some of the stickiest songs at the time were sticky for obvious reasons—“Crazy in Love” by Beyoncé and “Señorita” by Justin Timberlake, for instance, had just been released and were already hugely popular, but those were great songs by established stars, so the stickiness made sense. Other songs, though, were sticky for reasons no one could really understand. For instance, when stations played “Breathe” by Blu Cantrell during the summer of 2003, almost no one changed the dial. The song is an eminently forgettable, beat-driven tune that DJs found so bland that most of them only played it reluctantly, they told music publications. But for some reason, whenever it came on the radio, people listened, even if, as pollsters later discovered, those same listeners said they didn’t like the song very much. Or consider “Here Without You” by 3 Doors Down, or almost any song by the group Maroon 5. Those bands are so featureless that critics and listeners created a new music category—“bath rock”—to describe their tepid sounds. Yet whenever they came on the radio, almost no one changed the station.

Then there were songs that listeners said they actively disliked, but were sticky nonetheless. Take Christina Aguilera or Celine Dion. In survey after survey, male listeners said they hated Celine Dion and couldn’t stand her songs.

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