Well, the difference in working with the Supremes and the other girl groups like Martha and the Vandellas, and the Marvelettes, you let the material dictate to you, uh, really, how you worked with the group, and with the talent,… — Cholly Atkins Copy Share Image
speaking with, uh, about the vocal choreography, one of the first groups that I worked with was a group called the Cadillacs, which was uh, an exceptionally talented group. They all moved well and they sort of established Cholly Atkins's style. In other words they basically put me on the map, and everybody would look at them and see their… — Cholly Atkins Copy Share
In vocal choreography you had to give a lot of consideration to the fact that you were working with singers and not dancers. But… — Cholly Atkins Copy Share Image
You had to give, uh, a lot of consideration to the fact that, uh, the artist had to come back into the mike area and start singing, especially the background singers, you know. And you had to make sure they had a couple of bars of music in order to catch their breath. And uh, in many cases a lot… — Cholly Atkins Copy Share
Well, the difference in working with the Supremes and the other girl groups like Martha and the Vandellas, and the Marvelettes, you let the… — Cholly Atkins Copy Share Image
Well, the most important thing in choreographing for a specific tune is to get the story line and try to make your movements, rather… — Cholly Atkins Copy Share Image
So it would be a happy marriage between the movement and the vocal and uh, this is the thing that you give a lot… — Cholly Atkins Copy Share Image
There's a lot that goes into training, singers to eventually become performers. There's, projection, uh, which in many cases the artist was never concerned… — Cholly Atkins Copy Share Image
