Ernst Bloch, The Principle of Hope, trans. Neville Plaice, Stephen Plaice, and Paul Knight (Cambridge: MIT Press, 1986), 1059. Subsequent references are given in parenthesis within the text. Rob Sheffield, Love Is a Mix Tape: Life and Loss, One Song at a Time (New York: Broadway, 2007), 17. See Sheffield, 17–-23. Subsequent references are given in parentheses within the text. Geoffrey O’Brien, Sonata for Jukebox: Pop Music, Memory, and the Imagined Life (New York: Counterpoint, 2004), 108. Thurston Moore, ed., Mix Tape: The Art of Cassette Culture (New York: Universe Press, 2004), 94. Subsequent references are given in parentheses within the text. Mix Tape: The Art of Cassette Culture, 28. Matias Viegener compares the mixtape not to the sonnet, but to the cento: “The mix tape is a list of quotations, a poetic form in fact: the cento is a poem made up of lines pulled from other poems. The new poet collects and remixes.” See Moore, Mix Tape: The Art of Cassette Culture, 35.
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Karin Bijsterveld and José van Dijck (Amsterdam: Amsterdam University Press, 2009), 48–4-9. Max Horkheimer and Theodor W. Adorno, The Dialectic of Enlightenment, ed. Gunzelin Schmid Noerr, trans. Edmund Jephcott (Stanford: Stanford University Press, 2002), 98. Subsequent references are given parenthetically in the
Karin Bijsterveld and José van Dijck (Amsterdam: Amsterdam University Press, 2009), 48–4-9. Max Horkheimer and Theodor W. Adorno, The Dialectic of Enlightenment, ed. Gunzelin Schmid Noerr, trans. Edmund Jephcott (Stanford: Stanford University Press, 2002), 98. Subsequent references are given parenthetically in the