Friday, August 22, 2008

A TRIBUTE TO BREAKIN: MY INTERVIEW WITH ADOLFO "SHABBA DOO" QUINONES

They say you should NEVER meet your heroes. So maybe that was the reason for all of the fluttering butterflies that were floating around in my belly on Sunday, the night before I met up with Mr. Adolfo Quinones…better known as Shabba-Doo or Ozone from "Breakin’." I was just a young tenderoni the first time I saw him in the classic films “Breakin” and “Breakin 2: Electric Boogaloo” and was immediately a fan. It was love at first sight. Ozone was the epitome of cool and the originator of what it means to be Swexy (Sexy with Swagger). While Turbo fueled my infatuation with chocolate guys with slanted eyes, a feature in men I still can’t seem to shake…lol.

It wasn’t until I later learned about “The Lockers,” while watching “What’s Happening,” that I realized that Mr. Shabba Doo was more of a living legend than I had first assumed. “The Lockers” were always fly with their out of this world dance moves and just downright giddy attitude about everything. They always put a smile on my face when I saw them on anything. I can’t tell you how many tapes I have stashed away in my closet with those brothas grooving in their legendary and wildly creative outfits.

Back then, Ozone was known as “King Rookie,” the youngest member of this infamous group and was always one of the most animated members. Memorable, that he was….Memorable, that’s what he is.

I can’t tell you how proud and excited I am to bring to you an interview with one of my personal heroes of film and dance…Mr. Adolfo ‘Shabba-Doo’ Quinones.

Click below to read the interview...

FADE IN:


SHEQUETA
How and when did you get started?

ADOLFO
That’s kind of a tricky question. I mean you could say I started when I was 4 and 5 years old really. Dancing at parties, my mom’s parties (and) relatives. They’d say let’s get the kids out after they’d been drinking for a little bit. Let’s have them dance and have a little show. You could say I started there in a lot of ways but I think the real beginning for me as a professional happened about circa 1971. Me and my sister Fawn, who was an original Soul Train dancer as well, we entered into a contest at Fullerton College in Orange County. They had what we call a Black Student Union - BSU. The Black Student Union was putting on a dance and a dance contest. My sister convinced me - which I wouldn’t recommend to other people - to steal our mom’s car (laughter) and drive to this contest. When we got into the contest we met a guy named Campbellock Jr. and he won first place and he was a “Soul Train Gang” dance member at the time and brought us on the show. That was my beginning in 1971. Late Fall ’71/Spring ’72, when I became a “Soul Train Gang” member with “Damita Jo”, and “Campbellock,” and all the “Lockers,” “Fred Berry - “Rerun,” well we called him “Mr. Pinguin,” “Slim The Robot,” and various others well known on Soul Train. Yeah that was the beginning.

SHEQUETA
Do you have children, are you married?

ADOLFO
I’m not married. I have children – have two kids. I have a son named Vashawn Quinones and my daughters name is Tassini. By different moms, two ladies. I was married twice. Wasn’t that good at it. I wouldn’t say that my marriage was no good because of the ladies that I married. They turned out to be very wonderful ladies and I was just incapable of having a meaningful relationship or maintaining one. I had good relationships, they were good. I wish I could have recognized how good they really were. Sometimes, you know, hindsight is 20/20. This is very true. Anyway, my ex-wife was Lela Rochon. Also another great lady, wish I could have been better – I wasn’t – our breakup was all my fault, not hers at all. And my other wife was Gwen Powell, again lovely lady, terrible at being a husband and being a boyfriend. So I lost two really great people. But being fortunate as I am I have a wonderful lady now and I’ve learned my lesson and we’ve been together going on seven years. In a lot of ways she has kind of taught me how to be a good man. And it wasn’t like you better do this you better do that. I think you really learn by example and I think she’s a really good example. But then you know I’m getting a little bit more mature in recognizing a good…how good something is when I see it. So there you have it, her name is Jaayda.

SHEQUETA
How old are your kids?

ADOLFO
My son is thirty and my daughter is 20.

SHEQUETA
How old are you?

ADOLFO
I’m fifty three. And that’s a number that kind of surprises people because when they think about the Breakin’ movies, they thought of me as a kid dancing. I was really a full fledged man of thirty years old playing an eighteen year old. And I’ve always just looked younger than my age you know.

SHEQUETA
Good genes.

ADOLFO
Yeah. They say black don’t crack.

SHEQUETA
Where are you from originally and where all have you lived?

ADOLFO
I’m originally from Chicago and I grew up primarily on the north side of Chicago. Around what is called now called Lincoln Park Heights. I lived in Halton Armitage. Stayed for a while in Cabrini Green Projects. 626 Larabee, the white projects. So primarily on the north side but did spend some time on the south side. But I’m from Chicago and I’ve lived in Chicago, Fullerton, Orange County, Anaheim, all around Orange County. Then Los Angeles and in the Valley, mostly the Valley. And then I was living in Beverly Hills and then I moved from Beverly Hills to Valencia.

SHEQUETA
I thought you lived overseas?

ADOLFO
A lot of people thought I lived in Paris. That’s always something I’ve wanted to do and at some point I still may. I have a desire to live in Europe, it’s a beautiful country. I think they thought that because I spent so much time over there. And then had interviews where I said I really would like to live there. Then I was there for so long and they said oh you’ve moved here. But I didn’t really move there. I’ve never actually lived in Europe.


SHEQUETA
Tell me about Breakin’, how long did it take to shoot? Where is Miracles?

ADOLFO
Miracles is located in East Los Angeles. It’s called Casa Del Mexicano. It’s an at-risk youth facility. I don’t know if it’s abandoned or dilapidated now but that’s basically what it was. So the Director (and) Screenwriter kind of used the history of that place and kind of used it in the movie, so it was life imitating art and art imitating life scenario happening there. It took only 21 days to make Breakin’ at a budget of nine hundred thousand dollars. It broke box office records and was the beginning of the hip-hop movement as we know it. If it didn’t’ work I think this culture would have been in trouble, if they had tried other things. And certainly the Lockers thing - being one of the original Lockers…we did a lot of television and broke a lot of ground in that way but we hadn’t really proved ourselves on the big screen in terms of the people and the culture and all that stuff. I mean certainly we had the Blaxploitation era but we didn’t have a film era that really says that hey it’s a valuable art form, they could make money.

ADOLFO CONT'D
So Breakin’ did that. I mean we had “Beat Street” we had all these flood of those types, “Body Rock” and different types, “Fast Forward.” Everybody was throwing their hat in the ring but it was “Breakin’” (that was) the one that really worked. It worked for several reasons. One is I think that it was the first film that showed hip-hop was really like a…had a multicultural face to it. And we always knew that. When I went out, I saw whites and blacks and Hispanics and I saw Asians and whatever all working together and doing it together. But it was perceived through the media as being only a black culture or Hispanic culture. It wasn’t really something that everybody did. And Breakin’ showed that with that white girl in it. You know you got Kelly in the middle of all these black people…Spanish people and then you have wow there’s a place for us and they totally identified with that. And that I think was key.

ADOLFO CONT'D
And then the other one is in the key roles you had my character Ozone and you had Boogaloo Shrimp’s character Turbo. We were real street dancers. We weren’t something that was manufactured by Hollywood. We were real, everybody knew that and when you watched the movie you said wow they are real, you could tell. It was almost like a reality movie really if you think about it. It was like they just took a camera and followed us around. It felt that real. Well it was because of the clothes that we wore in the movie and the way we were dressing and all that stuff…and our whole attitude and the vernacular. The whole nine was us. They called him Ozone but that was really Shabba Doo. And they called him Turbo but that was Boogaloo Shrimp. I mean we wore those clothes everyday, we went to the store like that, we went grocery shopping like that. You know what I’m saying, that wasn’t a costume. So in that way I think the young kids in the inner city (and) around the world identified with that as being real and they knew it. When we said something about me being a dancer or if I said you know I do it for myself or I said these kind of like now iconic lines in the movie, then it’s just that’s real.

SHEQUETA
What were things like back then?

ADOLFO
How do you really describe a birth of a culture? How do you really describe birth? I mean you can talk about it in a scientific way. You know when the sperm enters the egg and da, da, da. But when you sit back and you really think about the grand scope of creation. And you think about that sperm and the chance of that sperm entering a female’s egg and really becoming a real life. And then a life that goes on to college and has children of it’s on and perpetuates your family line and all that, it’s pretty magical you know. Well you know in those days it was pretty magical. Every day I woke up, every day I think all of us (woke up)…you knew you were in the middle of something. You didn’t know what it was but it felt like, it felt like if you were to stick your head into a bee hive. There were just like a lot of things going on. A lot of things and a lot of language and it was one of the first times – outside of Soul Train – where different points of view and different pockets of the world, primarily in the United States and primarily African American…

ADOLFO CONT'D
I’m saying Hip-Hop may have a multi-cultural face but let’s not be fooled because it did come from you know our people. It did come from black people, and Africans, and Puerto Ricans and all that too. Just like blues and jazz. But now it’s the world and now you know they have their Benny Goodman’s and they have their whatever but it still came from that. So during that time, it was kind of like…it felt like cause I grew up in the seventies…it felt like when the Hippies were really big. It had a revolution feel to it. Like we felt…I felt like a revolutionary. And I think sadly it’s lost some of that. People are into copying people. People are into…they watch YouTube and there’s no more creativity anymore. It’s like let’s look there. Let’s find our identification based on what someone else is doing, not about ourselves, and not about self expression. And that’s (self expression) what was beautiful. That’s what’s so beautiful about every single one of us. I wish they would return to that.

SHEQUETA
Were you offered roles after Breakin’ that didn’t involve dancing?

ADOLFO
Um, yes and no. You gotta realize when I did Breakin’…if I had did Breakin’ now, I’d be a super, super, super star. I’d be like Orlando Bloom or something. Because we made that movie during a time there was no internet. There was no MTV. Even so, that movie made and enormous amount of money without the help of…there was no BET…there was nothing to help us along. Matter of fact our own people, which is odd because you would think… This is pretty much true even today. You know I could go up to BET and they would look down their nose (at me). But it’s like wait a minute…but you built your whole back on all of our work. But they’ll look down their nose at us. And it’s like kinda sad. But we did all of that without any of those promotional avenues available today. And could you imagine if Breakin’ came out today and with the hit it was then today. I’m telling you right now if you were to take Breakin’… Breakin’ would be on the scale based on the way ticket sales - of the cost of tickets in those days…based on lack of the promotional streams you have today. If you would take it’s success and do it today, Breakin’ would probably be on the level of Shrek or something. Or like Batman, it’d be crazy. Cause like I remember going to Mann’s Chinese theater and the line was wrapped around the building two or three times.

SHEQUETA
That’s because the movie had such international appeal. It crosses all borders and now they can’t find stuff in Hollywood right now to do that.

ADOLFO
I know, I know. I was standing with a group of people, a group of kids, this was sometimes back. One of the kids, a Filipino kid in particular, he stepped out from a crowd of this like diverse ethnic group of young kids and he says you know I don’t know what they talking bout John Travolta for, Shabba Doo you our John Travolta. And to the ethnic people I am. To everyone, to the Puerto Ricans, the Blacks, the Filipinos, the Asians, the whatever’s in the world…and now even the white kids. They wouldn’t compare John Travolta to me. They would laugh at his dancing. That just goes to show you how powerful and what those times were really like. It was Camelot.

SHEQUETA
Do you keep in touch with either of your co-stars Lucinda or Michael?

ADOLFO
No I do not. Not at all.

SHEQUETA
I recently saw Lucinda as a judge on a dance show.

ADOLFO
Yeah, some kind of show as a judge. I’ve been approached to do those types of shows like “America’s Dance Crew’s” or “So You Think You Can Dance.” And my management or whatever is like considering getting involved with them on some level but again you know… I like those shows but they’re homogenized versions of who and what we really are and what we represent. It’s not real. None of that stuff is real. None of those dancers that win are real at any level.

SHEQUETA
Do you teach dance and if so where at?

ADOLFO
Yes I do, I teach all over the world. I teach what I call my House of Shway. House of Shway Urban dance and performance workshop. The House of Shway is Shabba Doo’s house. In the House of Shway I teach a concept called Funk Shway and Funk Shway literally means funk Shabba Doo’s way. So Funk Shway and Shway. Shway is like this dance phenomenon that’s happening again (that) I created back in circa…back in (the) mid 70’s, late 70’s. I popularized a dance and created this dance that we know of as wacking. That dance is now sweeping the world. Everybody wants to learn how to do it. So I separate myself from that and some people are taking my early forms of it and then turning it into something else. I got (the dance) from a group of gay…the gay community in Los Angeles and they were calling it the Gargo. And I took the Gargo and mixed it with locking and created a dance called…that the world knows as wacking. And now I’ve since renamed it as Shway. Shabba Doo’s Way. And so I teach that in New York. I (also) teach it in Zurich, Italy, Germany, Paris. I had a two year contract licensing agreement in Zurich – House of Shway workshop. And now I worked out a situation with Alvin Ailey. So I’m working with Alvin Ailey now and the Broadway dance center in New York. I’ll be back there in September giving seminars (and) actually implementing my program within their system. I do it everywhere, the House of Shway.



SHEQUETA
Why not LA?

ADOLFO
Well um, a lot of people are asking me that, why not LA. I don’t know. I’ve been thinking about maybe approaching Fatima because I know she has a dance studio. And also maybe Debbie Allen, she has a dance studio. I haven’t formally approached them or anything or talked about it. But these are the two that would be on my short list of people I would approach right away. Opposed to like a Millennium which feels more like a warehouse. The Costco of dance to me. To me, it’s a great value. I guess you get a lot for your money but the quality is not very good. My classes are not like that. Because I’m kind of like now in my later years I feast on a full diet of metaphysical teaching. Like an Eckhart Tolle - “A New Earth,” that type of stuff.

ADOLFO CONT'D
So I’ve incorporated a lot of those beliefs within my teaching techniques and my seminars that I give to young people all over the world. And within that program I teach a concept called E.S.P. E.S.P stands for emotional, spiritual, and physical. Emotional is an emotional time in your life that was most impactful. The first time you ever felt love, the first time you ever felt rejected, the first time you ever felt that you were worth something, or the first time somebody made you feel like you weren’t. Whatever that moment was, it really impacted you emotionally is where I want you to go to and be at when you perform. And I want you to not leave your emotions at the door, I want you to bring them into the dance studio and I want you to go crazy with them and I encourage them to do that. Because inside of that feeling lies a new dance…lies a deeper self expression. That’s the emotional aspect.

ADOLFO CONT'D
Then the spiritual aspect as I explain as dance is not religious. It’s not like hey believe in God… (do) not believe in God, you can believe in whatever you want to believe in and how you want to believe it. But believe this, and know this to be true, regardless of what you believe in, regardless of your upbringing or whatever, we are all part of something very, very big and very special and if we recognize it then we can tap into the energy of that as a whole and use that power. Hence my tag, the power of dance to perpetuate whatever your personal dream or goal or path is. So that’s the spiritual aspect of it. And then there’s the P which is practical or physical aspect. And like anything else, great muscle, a great physique. It’s still depending on a very solid, healthy, skeletal structure…big strong bones and teeth. You know, pack on the muscles but you gotta have a good frame. And a good frame means that you have to have solid technique. Something that you can lean upon even in those times when you feel in your mind you can’t do it. But because your technique is so good, it gets you through those rough and dry periods.

SHEQUETA
What did you think of the New York Breakin Scene? Did you go up there during the Breakin’ days?

ADOLFO
Of course I did. I was there even prior. I was on tour with Lionel Richie and so we encountered a lot of the people in New York. The New York City Breakers, The Rock Steady Crew, The Brooklyn Rockers, The Dynamic Rockers. They have a wonderful story that needs to be heard and I don’t think it’s really fully been heard. I think they talk about it but they still talk about it like… It’ll be like we were sitting around discussing animals but from a zoo perspective. You know that Lion in the zoo and how he jumped from that rock to the other rock. And it’s cool but the media kind of talks about them like that but they never really go down in there and live with the Lions and understand why Lions are Lions or any of that stuff. And I don’t think that story’s really been told right. But I love New York, I love New York and I think it’s the greatest city in the world.

SHEQUETA
What do you think about the state of music and dance today?

ADOLFO
I think we’re in a period of…an adornment period. I think we’re in a reversal period. I think we’re not in the period of growth. We’re in a period of duplicates - we’re in a scrambling period. That’s not healthy, not healthy for art. Because there’s too much fear wrapped up in what if I don’t…what if I choose to do something different? Than what are people gonna think about me. I want to tell them, they’ll think you’re wonderful. And I encourage people in my classes and when I travel and speak to young people…dare to look foolish. Dare, you know? Realize everything that everybody’s ever done that was ever really worth anything was laughed at. The world is flat everybody knows that… it’s resting on elephants…elephants are carrying the world. Ha, ha it’s round yeah, hanging upon nothing yeah, you’re crazy. Bruce Lee said this…martial art form and forms don’t work. Triads and Chinese Triads freaked out.

ADOLFO CONT'D
A man comes along and says no the way you’re doing…the way you’re praising God doesn’t work. They eventually killed him…and we know who that person is. But the thing is that whenever somebody comes with something that shakes the status quo, it’s met with tremendous resistance. Even in death. And the beginning of that is they tried to laugh him off too. Ha ha yeah right, you’re the son of God, right okay. All that stuff was laughed at. Galileo, Socrates, they were all laughed at. Picasso couldn’t make a living. Paintings (now) sell for 20 million dollars (and) he couldn’t make a living. I mean James Brown…you look at all of them, Bo Diddley, Chuck Berry, Little Richard with his crazy self. I mean and he’s still going strong. People laugh at what is new. They ridicule what is new, what is different, and what they can’t control. What they don’t ultimately understand, they kill. That is the history…it’s proven.

SHEQUETA
Where are the rest of the original Lockers?

ADOLFO
I think they’re lost. I love those guys. I love them. I don’t agree with them. I was the youngest member of the group. In a lot of ways you could say that I was the Michael Jackson of the Lockers. I was the little kid, I was the youngest member.

SHEQUETA
How old were you?

ADOLFO
When I started I was sixteen years old and they were like twenty, twenty-two. I mean sixteen and a twenty year old that was big…that was like the big guy you know? It felt like a lot. And you know when you were sixteen and you’d be like I’m going out with my cousin. How old is she?...twenty-one and you’re like whoa. I mean it felt big, that gap there. So at sixteen years old I was the baby of the group and like I said in a lot of ways I had defining moments that kinda separated me. Just like defining moments separated Michael Jackson from the Jackson Five. When he did Motown, it was over. When I did Breakin’, it was over you know…really over. And then before that, I had other moments where you saw it coming. The defining moment like you say the Motown 25th Anniversary was Michael Jackson. It wasn’t just that moment, it was building up. He had done “Off the Wall” and he had done all these little things and then he started doing solo albums that were leading up to it. And then there was the 1-2-3 punch. And by the time he did that then it was like whoa it’s over. There’s no more Jackson 5, there’s only Michael Jackson.

ADOLFO CONT'D
So if you think about it, when the group disbanded, and I call it the rebirth -when the group was reborn, and now it’s manifested itself to me, I then became the Michael Jackson of the street dancing movement. Now they refer to me as the Obama of the movement. Only because you know I’m educated and… I don’t go to these seminars and talk down. I don’t dummy down for them. I make young people rise up. I’m not gonna get in there “yo man” and start talking like that so I can be accepted. I do what I do and they can accept it or not. And I think the acceptance comes for me because it works. At the end of the day it works, so then they accept it. But they’re not gonna accept it because I’m gonna go running around and trying to act like I’m fifteen years old and I’m gonna talk that way. I’m not gonna do that.

ADOLFO CONT'D
So some people, they come and they cry. Then I wondered why are these people crying? And I said because nobody is listening to them. And so when I go there I listen to them and then they cry. Because I recognize in them what they all want. We just want people to see us and see who we really are and be able to listen to them at a very deep level. And I do. And they sense that. And they can tell if they’re being b-s’ed and I don’t b-s them. I read an article once where in the article it said that young people, kids, feel loved when they’re disciplined. They don’t feel love when you let them do whatever they want to do. They may want to do whatever they want to do but they really feel loved when you give them good healthy discipline. Not whupping their butts or nothing. So in that way I give them (my class) tough love.

SHEQUETA
What’s going on with Breakin’ 3?

ADOLFO
A lot of discussions. I’ve been approached a few times to be involved with Breakin’ 3. And I was thinking along those lines as a businessman as a pragmatic businessman it makes sense to do a Breakin’ 3 or whatever but you know what…no.

SHEQUETA
You can’t tell me that. You can’t tell me that.

Laughter all around.

ADOLFO
I want to do another movie.

SHEQUETA
I will write you another movie. But I want to write Breakin’ 3.

ADOLFO
Well I wrote one. I wrote a screenplay called “Without the Music” it was…it would have been a Breakin’ 3. And I would think to a great degree, uh Shrimp to me would be a liability for me in my career if I were to reconnect with him. Some of his behavior I don’t particularly agree with. I shy away from that idea. I wouldn’t want to be associated with some of his behavior.

SHEQUETA
I would keep y’all separated.

ADOLFO
Yeah, but still the fallout could be detrimental.

SHEQUETA
Tell me about your company On Q Media? What have you been up to and what projects do you have coming up?

ADOLFO
We’re a multimedia production company. We have a photography arm to the company. And the production arm produces…will produce online video. Like I’m gonna do a series - a three disc video series instructional which will be my first instructional, The House of Shway video series. I produced some podcasts and all the little things that are in house projects. We may eventually, as we grow our library of media and content, move on to maybe doing films or whatever but that could be down the road. But right now the idea is to produce credible dance projects. If that’s a dance film, hey cool. I was offered to do one movie. I think my agent made a deal it was called B-Style. She told me a few weeks ago she made a deal for me to do a movie to choreograph the movie and star in the movie. And then it feels like a Breakin’ 3 and they call it B-Style and in it I play a character named Kelvin and Kelvin was a former street dancer in the early 80’s as a choreographer and he is now an older guy and becomes the choreographer/director. They’re thinking about shooting it in September. Anyway we’ll see. You know how things work in Hollywood.

SHEQUETA
What was it like dancing at the Oscars?

ADOLFO
(It was) pretty amazing, for a couple of reasons. Again, I find myself in another historical scenario. I mean think about it, what do you think the chances are for a rap group winning an Oscar? “It’s Hard Out Here for a Pimp”…tryna get the money for the rent. I was like this is insane. And it’s probably so insane that I think it’s gonna win. (laughter) It goes against everything you could even think about the Oscars. So yeah, it was kinda cool, it was really cool. It was really cool when I’m in the number and I played the pimp. And I co-choreographed it as well with Keith Young. He was the choreographer for “Rent” and all of that. We did that as a collaboration. But anyway, as I’m doing the number in the show, I look in the face of Terrance Howard who I’m like the musical version of him…I’m playing this pimp and I was looking at him thinking, okay this is all bizarre.

SHEQUETA
Do you realize how big of an icon you are to soo many?

ADOLFO
Um, I would hate to say just yes because I don’t see myself as an icon. But I do know this…that I mean something emotional to a great deal of people. And they identify with me in a very special way, to a point of tears. (laughter) And it’s not like they’re crying like oh in a Michael Jackson kind of way. I mean they cry for Michael Jackson because he’s just so damn big. They’re not crying with me like that. It’s a different kind of crying. You’ve seen them crying when they’re cry with Michael right?

SHEQUETA
Yeah.

ADOLFO
It’s almost like they’re eyes are like water guns. It’s not like that. When they cry when they’re with me it’s like when they haven’t seen a relative for a long time or like have you ever seen those pictures where somebody may have been like held captive for years and years and finally they’ve returned home. Or maybe they thought they were dead and they came alive. And when they first started doing it I was like what the heck is this. After Breakin’ it was a whole period for me when I like walked away from the business and I really needed to get myself together. I wasn’t together. I had a lot of issues that needed to be fixed, that I needed to come to grips with. And so the nineties was a huge growth period for me as a person, as a father. I forgot why I was dancing. I forgot what I was doing. To take a line from Cinderella Man with Russell Crowe, the difference between my dancing now and then is now I know what I’m dancing for, I know why. I didn’t know why before. It was just a natural ability and I just did what I did. I had no idea what I was doing really. Doing what I felt like doing. Doing what I loved doing but no purpose to it really. I didn’t even think that I would change the world or anything. I just like blindly did it. But you know it was a different period and I’m glad it happened.

SHEQUETA
What is the one thing most people don’t know about you?

ADOLFO
I’m extremely timid. I’m soft hearted to a fault. I’m more comfortable in a role of support than I am as a leader even though I’ve always been the leader. But I’m more comfortable in the supporting role.

SHEQUETA
Any last words?

ADOLFO
If I could just encourage people to just…I kind of touched on it earlier…just to be who they are. Stay away from YouTube it’s deadly. There’s no self expression there. It’s not a fertile soil for growth there. And if you do visit, I’d wear surgical gloves.

THE END

You can see more of Shabba Doo on his website at...

http://www.onqmedia.tv/

Below is some of Adolfo's work...

SHABBA DOO MONTAGE




"THE LOCKERS" AT THE GRAMMYS




THE FIRST BATTLE IN BREAKIN'