Abstract
In February 2015, as the idea for this book was simmering, I went to see progressive rapper Busdriver play at a small venue in my hometown. As he launched into his first song, I felt as if all my assumptions on rap and collective participation were about to be shattered. Busdriver was rapping alone on stage, barely establishing eye contact with the audience. His minimalist DJ setup consisted of a smartphone, a portable Roland SP-404SX sampler and two microphones. There was no DJ or hype man working the crowd, only Busdriver moving from the stage to his sampler where he spent long bits bent over the device, playing with sound effects.
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References
Forman, M. (2002). The ’hood comes first: Race, space and place in rap and hip-hop. Middletown, CT: Wesleyan University Press.
Keyes, C. L. (2002). Rap music and street consciousness. Urbana: University of Illinois Press.
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Diallo, D. (2019). Conclusion. In: Collective Participation and Audience Engagement in Rap Music. Pop Music, Culture and Identity. Palgrave Pivot, Cham. https://doi.org/10.1007/978-3-030-25377-6_10
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DOI: https://doi.org/10.1007/978-3-030-25377-6_10
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Publisher Name: Palgrave Pivot, Cham
Print ISBN: 978-3-030-25376-9
Online ISBN: 978-3-030-25377-6
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