Soundtrack Saturday: “Breakin’ 2: Electric Boogaloo”

Kelly Stitzel August 29, 2009 18

You knew this day was coming and now it’s arrived: after a few mentions in previous posts, Breakin’ 2: Electric Boogaloo (1984) has finally, officially invaded Soundtrack Saturday.

Released only seven months after the first Breakin’, Breakin’ 2: Electric Boogaloo (FYI: You can’t just say “Breakin’ 2.” The “Electric Boogaloo” must always follow. It’s a rule.) brings back our heroes from the first film — Kelly (Lucinda Dickey), Ozone (Adolfo “Shabba-Doo” Quinones), and Turbo (Michael “Boogaloo Shrimp” Chambers) — who use their breakdancing skills to try and stop a greedy land developer from tearing down their beloved community center.

When we join our heroes, we find that Kelly is working as a dancer and apparently hasn’t seen her buddies Ozone and Turbo in a while. She decides she misses them, so she makes a visit to Miracles, the community center where they work. Turns out a developer wants to bulldoze it in order to build a shopping center. Ozone and a few of the other volunteers, including Byron (Harry Caesar), the man who runs Miracles, go to City Hall and find out from the city commissioner that they have 30 days to raise enough money to save and renovate the center or the developer will have his way and the building will come down.

Ozone, Turbo, and Kelly, along with the other volunteers and kids who use the center, decide to try and raise money by holding a car wash. When that endeavor doesn’t raise enough funds, they decide to throw a big street festival to raise more money. Later, as the group is doing maintenance on the community center, Kelly tells Ozone she’s up for the lead in a show in Paris. He questions her loyalty to the community center and whether or not she’ll stick around to help save it.

But before she can address Ozone’s concerns, a rival breakdance gang throws a can of spray paint through the window of Miracles, forcing a dance-off in the middle of an alley (which is the best place for a dance-off, if you ask me). Upon returning to the center, the dancers discover the developer and his crew surveying the property on which the center sits. They confront him, telling him that he won’t succeed in driving them away.

Now, as this whole situation with the center is going down, Ozone and Turbo are facing another challenge — their love lives. Ozone’s ex-girlfriend, Rhonda (Susie Coelho), wants him back and tells him to stay away from Kelly, to which he replies, “Girls are whacked.” Meanwhile, Turbo has fallen for a young Latina he’s seen dancing at Miracles, prompting him to ask Ozone and Kelly for advice on how to approach her.

Kelly auditions for the show in Paris and is pretty close to landing the gig, but because of Ozone, she questions whether or not she wants to take it. She suggests to him that they ask her wealthy parents for help in saving the community center, but Ozone says that idea is “whacked” (a lot of things are “whacked,” apparently) and he doesn’t want to ask rich people for help. Kelly quickly convinces him that it’ll be fine and she suggests that the two of them, along with Turbo, have dinner at her parents’ house to discuss the matter.

When they arrive they discover that her parents have also invited her ex-boyfriend, an obnoxious, preppy lawyer named Derek (Nick Segal)t. The dinner turns out to be a wash — Kelly’s father is rude and condescending to Ozone and Turbo, forcing Ozone to storm out.

Later at the Radiotron club, where all the cool kids in the ‘hood hang out, Ozone attempts — and fails — to get his chief breakdance rival, Strobe (Steve Notario), to join him and his crew to save Miracles. Then Kelly tells him that she got the part in the show in Paris, which pisses him off even more, so he storms out of Radiotron too. As she tries to follow Ozone out of the club, she’s confronted by her rival, Rhonda, and her crew (which includes a young Lela Rochon). Rhonda tells her she doesn’t belong in the neighborhood, so Kelly decides the best thing for her to do is take the job in Paris, much to her parents’ delight.

The day finally comes for the hearing that will determine whether or not Miracles is torn down in favor of building a shopping center. The city commissioner decides to rule in favor of the developer, a decision which all the kids declare is “whacked.” She gives the Miracles crew two weeks to vacate the building, but Ozone tells the developer that he’s not going to win and his group won’t give up until they save the center.

Back at Miracles, Turbo gets in a fight with some of the developer’s construction crew, which lands him in the hospital. As Kelly is leaving for Paris, Ozone shows up at her house to to tell her about Turbo. She starts to leave with him to go to the hospital, but her agent is there and tells her that if she misses her plane she’ll lose the part, to which she replies she doesn’t care. Hells yeah! She then exits with Ozone.

At the hospital they find an unconscious Turbo, who has a broken leg and a broken arm. After a kiss from his Latina crush, he wakes up, and the entire hospital starts dancing. (I’m pretty sure “hospital staff and other patients dance when you get well” should be added to the controversial health-care reform bill.)

To celebrate Turbo’s recovery, Kelly and Ozone spend the night together (okay, so that’s probably not the reason, but the transition from the hospital dance to them at her house the next morning is pretty terrible), and the next day her father comes over to confront her about turning down the job in Paris. When he finds her with Ozone, he offers to bail out Miracles if she stays out of the neighborhood and goes to Princeton (wait a second — I thought he wanted her to go to Paris). Kelly considers it, but Ozone tells her he won’t let her do it because he knows she doesn’t want it. He tells Kelly’s father that they don’t need his money, but they do need Kelly. When she declares that she’s staying to help out Miracles, her father tells her she’s making a huge mistake.

Meanwhile, Turbo decides it’s time to bust out of the hospital, and enlists the help of his crush. The rest of the group is preparing for the street fair, and when Kelly arrives, she and Rhonda get in another fight, which is interrupted when the developer’s bulldozers arrive. This prompts another dance-off against the bulldozers — and why wouldn’t it?

The ruckus attracts the attention of a local news reporter and potential negative publicity. A representative from the city, who’d previously been on the side of the developer, tells the reporter that the city plans to help the kids save Miracles. The developer then pulls the city rep aside and asks him what’s going on; when he’s told that the city is pulling out of the project, he announces to the reporter and the rest of the group that he too plans to pull out of the project. The developer also declares that he’ll donate $10,000 to Miracles to help the kids renovate it.

After this announcement, the street fair/dance festival begins. The reporter continues covering the event, which Kelly’s parents see on TV. After hearing that the kids have raised $150,000 but need at least $200,000 to renovate Miracles, Kelly’s parents decide to help out as well. They head down to the street fair to tell Kelly they’re proud of her, and her father writes the center a check for $50,000, allowing the Miracles group to reach their fundraising goal. The movie ends with a big dance party and Carol Lynn Townes performing “Believe in the Beat.”

Along with the return of most of the original cast (including Ice-T), the breakdancing, the amazing dialogue, and the brilliant acting are also back for a second round.

And the clothes. Oh, the clothes. I wish I still lived in a world where everyone dressed like this …

And this …

And this …

Okay, so maybe not everyone dressed like that, but wouldn’t be great if they did?

Breakin’ 2: Electric Boogaloo also sees the return of Ollie & Jerry, who had a top-ten hit with “Breakin’ … There’s No Stoppin’ Us” from the first film. While I don’t like the Electric Boogaloo soundtrack as much as I like the Breakin’ soundtrack, there are some really fun songs on it.

I’ve compiled most of the soundtrack here (and just so you know, I have this album on vinyl), but there are quite a few tracks I couldn’t find, including some Ollie & Jerry instrumentals and a couple Ice-T/Chris “The Glove” Taylor songs (I did find one of those on YouTube and have provided it below). As I dug around the Internets looking for these missing tracks, I discovered that no one else has been able to find them, either — it would seem they’re unavailable. Sad face.

All right then, off to plan my Halloween costume — I’m going as Shabba-Doo!

Carol Lynn Townes – I Believe in the Beat
Ollie & Jerry – Electric Boogaloo
Firefox – Stylin’ Profilin’
George Kranz – Din Daa Daa
Firefox – Radiotron
Steve Donn – Gotta Have the Money
Midway – Set It Out
Rags & Riches – Oye Mamacita
Jeff Tyzik – Jammin’ in Manhattan
Mark Scott – I Don’t Wanna Come Down
Ollie & Jerry – When I.C.U.

BONUS TRACKS:
Ollie & Jerry – Electric Boogaloo (Dance Mix)
Ollie & Jerry – Electric Boogaloo (Instrumental)
Carol Lynn Townes – Believe in the Beat (Dance Mix)
Carol Lynn Townes – Believe in the Beat (Instrumental)
Midway – Set It Out (Instrumental)
Midway – Set It Out (Long Vocal Mix)
Midway – Set It Out (Bonus Beats Dub Outro)
Rags & Riches – Oye Mamacita (Extended Dance Mix)

Ice-T, Chris “The Glove” Taylor, and David Storrs, “Reckless Rivalry”:

Reblog this post [with Zemanta]
  • http://mulberrypanda96.blogspot.com rwcass

    Only seven months apart? Yikes. So do you know if the two films were shot back-to-back, like the “Lord of the Rings” movies or the first two “Superman” films, or does “Breakin' 2″ look like it was written and filmed within a span of about five months?

  • http://robertcashill.blogspot.com BobCashill

    The BREAKIN' films hailed from Cannon, which was quick to exploit an opportunity. BREAKIN' may have been its most successful production, with a $35 million gross. ELECTRIC BOOGALOO made only about 1/3 of that as the craze it piggybacked off of expired. I'm sure it was greenlit the Monday after BREAKIN's hit debut.

    The director of EB, who had helmed the successful (and jaw-droppingly fabulous) REVENGE OF THE NINJA and NINJA III: THE DOMINATION for Cannon (the latter starring BREAKIN' star Lucinda Dickey), went on to direct the company's RAPPIN'. There was no sequel.

    I miss Cannon, whose output dominated grindhouses in their early- to mid-80s decline.

  • http://mulberrypanda96.blogspot.com rwcass

    I remember an appearance Chris Elliott made on “Late Night” — after he'd left the show to do “Get a Life,” I think — where he talked about a new movie he'd made that was produced by Menahem Golan and Yoram Globus, and he made sure to emphasize the “ach” sound in Golan's first name. The clip he showed was from his daughter's birthday party. I'm guessing the daughter was Abby Elliott, who's now on “SNL.”

    Van Damme didn't return for a cameo? That's “whacked.”

  • http://jackfear.blogspot.com Jack Feerick

    Fun fact: Jeff Tyzik is now artistic director and principal conductor for the Rochester Pops Orchestra in my adopted hometown of Rochester, NY.

  • http://www.popdose.com DwDunphy

    And Rhonda (Susie Coehlo) is now a famous style guru a'la Martha Stewart.

  • http://www.popdose.com DwDunphy

    There's no room for a Cannon anymore. The big studios have their own exploitation flick wings as well as their indie film subdivisions. It would be like starting a burger joint and having for others open right around you, all covertly owned by McDonalds and Burger King.

  • http://robertcashill.blogspot.com BobCashill

    Those studio-funded wings are closing up shop now, while the would-be Cannons of the world have pretty much retreated to the DVD market, where they're easy to ignore. I miss Cannon's gigantic ads in Variety, which can be found online. Showmanship!

  • http://www.popdose.com DwDunphy

    I miss Empire Pictures. Yeah, their movies tended to err on the side of schlocky, but that was balance in the marketplace.

    Wasn't Cannon the studio behind the original Masters Of The Universe movie featuring Dolph (Malph) Lundgren?

  • http://robertcashill.blogspot.com BobCashill

    Count me in as an Empire fan, particularly its run of Stuart Gordon pictures (RE-ANIMATOR, FROM BEYOND, etc.).

    Cannon did indeed produce the He-Man movie, the same year it funded the mostly miserable (and more pricey) SUPERMAN IV. Those more expensive gambles not paying off led in part to its demise.

    I got to know MASTERS' director, Gary Goddard, when I wrote about theme park design (his specialty, including the T2 and Jurassic Park rides at Universal). He had large posters of it in his office, but I think his experience was mixed (he's yet to direct another feature).

  • http://www.bullz-eye.com DavidMedsker

    Listening to “Din Daa Daa” and holy crap, so that's where that bit in “Pump Up the Volume” came from. Thanks, Kelly!

  • http://www.bullz-eye.com DavidMedsker

    Listening to “Din Daa Daa” and holy crap, so that's where that bit in “Pump Up the Volume” came from. Thanks, Kelly!

  • http://www.bullz-eye.com DavidMedsker

    Listening to “Din Daa Daa” and holy crap, so that's where that bit in “Pump Up the Volume” came from. Thanks, Kelly!

  • Mila

    What is name of the little kid in both movies? There’s a scene where he dances out of a garbage can and lots more…. What’s his name and what he’s done since then.

  • Pingback: DVD Review: “Pulling John” | Popdose

  • steven mogg

    hello i was brought up on this music in the 80s i have both the movies great dance movies the moves are unreal ozone turbo and special k cool names aye make a facebook guys ill add u definately

  • Pingback: Soundtrack Saturday: “Fast Forward” | Popdose

  • Pingback: Soundtrack Saturday: “Beat Street” | Popdose

  • http://twitter.com/johnbutterfield João Filipe G.

    it was indeed a cool movie. i have a copy on dvd. watch it from time to time. also a good soundtrack, fresh and uplifting beats. which i also have on vinyl. that said, nice review, you almost described the whole plot, very well, ( i studied cinema ), i wish i had story pitches like that, from those lines, one can develop whole movies. have a great time. friendly, john from portugal