How can battle rap culture persevere after COVID?<\/h4>\n\n\n\n![\"\"](\"http:\/\/nicholasmart.in\/wp-content\/uploads\/2021\/07\/rap_map_bigger-1024x640.jpg\")
<\/figure>\n\n\n\n\n\nA Brief History of Rap Battles<\/a>
A Crisis in Battle Rap<\/a>
Engagement Now and Future <\/a>
Battle Rap as a Social Network<\/a>
Generating High-Profile Battles<\/a>
A View to the Future<\/a>
Suggested Battles<\/a>
Addendum: Tools and Data Sources<\/a><\/p>\n<\/div>\n\n\n\n<\/div>\n<\/div>\n\n\n\nBattle rap is experiencing an unprecedented crisis since it first gained popularity with the rise of online video platforms. By analyzing a data set of over 10,000 rap battles, I have identified patterns which allow league owners to determine battle match ups quantitatively, taking into account current trends and areas of growth within the culture. <\/p>\n\n\n\n
#<\/a> A Brief History of Rap Battling <\/h4>\n\n\n\nRap music has always had a competitive dimension, and there are many examples of feuds between rappers being carried out on ‘dis-tracks’. However, rapping as a lyrical exercise has also been applied to non-musical competition, where two opponents face off against each other in front of an audience with no musical accompaniment.<\/p>\n\n\n\n
In the early 2000s, a series of DVDs called “SMACK” was published, featuring battles filmed in front of small audiences on street corners and in record stores. By the mid 2000’s these battles had made their way onto social media, and eventually a common format for the battles became standardized – two opponents facing each other with both improvised and written lyrics, in a series of three three-minute rounds. The result of the battle is rarely judged formally – the audience is left free to discuss and argue about the winners and losers.<\/p>\n\n\n\n![\"\"](\"http:\/\/nicholasmart.in\/wp-content\/uploads\/2021\/07\/luxthin-1024x426.jpg\")
<\/figure>\n\n\n\nAs the decade progressed, the audiences grew to fill major venues, and the popularity of the movement spread worldwide, with different battle rap leagues developing their own talent. <\/p>\n\n\n\n![\"\"](\"http:\/\/nicholasmart.in\/wp-content\/uploads\/2021\/07\/rap_early.png\")
Current Youtube view count for battle rap videos published 2006-2012<\/em><\/figcaption><\/figure>\n\n\n\nWith the increased viewership and revenue, battle rap flourished creatively, with a wide range of styles and rhetorical strategies being used to win over an audience. The lyrical content of battle rap is often violent and obscene, but also jovial and funny. Unlike some notorious mainstream feuds between rappers, battle rap events have never seen serious violence.<\/p>\n\n\n\n
#<\/a> A Crisis in Battle Rap<\/h4>\n\n\n\n![\"\"](\"http:\/\/nicholasmart.in\/wp-content\/uploads\/2021\/07\/rap_contemp-2.png\")
Current YouTube view count for battle rap videos published 2011-2020<\/em><\/figcaption><\/figure>\n\n\n\nAny fan will tell you that battle rap isn’t doing well in 2021. COVID lead to cancelled events, and the battles that did occur took place in small venues with smaller crowds, lacking the excitement of the big events of the past.
However, examining the popularity of battles released since about 2013, we can see a steady decline, despite the fact that YouTube use increased dramatically. Assuming a nominal value of $4 per 1000 video impressions, the revenue seen by battle rap leagues has fallen from around $1.3M\/year to less than $250K at present.<\/p>\n\n\n\n
YouTube is not the only income seen by the leagues – tickets to battle rap events are often around $100. At a large venue, like Webster Hall in New York, ticket sales could easily top $140,000 for a single night.<\/p>\n\n\n\n
Nevertheless, the shrinking YouTube viewership should be worrying to leagues not just because it reflects diminished revenue, but because the video platform has historically been the best way to reach new fans, who will attend events, buy sponsored products, or be inspired to participate in the battles themselves.<\/p>\n\n\n\n
#<\/a> Engagement Now and Future<\/h4>\n\n\n\nThe purpose of this piece is to explore how battle rap leagues can engage and grow their audience in the future. The fundamental method that leagues use to drive interest in battles is the match up<\/em>: choosing who will battle whom.<\/p>\n\n\n\nSince rap battles are not formally judged, choosing the winner is subjective. In contrast, popularity – as measured by Twitter followers and YouTube impressions, is not.<\/p>\n\n\n\n
Traditionally, leagues choose battlers by finding two performers who think they can win against each other. Since rap battles are not formally judged, choosing the winner is subjective. In contrast, popularity – as measured by Twitter followers and YouTube impressions, is not. As a result, the ability of a battler to create interest around his or her name is one of the best ways to measure their success.<\/p>\n\n\n\n
I have examined a data set of over 10,000 rap battles on YouTube, and have created a set of recommended match ups which reflect both tried-and-true methods for driving engagement, as well as new opportunities to capitalize on growing trends. <\/p>\n\n\n\n
#<\/a> Battle Rap as a Social Network<\/h4>\n\n\n\nUsing network visualization software, I created a network of all battle rappers from 2006-2021 with 3 or more battles. Each node is an individual battler, and each line is a battle. The size of the node corresponds to an era-adjusted total of YouTube views, with eras having fewer total views being awarded greater weight to account for the relative prominence of these battles.<\/p>\n\n\n\n![\"\"](\"http:\/\/nicholasmart.in\/wp-content\/uploads\/2021\/07\/wholeNet-1024x819.jpg\")
Network of all battlers<\/em><\/figcaption><\/figure>\n\n\n\nIt’s clear that the battle rap world is highly connected. The nodes are organized by proximity – groups of battlers near each other are more likely to have battled each other. Despite this, there are lines (battles) crossing the entire graph. Let’s see what actually defines the different communities in battle rap.<\/p>\n\n\n\n
Organized by Era:<\/strong><\/h5>\n\n\n\n![\"\"](\"http:\/\/nicholasmart.in\/wp-content\/uploads\/2021\/07\/eras-1024x819.jpg\")
<\/figure>\n\n\n\nIn this image, the line colors (green, orange, magenta and red) correspond to battles occurring in different 4 year eras, starting in 2006. It is clear that there is some of each color in almost every area of the graph, meaning that the battler proximity does not correspond to different eras very well. This makes sense, as popular battle rappers can have long careers, enabling them to compete against all eras. Loaded Lux and The Saurus, who were both competing by 2006, still compete today.<\/p>\n\n\n\n
Organized by League:<\/strong><\/h5>\n\n\n \n \n\n \n \n ![\"Visual](\"http:\/\/nicholasmart.in\/wp-content\/plugins\/visual-portfolio\/assets\/images\/logo-dark.svg\")
\n <\/div>\n <\/div>\n \n \n\n\n \n \n <\/div>\n \n \n\n \n \n ![\"\"](\"http:\/\/nicholasmart.in\/wp-content\/uploads\/2021\/07\/dont_flop.jpg\")
\n <\/div>\n<\/div>\n\n\n \n \n \n\n Don’t Flop<\/h2>\n\n <\/span> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n <\/div>\n \n \n\n \n \n ![\"\"](\"http:\/\/nicholasmart.in\/wp-content\/uploads\/2021\/07\/qotr-1.jpg\")
\n <\/div>\n<\/div>\n\n\n \n \n \n\n Queen of the Ring<\/h2>\n\n <\/span> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n <\/div>\n \n \n\n \n \n ![\"\"](\"http:\/\/nicholasmart.in\/wp-content\/uploads\/2021\/07\/RBE-1.jpg\")
\n <\/div>\n<\/div>\n\n\n \n \n \n\n Rare Breed Entertainment<\/h2>\n\n <\/span> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n <\/div>\n \n \n\n \n \n ![\"\"](\"http:\/\/nicholasmart.in\/wp-content\/uploads\/2021\/07\/URL-1.jpg\")
\n <\/div>\n<\/div>\n\n\n
<\/figure>\n\n\n\nA Brief History of Rap Battles<\/a> Battle rap is experiencing an unprecedented crisis since it first gained popularity with the rise of online video platforms. By analyzing a data set of over 10,000 rap battles, I have identified patterns which allow league owners to determine battle match ups quantitatively, taking into account current trends and areas of growth within the culture. <\/p>\n\n\n\n Rap music has always had a competitive dimension, and there are many examples of feuds between rappers being carried out on ‘dis-tracks’. However, rapping as a lyrical exercise has also been applied to non-musical competition, where two opponents face off against each other in front of an audience with no musical accompaniment.<\/p>\n\n\n\n In the early 2000s, a series of DVDs called “SMACK” was published, featuring battles filmed in front of small audiences on street corners and in record stores. By the mid 2000’s these battles had made their way onto social media, and eventually a common format for the battles became standardized – two opponents facing each other with both improvised and written lyrics, in a series of three three-minute rounds. The result of the battle is rarely judged formally – the audience is left free to discuss and argue about the winners and losers.<\/p>\n\n\n\n As the decade progressed, the audiences grew to fill major venues, and the popularity of the movement spread worldwide, with different battle rap leagues developing their own talent. <\/p>\n\n\n\n With the increased viewership and revenue, battle rap flourished creatively, with a wide range of styles and rhetorical strategies being used to win over an audience. The lyrical content of battle rap is often violent and obscene, but also jovial and funny. Unlike some notorious mainstream feuds between rappers, battle rap events have never seen serious violence.<\/p>\n\n\n\n Any fan will tell you that battle rap isn’t doing well in 2021. COVID lead to cancelled events, and the battles that did occur took place in small venues with smaller crowds, lacking the excitement of the big events of the past. YouTube is not the only income seen by the leagues – tickets to battle rap events are often around $100. At a large venue, like Webster Hall in New York, ticket sales could easily top $140,000 for a single night.<\/p>\n\n\n\n Nevertheless, the shrinking YouTube viewership should be worrying to leagues not just because it reflects diminished revenue, but because the video platform has historically been the best way to reach new fans, who will attend events, buy sponsored products, or be inspired to participate in the battles themselves.<\/p>\n\n\n\n The purpose of this piece is to explore how battle rap leagues can engage and grow their audience in the future. The fundamental method that leagues use to drive interest in battles is the match up<\/em>: choosing who will battle whom.<\/p>\n\n\n\n Since rap battles are not formally judged, choosing the winner is subjective. In contrast, popularity – as measured by Twitter followers and YouTube impressions, is not.<\/p>\n\n\n\n Traditionally, leagues choose battlers by finding two performers who think they can win against each other. Since rap battles are not formally judged, choosing the winner is subjective. In contrast, popularity – as measured by Twitter followers and YouTube impressions, is not. As a result, the ability of a battler to create interest around his or her name is one of the best ways to measure their success.<\/p>\n\n\n\n I have examined a data set of over 10,000 rap battles on YouTube, and have created a set of recommended match ups which reflect both tried-and-true methods for driving engagement, as well as new opportunities to capitalize on growing trends. <\/p>\n\n\n\n Using network visualization software, I created a network of all battle rappers from 2006-2021 with 3 or more battles. Each node is an individual battler, and each line is a battle. The size of the node corresponds to an era-adjusted total of YouTube views, with eras having fewer total views being awarded greater weight to account for the relative prominence of these battles.<\/p>\n\n\n\n It’s clear that the battle rap world is highly connected. The nodes are organized by proximity – groups of battlers near each other are more likely to have battled each other. Despite this, there are lines (battles) crossing the entire graph. Let’s see what actually defines the different communities in battle rap.<\/p>\n\n\n\n In this image, the line colors (green, orange, magenta and red) correspond to battles occurring in different 4 year eras, starting in 2006. It is clear that there is some of each color in almost every area of the graph, meaning that the battler proximity does not correspond to different eras very well. This makes sense, as popular battle rappers can have long careers, enabling them to compete against all eras. Loaded Lux and The Saurus, who were both competing by 2006, still compete today.<\/p>\n\n\n\n
A Crisis in Battle Rap<\/a>
Engagement Now and Future <\/a>
Battle Rap as a Social Network<\/a>
Generating High-Profile Battles<\/a>
A View to the Future<\/a>
Suggested Battles<\/a>
Addendum: Tools and Data Sources<\/a><\/p>\n<\/div>\n\n\n\n #<\/a> A Brief History of Rap Battling <\/h4>\n\n\n\n
<\/figure>\n\n\n\n #<\/a> A Crisis in Battle Rap<\/h4>\n\n\n\n
However, examining the popularity of battles released since about 2013, we can see a steady decline, despite the fact that YouTube use increased dramatically. Assuming a nominal value of $4 per 1000 video impressions, the revenue seen by battle rap leagues has fallen from around $1.3M\/year to less than $250K at present.<\/p>\n\n\n\n #<\/a> Engagement Now and Future<\/h4>\n\n\n\n
#<\/a> Battle Rap as a Social Network<\/h4>\n\n\n\n
Organized by Era:<\/strong><\/h5>\n\n\n\n
<\/figure>\n\n\n\nOrganized by League:<\/strong><\/h5>\n\n\n
\n <\/div>\n <\/div>\n \n <\/div>\n<\/div>\n\n\n Don’t Flop<\/h2>\n\n <\/span> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n
\n <\/div>\n<\/div>\n\n\n Queen of the Ring<\/h2>\n\n <\/span> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n
\n <\/div>\n<\/div>\n\n\n Rare Breed Entertainment<\/h2>\n\n <\/span> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n
\n <\/div>\n<\/div>\n\n