- "Beat Street" may also refer to the Prism album, Beat Street (album) or Orange Street in Kingston, Jamaica.
Beat Street movie poster
|Directed by||Stan Lathan|
|Produced by||Harry Belafonte
David V. Picker
|Written by||Andy Davis
Steven Hager (story)
|Starring||Rae Dawn Chong
Leon W. Grant
|Music by||Arthur Baker
|Cinematography||Tom Priestley Jr.|
|Edited by||Dov Hoenig
|Distributed by||Orion Pictures|
|Release dates||June 6, 1984|
|Running time||105 min.|
Beat Street is an American 1984 drama film featuring New York City hip hop culture of the early 1980s; breakdancing, DJing, and graffiti. It began with a script written by Steven Hager titled "Looking for the Perfect Beat" and in 2012, Hager put that original script up at smashwords.com.
Set in the South Bronx, the film follows the lives of a pair of brothers and their group of friends, all of whom are devoted to various elements of early hip hop culture. Kenny Kirkland (Guy Davis) is a budding disc jockey and MC, and his younger brother Lee (Robert Taylor) is a hardcore b-boy who dances with Beat Street Breakers (the New York City Breakers). Kenny's best friends are Ramon (Jon Chardiet), a graffiti artist known by his tag, "Ramo", and Chollie (Leon W. Grant), his self-styled manager/promoter.
The film begins with the main characters preparing for a house party set in an abandoned apartment building, where Kenny is the featured DJ. An uninvited Lee and his breakdancing friends crash the party, and nearly get tangled into a battle with a rival troupe, the Bronx Rockers (the Rock Steady Crew). The battle of mostly words is broken up by Henri (Dean Elliot), a squatter who lives in the building and is befriended by Kenny, Chollie, Ramon, and Luis (Franc. Reyes).
Kenny has dreams of performing in New York City's top nightclubs. No club is bigger than the Roxy, and on one visit he crosses paths with Tracy Carlson (Rae Dawn Chong), a college music student and composer. A breakdance battle between the Breakers and Rock Steady ensues, and Tracy admires Lee's performance. She then invites him to audition for a television show focusing on dancing. Lee, Kenny, and their crew arrive during a dance rehearsal, and Lee gives his performance only to find out he won't be on television. Protecting his brother's interests, Kenny rips into Tracy for leading Lee on; Ramon steals a videotape of Lee's dance as the crew walk out.
A remorseful Tracy then shows up at the Kirkland home to apologize. Lee was not home but Kenny was, working on a mix tape. Tracy clarifies her story, saying that she did not promise to Lee that he was going to be on the TV show. She then takes an interest in Kenny's mixing and the two find common ground. Kenny and Tracy then head into the subway, where they meet up with Lee, Ramon, and Luis spray painting an abandoned station platform. They pack up and leave when they hear noises, thinking it may be the police; it turned out to be a rogue graffiti artist known as Spit who defaces Ramo's work (and the work of other artists) by spraying his tag over it. As the group take the train back uptown, Kenny and Tracy break away and spend the rest of the evening together, striking up a romance while walking and talking.
Chollie talks Kenny into a guest spot at the Burning Spear, a club run by DJ Kool Herc. Kenny not only spins but presents a special Christmas-themed skit performed by the Treacherous Three, Doug E. Fresh, and the Magnificent Force. The crowd's positive reaction convinces Kool Herc to invite Kenny back. But both Kenny and Chollie see the regular gig as a stepping stone to their bigger goal. They return to the Roxy, where auditions are being held for new talent. Chollie convinces Kenny to let him do the talking, and waits for the auditions to end before he succeeds in getting the talent scout to check out Kenny at the Burning Spear.
The scout keeps his word, and is impressed enough that he offers Kenny a performance on New Year's Eve. Tracy offers to help Kenny out by allowing him to work on a computer keyboard system at her studio. However, Kenny accidentally presses a wrong button and deletes his work. Stubborn and frustrated, Kenny leaves the studio, saying he had enough material for New Year's Eve.
Meanwhile, Ramon is feeling pressure from two sources. His father Domingo (Shawn Elliot), who despises his graffiti, wants him to find honest work, while his girlfriend Carmen (Saundra Santiago), the mother of his son, longs for them to be together as a family. Ramon eventually gets a job in a hardware store, and he then takes Carmen and their baby to live with him in Henri's building. But Ramon does not stop thinking of the subway trains that are his canvas. When he sees a white-painted one pass him by, he vows to put his mark on it.
Later that evening, Ramon and Kenny find the train and proceed to paint one side of the lead car. As they work on the second side of the car, Ramon hears noises, and they discover the rogue graffiti artist Spit, defacing the completed side. Ramon and Kenny chase Spit through the tunnel and into a station, and a fight ensues. Spit sprays paint in Ramon's eye, and both men tussle on the roadbed before they roll onto the electrified third rail, which kills them instantly.
As the group mourn the death of their friend, Kenny considers not performing for the New Year's Eve show at the Roxy. However, with the help of Tracy and despite initial reluctance from Chollie, Kenny turns his big break into a celebration of Ramon's life. The show is the film's grand finale, starting with a rap performance by Kenny while images of Ramon and his work were shown on a screen in the background. Kenny is followed by Grandmaster Melle Mel & the Furious Five and a Bronx gospel choir, and backed by dancers and breakdancers.
- Rae Dawn Chong - Tracy Carlson
- Guy Davis - Kenny "Double K" Kirkland
- Jon Chardiet - Ramon "Ramo"
- Leon W. Grant - Chollie
- Saundra Santiago - Carmen Carraro
- Robert Taylor - Lee Kirkland
- Mary Alice - Cora Kirkland
- Shawn Elliott - Domingo
- Jim Borelli - Monte
- Dean Elliot - Henri
- Franc. Reyes - Luis
- Tonya Pinkins - Angela
- Lee Chamberlin - Alicia
- Duane Jones - Robert
- DJ Little Louie Vega - DJ in background in club
- Afrika Bambaataa & the Soul Sonic Force - Themselves
- Jazzy Jay - Himself
- Doug E. Fresh - Himself
- New York City Breakers - Beat Street Breakers
- Rock Steady Crew - Bronx Rockers
- Clive "Kool Herc" Campbell - Himself
- Treacherous Three - Themselves
- Grandmaster Melle Mel & the Furious Five - Themselves
Kadeem Hardison was credited as "High School Student" in the director's cut of the film. However, his scenes were all cut from the final theatrical version.
Some of the plot line was based on the New York City graffiti documentary Style Wars. Most visibly, the antagonist Spit in Beat Street was lifted from the real-life graffiti artist CAP MPC, who was portrayed in Style Wars. It was screened out of competition at the 1984 Cannes Film Festival.
Beat Street was filmed entirely on location in New York City, in the boroughs of The Bronx, Manhattan, Brooklyn, and Queens. Several scenes were shot inside the city's subway system, both onboard trains and in stations, notably Hoyt-Schermerhorn Streets, 57th Street-Sixth Avenue, and Fresh Pond Road. Scenes were also filmed on the campus of the City College of New York, which includes the concert venue Aaron Davis Hall. Many of the internal dance sequences were filmed at the popular nightclub the Roxy, located in the Chelsea section of Manhattan.
Most of the graffiti art that was displayed all throughout the film was not done by real graffiti artists—it was airbrushed by set decorators.
Musical performances and soundtrack
There are several performances in the movie, notably from established early hip-hop groups Grandmaster Melle Mel & the Furious Five, Doug E. Fresh, Afrika Bambaataa & the Soul Sonic Force, and the Treacherous Three. As a member of the Treacherous Three, Kool Moe Dee also appeared in the film.
The musical performance of Kool Moe Dee stands as one of the few media appearances he has ever made without his trademark sunglasses (a style he had not yet adopted at the time). In addition to these acts, Guy Davis, who played Kenny, is also a blues musician in real life.
What is typically forgotten in narrative histories of hip-hop as in the history of this film were the appearances of pioneering artists like Sha-Rock who was a member of Enjoy recording group The Funky Four Plus One More, later known as Funky 4+1.
Three female MCs appear in a party scene in Beat Street—Debbie D, Sha-Rock and Lisa Lee. They perform a limited and limiting performance as a group called "Us Girls" (see video). The first lyrics you hear are sung (vs. rapped). This moment tends to diminish the significance of women in early hip-hop performance as if by 1984 female emcees were already exceptional to a musical genre that was still emerging and developing. The group sings in unison, "Us Girls / Can Boogie, too," then each emcee performs a short rhyme.
The film also includes other musical performances from Tina B and The System, both of whom appear on the soundtrack album. Though not featured on the album, there were also appearances by rapper Richard Lee Sisco and singers Bernard Fowler and Brenda K. Starr, known as the Queen of freestyle who later became a Latin artist.
Contrary to popular (internet legend) belief, The RZA of Wu-Tang Clan was not actually in the movie. Some rumors have floated around the net stating that he is the guy in the black hat rhyming during the Roxy auditions scene. However, RZA has gone on the record stating he was not in the film. In fact, he would have only been 15 at the time Beat Street was filmed. The actor in the black hat appears to be markedly older than 15.
At least three breakdancing battles between the New York City Breakers and the Rock Steady Crew were also included in the film. In addition, the Roxy audition scene features a pair of breakdancing boys known as the Fantastic Duo.
This was the first American film to feature more than one soundtrack album. Originally, Atlantic Records, which released the soundtrack albums, had three volumes planned, but only two of these were released. The second volume was never released on compact disc.
The trailer includes an alternate version of the title song performed by Kool Moe Dee, a version that was not featured in the movie or on the original soundtrack albums.
- Loose Cannons a Dallas based Hip Hop duo composed of MC's Boo Naap and Cin Q sample the "It's working" scene for their early Hip Hop era tribute song to break dancing.
- The film is mentioned in episode 12 of The Boondocks while Robert "Granddad" Freeman discusses Riley's graffiti masterpiece.
- Legendary Rapper AZ mentions the film in his song "The Come Up", in the line "Before Beat Street, streets was heavily in deep with the ryders."
- The Notorious B.I.G in his song "Suicidal Thoughts" said, "Should I die on the train tracks like Ramo in Beat Street/People at my funeral frontin' like they miss me."
- Jay Electronica mentions the film in his song "Exhibit A (Transformations)" in the line "Who gone bring the game back/who gone spit that Ramo on the train tracks".
- Rapper Ras Kass in his song "Won't Catch Me Runnin'" said, "When my voice hits the mike, I electrocute Spit like Beat Street."
- Mr. Lif, on "Elektro", rapped the lines: "So I use the same flow to put niggas under in The Serpent and the Rainbow/Go back to Beat Street and resurrect Ramo knock the shit out of Spit verbal eclipse"
- Lines from the film were mentioned in Lost Prophets song "Five is a Four-Letter Word."
- 1200 Techniques sampled lines from the film in the song "Battlemaster."
- 50 Cent from G-unit references Spit and Ramo in "Hustlers Ambition."
- Portions of the Beat Street Breakdown scene can be downloaded from the video-sharing sites YouTube and MySpace.
- Prozack Turner of Foreign Legion mentions the movie in "Wonderful Life" - "Remember Beat Street? I was Lee on my kitchen floor".
Beat Street's impact was felt internationally as well as throughout the United States. In Germany, for example, movies such as Beat Street and Wild Style are credited with introducing the hip hop movement to the country. Because movies are so easily distributed over borders, part of the importance of this movie lay in its ability to influence both East and West Germany, which at the time were still divided. Beat Street was of particular importance in the East, where it is said to illustrate for young people the evils of capitalism. Because the film focused so heavily on the visual aspects of hip hop, such as breaking and graffiti, these aspects had the heaviest influence on the emerging German hip hop scene.
It was precisely these visual aspects that helped bring hip hop culture to Germany, rather than simply a genre of music. Beat Street appeared in the German Democratic Republic at almost the same time as in the West. Dresden, the center of the Beat Street scene was geographically out of western media range, making it a perfect center to explore this genre of music. The hip hop scene for the entire public would meet at breakdancing competitions, emceeing competitions, and graffiti spraying. Puerto Rican and African American breakdancing, hip hop and Latin freestyle dance sounds, and inner-city American graffiti made up what Germans knew as hip hop culture. The aftermath of Beat Street propelled events such as competitions in emceeing, break dancing, and graffiti spraying throughout Germany.
- "Festival de Cannes: Beat Street". festival-cannes.com. Retrieved 2009-06-25.
- DMC of Run DMC said that MC Sha-Rock aka Sharon Green, an innovator as an early emcee, also female or a b-girl, significantly influenced the group's style of rapping in an echo-chamber style (listen here). He considered her style "genre-breaking". This edit on female presence was written by Kyra Gaunt, Ph.D., author of The Games Black Girls Play: Learning the Ropes from Double-Dutch to Hip-Hop, 2006.
- Brown, Timothy S. "Keeping it Real in a Different Hood: (African-) Americanization and Hip-hop in Germany." In The Vinyl Ain't Final: Hip Hop and the Globalization of Black Popular Culture, ed. by Dipannita Basu and Sidney J. Lemelle, pp. 137–150. London.
- Brown, Timothy S. "'Keeping it Real' in a Different 'Hood: (African-) Americanization and Hip-hop in Germany." In The Vinyl Ain't Final: Hip Hop and the Globalization of Black Popular Culture, ed. by Dipannita Basu and Sidney J. Lemelle pp. 137–50. London
- "Beat Street" http://www.fast-rewind.com/
- Elflein, Dietmar. "From Krauts with Attitudes to Turks with Attitudes: Some Aspects of Hip-Hop History in Germany." Popular Music, Vol. 17, No. 3. (Oct., 1998), pp. 255–265.