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If You Don’t Watch These Movies, You’re Racist

15 Feb

Fifth Avenue was slow in adopting hip-hop, but once ad agencies and marketing departments realized there were Big Buck$ in that beat, they took to it like gangbusters. Today, it’s hard to imagine a jingle or pop song without the familiar boom, snare, boom boom, snare, a beat that backs many forms of modern music, from country to country western. T-shirts emblazoned with logos and designs are common fare for the Wal-Mart rack, while graffiti seems to grow and grow worldwide. Hip-hop is a culture that has intermingled with so many mainstream cultures that it’s become the undercurrent to our daily lives. It’s hard to imagine a time that hip-hop wasn’t ever present in our society.


But such a time did exist, and relatively speaking it wasn’t that long ago. Hip-hop didn’t get absorbed into popular culture until Bill Clinton’s second term, though it had, by then, made significant inroads. When I was a little kid, hip-hop didn’t even exist, at least not in my cloistered world. I didn’t hear a rap song until radio station Z100 played “Jam On It” by Newcleus around 1985. In fact, rap music and hip-hop culture had to be presented to much of America, white or otherwise, before it took hold and spread like wildfire. The following four movies were earnest attempts at doing just that.


Style Wars, 1984
Of the four movies presented in this essay, Style Wars can be said to be the most “real,” in that it is a documentary instead of a fictionalized account of hip-hop culture. Originally planned as a documentary about break dancing, producers Tony Silver and Henry Chalfant began concentrating more on graffiti and rapping as the fad of break dancing started to die down (this film, along with Flashdance, helped revive it for a little while in the mid-eighties). You don’t have to be a fan of hip-hop to enjoy this engaging and well-made documentary, so quotable that some of my friends and I can speak solely in Style Wars language. We greet each other with “Gigolo! What you know?!” and describe a weekend plan as “everybody getting united at the bench, 149th Street, Grand Concourse.” This is probably my second favorite movie of all time after The Human Tornado.


Wild Style, 1983
This movie has been called an addendum to Style Wars, and it may be, at that. Featuring everyone in the hip-hop scene that wasn’t in Style Wars, Wild Style is a kind of Romeo and Juliet story about a graffiti writing couple’s struggle between staying true to the underground or blowing up and becoming minor celebrities among Lower East Side phonies. Or something like that. It’s an indie film at its most indie, which means it’s short on plot and technical ability, but it is long on actual footage of rap parties and writing graffiti in train yards. It’s rather touching that this movie attempted to be a crossover film to the mainstream by including Patti Astor in a miniature role. Wild Style is so bumbling, it’s adorable, and that’s besides the fact that Lady Pink is an 80s cutie throughout the movie.


Krush Groove, 1985
A fictionalized account of record label Def Jam’s early days, Krush Groove is different from the previous two movies I mentioned in that it doesn’t bother with many other elements of hip-hop besides the rapping and deejaying. Blair Underwood stars as Russell Simmons, and Russell Simmons stars as a nightclub promoter, and that’s just about the only thing coherent in the film. There’s a whole story about how Simmons’ acts get poached by another label and then the meat heads from House Party 2 beat the snot out of him for a while, but you can content yourself with watching a teenage LL Cool J in his big screen debut, as well as Fat Boys gluttonous montage “All You Can Eat,” a worthwhile reason to watch the movie by itself.


Beat Street, 1984
This would be the White Devil of the four movies presented here, being that it had the biggest budget and was distributed by MGM. Featuring Rae Dawn Chong and practically no one else worth mentioning, Beat Street is a kind of amalgam of the other three movies, featuring the most interesting elements of each film and discarding the personality. Oddly enough, though it’s the most mainstream of these four movies, it has some of the best scenes of urban blight of any of them, including a main character living as a squatter with his family, something which was a reality for many more New Yorkers during the 1970s than were Adidas sneakers. Of the four movies, this is probably the most watchable, but it’s the least interesting from a contextual perspective. Watch it only after watching the others, but don’t watch them all in the same day. You’ll probably want to go out and break dance after such a marathon.

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