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That's a cute sentence: the years to come. Why are you so sure they're coming?

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Cholly Atkins

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, and the personalities. All of these things was instrumental in having all of the groups, uh, retain their own identity. Uh, and, and the material had a lot to do with it, you know.

Differences, Girl, Martha, Personality, Supremes, Working
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So it would be a happy marriage between the movement and the vocal and uh, this is the thing that you give a lot of consideration to.

Consideration, Give, Giving, Happy Marriage, Movement, Would Be

Well, the most important thing in choreographing for a specific tune is to get the story line and try to make your movements, rather than just actual movements, let them become more or less a physical drama to, to what they were singing about. And uh, also, uh, honor the beat and the rhythmic pattern of the musical track.

Actual, Become, Drama, Line, Musical, Track

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 about.

Artist, Concerned, Eventually, Projection, Singers, Training

Your background has a lot to do with your approach to movement.

Approach, Background, Backgrounds, Movement

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 choreography and they wanted to know who did it, so they would tell them.

Basically, Cadillacs, Groups, Looks, Style
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