Conspiracy battles Josh Fisher at K.O.T.D.

This is another perspective of the “King of the Dot” rap-battle where Conspiracy battled a man by the name of Josh Fisher. There are always lots of cameras at these events, whether it’s the K.O.T.D. camera crew, a buddy with a camcorder or the entourage for one of the boys competing. I attended the event, documenting elements of Conspiracy’s life and putting together the visual treatment at the top of the page.

Although Conspiracy lost the battle, I think it’s difficult to say (especially in this particular bout) who was the winner. If one were to judge Conspiracy’s technical performance; you could say he stammered more than J.F. and lacked confidence in the delivery of some of his lines. In contrast, there is Mr. Fisher who brings the most banal, tired old conventions of a “battle rapper” (although I definitely chuckled at his Eryka Badu line). Fisher comes out on top because he finds the easy laugh. At events like these, it’s better to be part of the crowd than to stand outside of it. And this what K.O.T.D. (and probably some other leagues) seems to champion: the same tired homophobic slurs. I’m amazed at how popular the movement has become and who champions it (for example Conspiracy’s twin-brother Mindbender often judges these events and himself is a massive promoter for K.O.T.D.). Equally as surprising, are the number of established artists in Toronto (and North America for that matter) who actually despise the movement as brain-dead, populist rap; a chance for “Mr. No-name” from the sticks to fling insults at “Rapper B” all in an effort to win meager accolades (although hundreds of dollars are sometimes wagered). Don’t get me wrong, I love a good rap battle, but I grew up going to these things where guys would rap to a beat (selected by a DJ) and who wouldn’t come into a match with a pre-written repertoire. The field seems divided in this regard. Some believe that the “freestyle artists” of yore brought in pre-written material anyway, while many more established generations think this practice is bastardizing the art form. I fall into the latter category, but can also appreciate an “a cappella” performance from time to time (even this is chronically over-utilized by mediocre verb-smiths).