After I signed the contract handing rights over my script to Harry Belafonte, he slyly grabbed a copy of all my interviews by asking me to provide copies to the Schomberg Library in Harlem. I didn’t realize the library would advertise that fact and lead a parade of researchers, including Jeff Chang, to the treasure trove of early hip hop history. Many decades later, I realized searching my name on the internet mostly turned up links to the Schomberg Library.
I emailed them recently and asked for the return of my transcripts as they hadn’t even given me credit for donating them. After admitting a problem, their lawyer switched gears and claimed they didn’t have my transcripts and from then on, just kept gaslighting me. The day I signed that contract and turned over the transcripts was the day my name and presence disappeared entirely from Beat Street. I got zero recognition upon release and retain little to this day. I got the Morris Levy/Frankie Lymon treatment from Harry Belafonte.
Henry Chalfant was a super cool dude, one of the first photographers to document NYC graffiti. Manny Kirchheimer was the first filmmaker, and his film Stations of the Elevated is online. While I was working on Beat Street, Henry was just completing Style Wars, which was largely the work of Tony Silver. Tony I didn’t like so much. It was Tony’s idea to build Style Wars around Cap.
Belafonte and his crew already had my script, a realistic portrayal of a budding rap group trying to make a record. Slice of life and It also had a Romeo-Juliet style story concerning a South Bronx rapper hooking up with a girl from a privileged background.
But when Belafonte got a sneak preview of Style Wars, everything changed and my script was tossed and they began writing a new one using my characters names, and it was all about Cap, who they renamed Spit.
Cap was never mentioned in my book or my script. But when I asked Phase 2 who were the current kings, Cap was the first name he mentioned. “You have to give him props, because he’s so up,” said Phase.
Graffiti was divided into crews and crews had conflicts that sometimes included dissing each other’s work. Sometimes it involved tag rights, like the conflict between Snake and Snake-1. Snake 1 began adding “king of all snakes” to his tag.
Cap was not the loner they portrayed him as. He was in the Morris Park Crew, some of whom were dust heads. Instead of asking Phase or Tracy about Cap and his crew, Silver focussed on the younger writers in opposing crews building Cap up as the evil villain of graf, dissing the most sacred rules. Some of those kids were scared to death of Cap in real life, but in the film they talked big shit about how somebody was going to cap Cap. I imagine some of that drama could have been coached and encouraged by Tony.
Eventually, Cap was run out of the crew so demonized was he by Style Wars and Beat Street.
Beat Street should have started with the murder of Black Benji and the Ghetto Brothers Peace council.
The opening song should have been “Just Begun” by Jimmy Castor. The sound track should mostly been based on the real street hits, Apache, Mexican, Give it Up or Turnit Loose.
All art and graffiti should have been supervised by Phase and other greats and featured Dondi, Lee, Futura, Zeph, and given cameos to Haring and Samo.
The actors should have been real South Bronx or capable of walking, talking like a real South Bronx teen.
The interiors should have looked like real South Bronx homes, which means the black rappers were more middle class with nice couches covered in plastic, while the Latins more often were under the poverty line with mattresses on the floor.
As a result of these blunders, the film was not very successful. Really it flopped. Christmas theme in July? What happened is it got massive video rental sales. Which was nice as it got me a lot of royalties through the years, although nothing close to what Harry captured.
The Schomberg Library threw a party with Belafonte to celebrate the anniversary one year. I wasn’t invited. That was before I asked for my transcripts back and got snowballed.
Get a copy of “Hip Hop: the Complete Archives” and read the original script that springs right out of the era, one originally being fueled largely by cannabis, and later, by cocaine. Crack, on the other hand, only produced casualties. I’d like to stage a reading of the original script with some of the OGs playing themselves.