Steven Hager, the writer behind the original screenplay “The Perfect Beat,” which later became the iconic hip hop film Beat Street The Movie, shares a candid look into the journey of his script and his perspectives on the evolution of hip hop culture. In this revealing interview, Hager discusses the initial vision for his story, the changes it underwent on its path to the big screen, and his thoughts on the final cinematic product that became Beat Street the movie. This is the story of how “The Perfect Beat” transformed, or arguably, lost its way, on its journey to becoming Beat Street the movie.
From “The Perfect Beat” Script to Hollywood’s Hands
Hager’s journey began with a script titled “The Perfect Beat,” born from his deep dive into the burgeoning hip hop scene of the late 1970s and early 1980s. Driven by a desire to portray the authentic origins of hip hop, he initially sought out production companies known for their politically conscious stance. Jane Fonda’s company in New York was his first stop. He envisioned a film that would truthfully depict hip hop’s roots, but his hopes were quickly dashed.
“I was hoping to find some politically aware company that would let out a truthful picture of the origins of hip hop,” Hager explained. However, Fonda’s company passed on the project. Adding insult to injury, an executive attempted to secure rights to his screenplay for a mere $500, a move Hager wisely resisted.
Undeterred, Hager then approached Harry Belafonte, a figure known for his social activism and artistic endeavors. Belafonte expressed interest, but his vision for the film differed significantly from Hager’s gritty, realistic portrayal. “Harry wanted to make a nice movie that really didn’t touch the dark side or show the violent and nasty aspects of life in the South Bronx,” Hager recounted.
While Belafonte acquired Hager’s script, the original story was ultimately discarded. Belafonte opted for a more sanitized and, in Hager’s view, “limp and bogus storyline.” Despite retaining a few character names from “The Perfect Beat,” the essence of Hager’s narrative was lost in Beat Street the movie. He received “story credit,” but the final product bore little resemblance to his initial vision.
The Gritty Reality Lost in Beat Street the movie
Hager envisioned “The Perfect Beat” as a film akin to “Boyz in the Hood,” grounded in the realities of life in the South Bronx. He lamented the dreamlike world depicted in Beat Street the movie, a stark contrast to the environment he had meticulously researched and aimed to represent. His disappointment stems from the film’s failure to capture the authentic living conditions and struggles of the people who pioneered hip hop.
Reflecting on Belafonte’s approach, Hager offers a more nuanced perspective years later. “But now I’m older and have kids myself, I understand where Harry was coming from. I think he was motivated by a strong desire to create positive role models for young black kids.” While acknowledging the good intentions behind Belafonte’s vision, Hager still maintains that Beat Street the movie strayed significantly from the true narrative of hip hop’s origins.
Hager emphasizes that hip hop emerged from teenagers seeking a positive alternative to gang violence. However, he criticizes the contemporary music industry for transforming hip hop into a genre often associated with violence. “The gang-bangers did not create hip hop, but they sure took it over once it started to make money,” he asserts. He believes that the industry now prioritizes commercially viable themes of violence and negativity over socially conscious messages. “The Message” by Grandmaster Flash and The Furious Five, a groundbreaking track known for its social commentary, “wouldn’t even get released” in today’s climate, according to Hager.
Unearthing the True History of Breakdancing
Hager’s exploration of hip hop went beyond just the music. He delved into the history of breakdancing, a crucial element of the culture showcased in Beat Street the movie. He points out that the film, and popular perception, often overlooks the early pioneers of breakdancing. “Break dancing did not start in 1983,” he states, correcting a common misconception.
He highlights the contributions of early breakdancing crews, starting with The Nigger Twins in 1975 and The Zulu Kings in 1976, predating the timeline often attributed to the dance form. He further notes the shift from predominantly Black crews to Hispanic innovators like The Rockwell Association (1977), The Disco Kids (1978), and the renowned Rock Steady Crew (1980).
While breakdancing competitions were intense and rivalries existed, Hager clarifies that the violence often portrayed was not inherent to the culture itself. Fights between crews “usually didn’t happen at the party, but afterwards or the next day.” He attributes some of the exaggerated urban myths surrounding breakdancing violence to early media coverage, particularly a Village Voice article that, according to Hager, contained inaccuracies fueled by young, misinformed sources.
The Social and Cultural Context of Hip Hop’s Birth
Hager emphasizes the crucial social context in which hip hop emerged – the aftermath of intense gang violence in the South Bronx. “The culture developed right after an intense gang period, which had become burnt-out due to violence overload.” He suggests that a desire for a safer environment, particularly driven by young women, played a significant role in the shift towards hip hop culture. “The girls especially, I think, began pushing for a new culture that provided a safer environment. People got tired of all the shooting and killing. When the prettiest girls in class start dating the deejay, it sends a message to everyone.”
Another often-overlooked factor, according to Hager, is the influence of drugs, particularly marijuana and LSD, in the early creative explosion of hip hop. He notes a trajectory from these substances to the later dominance of harder drugs like dust and crack, acknowledging the complex and sometimes dark undercurrents within the scene. He believes these experiences, though often challenging, are integral to the full story of hip hop’s development.
Hager describes the early hip hop scene as a clash of cultures – a “macho mentality” prevalent in the streets juxtaposed with the artistic and intellectual spirit of the DJs, breakers, writers, and MCs. While these artists were not “thugs,” the “macho code” of the streets often forced them into confrontations. Many venues were connected to organized crime or gangs, requiring street DJs to navigate a “serious security scene (guns)” and forge alliances with local gangs for protection.
Despite these challenges, Hager highlights the fundamentally different nature of hip hop compared to gang culture. “But the ultimate hip hop arena was always the party: the block party, house party or club party. And the ultimate gang arena has always been the gauntlet or the rumble. That’s the difference. It’s two different mindsets. One’s about fun, creativity and style, the other’s about domination through violence.” This distinction underscores his belief that hip hop, at its core, represented a positive shift away from violence, a message he feels was diluted in Beat Street the movie.
Steven Hager’s Hip Hop Genesis
Hager recounts his initial encounter with hip hop upon arriving in New York City in 1978. He was struck by the sight of “kids with Ghetto Blasters and seeing the trains” covered in graffiti. Initially, he even believed the graffiti art was commissioned by the city, impressed by its beauty. A pivotal moment came at an art opening called “New York New Wave” around 1980, where he saw a subway car graffiti piece by Futura 2000 titled “Break.” Connecting this with Kurtis Blow’s song “The Breaks,” he realized the interconnectedness of graffiti, music, and dance, sparking his desire to investigate further.
At the time, Hager was a reporter for the Daily News. He seized the opportunity to cover the emerging art scene, with one of his first stories focusing on Futura 2000. Through Futura 2000, he was introduced to the Soul Artists meetings and Fab 5 Freddy, who in turn connected him with Afrika Bambaataa. His interviews with Bambaataa became the foundation of his extensive research into hip hop.
The Journey from Article to Book and Screenplay
Hager’s deep dive into hip hop culture led him to write a significant article about Afrika Bambaataa. However, he faced resistance from publications. “I must have sent queries to every major magazine in America at the time, and no one was interested in Rap, graf & Breakdancing – it was totally off the radar.” The Village Voice eventually published his Bambaataa article, but only after a six-month delay.
During his early interviews with Bambaataa, Hager inquired about a name for the burgeoning cultural movement. Bambaataa provided the term “Hip Hop,” a word Hager had never encountered before and one that was not yet in print. This article became the seed for his seminal book, “Hip Hop: The Illustrated History Of Rap Music, Break Dancing and Graffiti.” Despite the cultural significance hip hop would later attain, in the early days, “Nobody saw any money being made – there were a few records out, but no one saw the cultural importance of the whole genre. The New York Times told me that it was just a fad.”
Before his book, Hager penned “The Perfect Beat” screenplay, drawing inspiration from his research and interviews with key figures like Kool Moe Dee, Phase 2, Kool Herc, Bambaataa, Futura 2000, and Grandmaster Caz. While he acknowledges their stories influenced his writing, he reiterates that “none of what I wrote ended up in Beat Street the movie.” His script aimed to be a “slice of life drama,” capturing the “grittiness and feel of what was going on” during hip hop’s formative years.
The Legacy of “Hip Hop: The Illustrated History”
Hager’s book, “Hip Hop: The Illustrated History,” despite its initial lack of support from the publisher, went on to become a highly sought-after collector’s item. He was surprised to learn of its high resale value, often exceeding $500. “The publisher that published it didn’t give jack shit about the book. I hated the whole design, the layout and everything about it. They used cheap paper, it was horrible.” Despite his dissatisfaction with the production quality, he poured his efforts and resources into securing the best available photographs for the book, recognizing the visual element’s importance in documenting hip hop culture.
The book quickly went out of print, but its impact endured. Hager recounts how the Rock Steady Crew made and distributed Xerox copies of the book, highlighting its importance to the hip hop community. His immersion in hip hop culture also led him to reconnect with his own musical roots in 1960s garage band rock, inspiring him to start a band. While he didn’t pursue rapping himself, he was deeply inspired by the DIY ethos of the early hip hop pioneers. “It was awesome to see these kids just doin it.”
Battles, Rhymes, and Run-DMC
Reflecting on the early MC scene, Hager recalls the intense rivalry between Kool Moe Dee and Melle Mel, particularly their legendary battles at the Disco Fever. “At the time that I was working on my book the big showdown was always between Kool Moe Dee and Melle Mel. Wherever they were gonna go one on one was the place to be, and that was usually the Disco Fever.” He describes these clashes as “super hyped up moments” in hip hop history.
Hager also shares his admiration for Run-DMC, who emerged later in the timeline of his hip hop involvement. He considers them “probably the last group that I bought music from, and went to see in concert.” He recognized their impact as a revitalization of hip hop’s original energy, contrasting them with other artists who were exploring different directions. “Everyone else was flyin’ off into tangents. Furious 5 were dressing in S&M gear, Bambaataa was looking like Funkadelic & George Clinton, and here came Run Dmc with the original thing and no one could touch ‘em.” For Hager, Run-DMC represented a return to the core spirit of early hip hop, marking a point where he felt the genre had reached a peak in its original form before evolving into new territories.
Old School vs. New School and Hager’s Current Path
Hager expresses concern about the lack of support for original school hip hop artists in the contemporary music scene. He notes that they are often “made mockery of by current artists, djs and fans” when they attempt to release new material. Despite this, he believes in their enduring talent and relevance. “I think that they should still try, as long as they have something to say. When you have great talent it doesn’t just go away. There should be an old school tour goin’ on every year.”
He fondly remembers the photographic content of his “Hip Hop” book, highlighting iconic images like “Cold Crush in the phone booth, Furious 5 with Flash holding the camera and Treacherous 3 sitting on a car.” Many of these photos were specifically commissioned for the book, capturing intimate and authentic moments of early hip hop culture.
Currently, Steven Hager serves as the editor of High Times magazine, a role he took on after his time at the Daily News. He describes his unexpected entry into the world of cannabis culture, initially not being a regular smoker himself. However, he was drawn to High Times as “the last nationally distributed publication that was independently owned” and offered him creative freedom. His work at High Times has led him to explore political assassinations, conspiracy theories, and drug policy reform, advocating for marijuana legalization and highlighting the “great scam that’s perpetuated on the people” through the drug war.
Steven Hager – High Times Editor
Hager defends High Times’ overt promotion of cannabis cultivation, citing the First Amendment right to campaign for marijuana legalization and distribute related information. He champions home cultivation as a way for individuals to access pure, untainted cannabis for medicinal and personal use.
In conclusion, Steven Hager’s journey from writing “The Perfect Beat” to witnessing its transformation into Beat Street the movie offers a valuable perspective on the complexities of translating authentic cultural narratives to the screen. While Beat Street the movie achieved mainstream success and introduced hip hop culture to a wider audience, Hager’s account underscores the compromises and deviations that can occur in the Hollywood process, often diluting the original vision and gritty realities of the story. His work as a writer and cultural observer provides crucial insights into the history and evolution of hip hop, reminding us of the importance of understanding its true origins and the voices of its pioneers.
