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272 pages, Hardcover
Published November 4, 2025
…because these things happen…Or
…there doesn’t need to be a reason…
BS producer, Harry Belafonte initially contracted Andrew Davis to write and direct, but halfway through production replaced him with TV director, Stan Lathan. During BS’ publicity, Lathan implied (to a New York Times reporter) Andrew Davis was replaced because of his ethnicity, more specifically, their targeted demographic would appeal to a “more realistic” [née: non-white] filmmaker.
Forty years later, Andrew Davis revealed, when he was initially dismissed, Belafonte had been overseas, promoting his [documentary] A veces miro mi vida (1982), at an annual Swedish film festival, when the singer/producer fell behind on Beat Street‘s music production. Needing more time (and scapegoat), Belafonte appealed to Orion Production VP Mike Medavoy, insisting they would need to replace their first-time director and reshoot his footage (deeming it “unusable”). Davis’ cinematographer, Tak Fujimoto, and, music producers Chaka Khan and Herbie Hancock were also replaced (out of loyalty to Davis, and [re-]scheduling availability, respectively). Belafonte’s new music designer, Arthur Baker, demanded [and got] all of the soundtrack’s publishing rights.
Medavoy later said, had it not been for Cannon’s Breakin’ (1984) (competing for the market share pole position), he likely would have proceeded more cautiously; As it was, Medavoy only glimpsed Davis’ supposedly “unusable” footage after Lathan [Davis’ replacement] resumed production. Medavoy insisted there was absolutely nothing wrong with his Beat Street footage, when he promptly turned around and re-hired Davis to helm their new Chuck Norris vehicle, Code of Silence (1985) - after recently tempting Norris away from his home studio, Cannon, with the promise of bigger budgets (for both production and marketing).