Some artists create with an audience in mind. In practice, the mix curator’s first concern is common to artists across media: the audience. Curating a mixtape is an art, not a science. Most significantly - to paraphrase the equally fictional Captain Barbossa from the Pirates of the Caribbean trilogy - the rules are more what you’d call “guidelines” than actual rules.
There is also the occasional misdirection. There is much mixing wisdom to be unpacked from that single paragraph. You’ve got to kick off with a corker, to hold the attention ***, and then you’ve got to up it a notch, or cool it a notch, and you can’t have white music and black music together, unless the white music sounds like black music, and you can’t have two tracks by the same artist side by side, unless you’ve done the whole thing in pairs and… oh, there are loads of rules. A good compilation tape, like breaking up, is hard to do. To me, making a tape is like writing a letter - there’s a lot of erasing and rethinking and starting again. Most discussions of the art of the mixtape lead to Rob Fleming, protagonist of Nick Hornby’s 1995 novel, High Fidelity:
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