"...with a kung-fu grip that don't even work!"
Wheeeeeeeeeeeee! Here we go...
Kenny is an aspiring mixmaster/deejay. He mans the wheels-of-steel at Kool Herc's happening hangout, The Burning Spear. Kenny's brother is Lee. Lee participates in subway platform breakdance battles. Lee befriends serious dance student Tracy. Tracy falls for a guy from the wrong side of the split-open cardboard box, Lee's brother Kenny. They have snowball fights, roam subway passages together, and have arguments about what it really means to be "down".
Oh, and Kenny has a friend named Ramo' who bombs (spray-paints graffiti on) the endless number of clear, white, subway trains that were seemingly in circulation during the filming of this movie. Only, there's some jagoff named "Spit" that keeps painting over Ramo's mobile masterpieces. "Why does he do it", asks Ramo's homey. "'Cuz he can't do no better" comes the response. Yup. Intense stuff.
But "Beat Street" was never about plot, or acting, or even breakdancing (there are but a few short scenes featuring any at-length dancing at all).
It's all about rap songs with lyrics like: --"My name is Brenda Starr, and I, move to the beat/I go to the Roxy just to move my feet"... or: "Jingle, and Jangle, a Jingle-Jangle for the poor/and when you get your welfare check, you can buy reindeer by the score!"
It's all about juicylishus wet dripping Jerri-curls and goose down coats. It's about Fila suits and sneakers with the tongues hanging out. It's about girls named Sha-Rock and guys named Cosmic Pop, Crazy Legs or Powerful Pexster. It's about manly-man rapper Grandmaster Mel E. Mel, wearing zebra-print scarves, thigh-high black leather boots, dreadlocks with Christmas ornaments on the ends, and a wrap shawl that looks like a mutant-sized tarantula crawled onto his shoulders, threw-up, and then died.
Stay tuned for the film's "Showtime At The Apollo/Welcome To Your Own Personal Hell" grand finale. It's true-- white men can't jump and not all black guys can rap either. Word.
Wheeeeeeeeeeeee! Here we go...
Kenny is an aspiring mixmaster/deejay. He mans the wheels-of-steel at Kool Herc's happening hangout, The Burning Spear. Kenny's brother is Lee. Lee participates in subway platform breakdance battles. Lee befriends serious dance student Tracy. Tracy falls for a guy from the wrong side of the split-open cardboard box, Lee's brother Kenny. They have snowball fights, roam subway passages together, and have arguments about what it really means to be "down".
Oh, and Kenny has a friend named Ramo' who bombs (spray-paints graffiti on) the endless number of clear, white, subway trains that were seemingly in circulation during the filming of this movie. Only, there's some jagoff named "Spit" that keeps painting over Ramo's mobile masterpieces. "Why does he do it", asks Ramo's homey. "'Cuz he can't do no better" comes the response. Yup. Intense stuff.
But "Beat Street" was never about plot, or acting, or even breakdancing (there are but a few short scenes featuring any at-length dancing at all).
It's all about rap songs with lyrics like: --"My name is Brenda Starr, and I, move to the beat/I go to the Roxy just to move my feet"... or: "Jingle, and Jangle, a Jingle-Jangle for the poor/and when you get your welfare check, you can buy reindeer by the score!"
It's all about juicylishus wet dripping Jerri-curls and goose down coats. It's about Fila suits and sneakers with the tongues hanging out. It's about girls named Sha-Rock and guys named Cosmic Pop, Crazy Legs or Powerful Pexster. It's about manly-man rapper Grandmaster Mel E. Mel, wearing zebra-print scarves, thigh-high black leather boots, dreadlocks with Christmas ornaments on the ends, and a wrap shawl that looks like a mutant-sized tarantula crawled onto his shoulders, threw-up, and then died.
Stay tuned for the film's "Showtime At The Apollo/Welcome To Your Own Personal Hell" grand finale. It's true-- white men can't jump and not all black guys can rap either. Word.