Bernardo Henríquez’s Reviews > Hit Makers: How to Succeed in an Age of Distraction > Status Update

Dark Side of Hits II no sé por qué comienza hablando de vampiros, pero menciona edades a las que los sesgos se cristalizan y tb habla sobre la desigualdad de las mujeres en las películas y de cómo puedes crear un sesgo a partir de un detalle que no recuerdo ahorita

Interesante notar que al cambiar la metodología del Hot 100 (1991), al saber lo que de verdad era popular volvió más popular a esa música (namely, rap).

La mención de habituación y su opuesto no es un recetario, sino una aclaración psicológica.

Por último, habla del discursista de Obama y los recursos retóricos.

Tomar nota sobre el comentario de los earworms al principio del cap. 2 “The music of sound.”

Ch12 (cont.): The digital revolution in music has made songs + abundant, but it has also driven down the price of recorded music, so that many bands receive massive exposure but paltry revenue//Hollywood films r proof of concept for merchandise//WDC is the quintessential hit empire for three commercial reasons//To do what u believe in & believe in what u dois the key to a life of fulfillment//Top 5: Ur net is ur powr

Ch12 "Futures of hits: empire & city-state" It's a conclusive overview of the book's 3 main ideas, followed by two stories of hitmakers, 1 big (Disney) & 1 smol (Leslie)//Musical rhetoric creats a (..) cognitive anesthesia that numbs audience's capacity for deeper thinking//THE PARADOX OF SCALE is that the biggest hits are often designed for a small well-defined group of ppl//narrowly tailored hits r + likly 2 suxeed

Ch11 (cont.) Steven Levy's dozen donuts problem//There is what ppl want to read (and) there is what ppl actually read//What could we show u that u would say u want and u would interact with?//The ans to the Q "What do ppl want to read?" has 3 dimensions//INTERLUDE '828 broadway': OODA decision-making model//Te elite like opera cause they think it makes them elite//