Side B, Bonus Track: Credits

Kyle Stedman's headshot
I'm Kyle D. Stedman, an assistant professor of English at Rockford College. I've published about remixing, music, and rhetoric in Computers and Composition and Currents in Electronic Literacyand I've published essays for student audiences in the free textbooks and Writing Spaces, Vol. 2. If you were to send me an amazing playlist on Spotify (user name: basementwall), I wouldn't complain.

Site Design: Kyle D. Stedman, using a template and background by Harley Ferris

Works Cited in the Text

Citations for My Mix CD

(For clips and links to purchase full tracks, visit the My Mix page.)

Sounds Heard in Audio Interludes

In “A Mix for the Truck” on the “Growing Meanings” page:
In “Brian Eno on Gardening” on the “Growing Meanings” page:
In “An Occupationally Themed Mix” on the “Interlude on Digital Tools” page:
In “Understanding Hirasawa” on the “The Self as Audience” page:
In “Understanding Diab” on the “The Self as Audience” page:

Image Credits

All images were taken/scanned by me, used with explicit permission of the copyright owner, or are licensed by Creative Commons (and found on


I owe the greatest debt of thanks to the artists whose music I’ve arranged, both here and on many other mixes. I hope that my small-scale, unauthorized sharings will be read as the highest of compliments, a grassroots effort to help others discover their awesomeness.

I also thank those who have made mixes for me over the years, whether on tape (Catalina Troche, Jonathan Hatten, Emily Milford, and more than anyone else, Rachelle Lacroix) or CD (Steve Wimmer, Marilyn de Guehery, Sarah Madsen, Bethany Carlson, and my fellow participants in SKAME: Minerva Archer, Brandon Gregory, and Kelly Beckwith—and of course, the inimitable Davey Jones). Everything in this article is just a crystallization of the things we learned together.

I also received tremendous feedback on this piece from the editors at Harlot and my anonymous reviewers, all of whom helped make this cacophony more melodious.

And in the spirit of Jody Shipka’s assignments for students, I’d also like to thank the technologies that have helped me over the years, especially dozens of cassette tapes, CD-Rs, my old double-cassette karaoke machine with three input jacks, various CD players, and various spliced cables. I also couldn’t have produced this piece without Google Docs, Photoshop, Notepad, KompoZer, Yahoo! WebPlayer, and Audacity.

Fair Use Statement

I believe that every use of copyrighted musical material in this piece was fair, given that three of the four factors for fair use fall strongly in my favor: