Beat Street is a 1984 American dancedrama film featuring New York Cityhip hop culture of the early 1980s. 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, including breakdancing, DJing and graffiti.
In the South Bronx, New York City, budding disc jockey and MC Kenny "Double K" Kirkland is hired as a featured DJ at a house party at an abandoned building, accompanied by his best friend Ramon Franco, a graffiti artist known by his tag "Ramo", and his friend/manager Chollie Wilson. Kenny's younger brother Lee crashes the party with his dance crew the Beat Street Breakers, who begin sparring with rival crew the Bronx Rockers. The next day, Chollie informs Kenny of complimentary tickets to the Roxy, one of Manhattan's most popular nightclubs. Meanwhile, Ramon's father, Domingo, implores his son to get a job and marry Carmen Carraro, the young mother of his illegitimate baby.
While visiting The Roxy a few nights later, Kenny meets composer Tracy Carlson. During an ensuing breakdance battle between the Breakers and Bronx Rockers, Tracy notices Lee's performance, inviting him to audition for a dancing television show. Lee, Kenny and their crew visit a dance rehearsal at the City College of New York (CCNY), where she is contributing a dance composition to a television program, and Lee performs only to be rejected. Kenny accuses Tracy of being condescending towards Lee.
Later, Ramon visits with Carmen and their baby. After her mother accuses him of shirking his responsibility, Carmen begs him to take them away. Meanwhile, Tracy visits the Kirklands' apartment to apologize. She and Kenny bond over some of his musical mixes that he plays for her. Later, the pair visits the subway tunnels, where Ramon and Lee are spray-painting a wall. Ramon longingly watches a clean, white train pass, claiming it his dream canvas. Startled by rival graffiti artist Spit, a shadowy and taciturn hooded street punk who has been defacing Ramon's artwork and is tagging a freshly painted wall, the group departs.
Walking Tracy home, Kenny explains the death of his older brother Franklin, a gang member. The next day, Chollie invites him to play at the Burning Spear club, run by DJ Kool Herc. Accompanied by Tracy, Kenny impresses the crowd with his skills, and Kool Herc hires him to perform at the establishment the following weekend. The next day, Ramon asks Domingo if Carmen can live with them. Domingo declines, insisting that he marry Carmen and provide for his child.
Later, Chollie takes Kenny to the Roxy, where a talent scout is auditioning local performers, and invites the scout to see Kenny deejay at the Burning Spear. Afterward, Kenny visits CCNY to surprise Tracy and sees her intimately embracing her professor, Robert. Ramon tells his friends he plans to move Carmen and the baby into a vacant apartment upstairs, and eventually obtains employment at a hardware store. His friends help him furnish the apartment, surprising Carmen with a small housewarming party.
On Saturday night at the Burning Spear, Kenny impresses the talent scout, who invites him to perform at the Roxy on New Year's Eve. Meanwhile, Tracy permits Kenny to use the college's computerized studio, while she assists Robert at a nearby piano. Kenny accidentally deletes his work, and rejects Robert and Tracy's attempts to help him, telling her their relationship might not last.
Waiting for a train with Ramon, Kenny worries that he potentially offended Tracy, while Ramon laments that his job limits his opportunities to perfect and showcase his artistry. Suddenly, he notices an all-white train on the "A" line, deciding to paint it that night after work. Later that evening, Kenny helps Ramon paint the train, but Spit, lurking nearby, tags the train even before Ramon can complete the other side. In the ensuing scuffle in the subway tunnels, Spit sprays paint in Ramon's eyes and both tussle on the roadbed before rolling onto the electrified third rail, which fatally electrocutes both instantly.
After Ramon's funeral, Kenny contemplates forgoing the Roxy's New Year's Eve show, but Tracy and Chollie dissuade him. Kenny ultimately uses his big break to celebrate Ramon's life, starting with a rap performance while images of Ramon and his work appear on a screen behind him, impressing Domingo. Grandmaster Melle Mel & the Furious Five assist him along with a Bronx gospel choir, backed by the City College Dancers and a group of twenty-five breakdancers.
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.
Background
The movie was inspired by an original story, "The Perfect Beat", by journalist Steven Hager, who sold the idea to producer Harry Belafonte. Only a few character names from Hager's story made it into the final film.[3] The 1983 film Wild Style was an obvious inspiration and model, in terms of story, style, characters, and themes.[4] In addition, some of the plotline of the film was based on the New York City graffiti documentary, Style Wars, also released in 1983. Most visibly, the antagonist, Spit, in Beat Street was lifted from the real-life graffiti artist CAP MPC, who was portrayed in Style Wars.
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 & Soulsonic 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.
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.[5]
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.
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.
Reception
Beat Street was screened out of competition at the 1984 Cannes Film Festival.[6] It received mixed critical reviews and the film holds a 57% rating on Rotten Tomatoes based on seven reviews.[7]
Legacy
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 Germany and West Germany, which at the time were still divided.[8]Beat Street was of particular importance in socialist East Germany, since its release was intended to illustrate the evils of capitalism (poverty, racial segregation) for young audiences.[8] However, because the film focused so heavily on the visual aspects of hip-hop culture, such as breaking and graffiti, these aspects were far more influential and inspired an emerging German hip-hop scene.[9]
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.[10] 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.[10]
In popular culture
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."
Ras Kass in his song "Won't Catch Me Runnin'" said, "When my voice hits the mic, 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"
The Swiss hip hop culture began in the early 1980s.
Fred Brathwaite, more popularly known as Fab 5 Freddy, is an American visual artist, filmmaker, and hip hop pioneer. He is considered one of the architects of the street art movement. Freddy emerged in New York's downtown underground creative scene in the late 1970s as a graffiti artist. He was the bridge between the burgeoning uptown rap scene and the downtown No Wave art scene. He gained wider recognition in 1981 when Debbie Harry rapped on the Blondie song "Rapture" that "Fab 5 Freddy told me everybody's fly." In the late 1980s, Freddy became the first host of the groundbreaking hip-hop music video show Yo! MTV Raps.
Richard Colón, better known by his stage name Crazy Legs, is an American b-boy who was featured in the earliest stories on hip hop dancing to appear in mainstream press, and as president of the Rock Steady Crew brought the form to London and Paris in 1983. Today he is also involved in community outreach, dance instruction, and dance theater productions. He has appearanced in fiction films and documentaries. Crazy Legs is current president of the Rock Steady Crew.
The Roxy was a popular nightclub located at 515 West 18th Street in New York City. Located in the Chelsea section of Manhattan, it began as a roller skating rink and roller disco in 1978, founded by Steve Bauman, Richard Newhouse and Steve Greenberg. It was acquired in 1985 by Gene DiNino. The Roxy shut down permanently in March 2007.
Wild Style is a 1983 American hip hop film directed and produced by Charlie Ahearn. Regarded as the first hip hop motion picture, it includes appearances by seminal figures such as Fab Five Freddy, Lee Quiñones, Lady Pink, The Rock Steady Crew, The Cold Crush Brothers, Queen Lisa Lee of Zulu Nation, Grandmaster Flash, and ZEPHYR.
New Zealand hip hop derives from the wider hip hop cultural movement originating amongst African Americans in the United States. Like the parent movement, New Zealand hip hop consists of four parts: rapping, DJing, graffiti art and breakdancing. The first element of hip hop to reach New Zealand was breakdancing, which gained notoriety after the release of the 1979 movie The Warriors. The first hip hop hit single, "Rapper's Delight" by the Sugarhill Gang, became a hit in New Zealand when it was released there in 1980, a year after it was released in the United States. By the middle of the 1980s, breakdancing and graffiti art were established in urban areas like Wellington and Christchurch. By the early 1990s, hip hop became a part of mainstream New Zealand culture.
Uprock, or Rocking, as it was referred to, also known as Rock, Rock Dance, Brooklyn Rock, Burning or Freestyle is a competitive urban street dance, performed to the beats and rhythms of soul, rock and funk music, but was mostly danced to a specific and exclusive collection of songs that contained a hard driving beat. An example of such a song is the Funk classic "It's Just Begun" by noted jazz musician Jimmy Castor. The dance consists of foot shuffles, spins, turns, drops, freestyle movements and more characteristically a four-point sudden body movement called "jerk".
Hip hop dance is a range of street dance styles primarily performed to hip hop music or that have evolved as part of hip hop culture. It is influenced by a wide range of styles that were created in the 1970s and made popular by dance crews in the United States. The television show Soul Train and the 1980s films Breakin', Beat Street, and Wild Style showcased these crews and dance styles in their early stages; therefore, giving hip-hop dance mainstream exposure.
Steffan "Mr. Wiggles" Clemente is a street dancer, noted for his popping skills. He is a member of the Rock Steady Crew, The Electric Boogaloos, Tribal Click, Zulu Nation, and TC5, also known as The Cool Five or The Crazy Five. Wiggles has been active as a dancer, actor, choreographer, dance instructor, music producer and graffiti artist.
Breakdancing or breaking, also called b-boying or b-girling (women), is a style of street dance originated by African Americans with notable contributions from Puerto Ricans in the Bronx.
Graffiti Rock was a hip-hop based television program, originally aired on June 28, 1984. Intended as an ongoing series, the show only received one pilot episode and aired on WPIX channel 11 in New York City and 88 markets around the country, to good Nielsen ratings.
Hip hop or hip-hop is a culture and art movement that was created by African Americans, starting in the Bronx, New York City. Pioneered from Black American street culture, that had been around for years prior to its more mainstream discovery, it later reached other groups such as Latino Americans and Caribbean Americans. Hip-hop culture has historically been shaped and dominated by African American men, though female hip hop artists have contributed to the art form and culture as well. Hip hop culture is characterized by the key elements of rapping, DJing and turntablism, and breakdancing; other elements include graffiti, beatboxing, street entrepreneurship, hip hop language, and hip hop fashion. From hip hop culture emerged a new genre of popular music, hip hop music.
Kenneth James Gabbert, better known by his stage name Ken Swift, is a second generation b-boy, or breakdancer. He was a longtime member and key figure in the Rock Steady Crew, and its former Vice President. He is now President of the Breaklife and VII Gems Hip Hop movement in New York City. Ken Swift began b-boying in 1978, at the age of twelve, when he was inspired by dancers on the Upper West Side of Manhattan. Widely known in the breakdancing world as "the Epitome of a B-Boy," he is widely considered by b-boys to be the individual who has had the greatest influence on breakdancing. Ken Swift is credited with the creation of many dance moves and terminology. His original footwork and "freeze style" became a foundational part of breaking, which were considered new concepts at the time.
The New York City Breakers are an original B-boy group in early 1980s that was established in the Bronx borough of New York City formed by Michael Holman. The group originally consisted of members from Wildstyle and "Floor Master Crew"
Michael Lawrence Marrow, known as PHASE 2 and Lonny Wood, was an American aerosol paint artist based in New York City. Mostly active in the 1970s, Phase 2 is generally credited with originating the "bubble letter" style of aerosol writing, also known as "softies".
Clive Campbell, better known by his stage name DJ Kool Herc, is a Jamaican American DJ who is credited with being one of the founders of hip hop music in the Bronx, New York City, in 1973. Nicknamed the Father of Hip-Hop, Campbell began playing hard funk records of the sort typified by James Brown. Campbell began to isolate the instrumental portion of the record which emphasized the drum beat—the "break"—and switch from one break to another. Using the same two-turntable set-up of disco DJs, he used two copies of the same record to elongate the break. This breakbeat DJing, using funky drum solos, formed the basis of hip hop music. Campbell's announcements and exhortations to dancers helped lead to the syncopated, rhythmically spoken accompaniment now known as rapping.
Carter "Fever One" McGlasson is a breakdancer and DJ originally from Seattle, Washington who relocated to New York City in 1997, and eventually joined the world-famous Rock Steady Crew. He is most well known for his 'gunzblazin' style which he developed while studying with his mentors Icey Ice and Lil' Lep of the New York City Breakers.
Lance Taylor, also known as Afrika Bambaataa, is an American DJ, rapper, and record producer from South Bronx, New York City. He is notable for releasing a series of genre-defining electro tracks in the 1980s that influenced the development of hip hop culture. Afrika Bambaataa is one of the originators of breakbeat DJing.
The history of hip-hop dances encompasses the people and events since the late 1960s that have contributed to the development of early hip-hop dance styles, such as uprock, breaking, locking, roboting, boogaloo, and popping. African Americans created uprock and breaking in New York City. African Americans in California created locking, roboting, boogaloo, and popping—collectively referred to as the funk styles. All of these dance styles are different stylistically. They share common ground in their street origins and in their improvisational nature of hip hop.
The South Bronx is an area of the New York City borough of the Bronx. The area comprises neighborhoods in the southern part of the Bronx, such as Concourse, Mott Haven, Melrose, and Port Morris.
↑ 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.
1 2 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.
1 2 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.
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