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.

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.

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.

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

In vocal choreography you had to give a lot of consideration to the fact that you were working with singers and not dancers. But you had to make singers look like they were dancers, and to make the movements as natural as possible, and there to be an association with the movement, uh, somewhat to what the lyric was saying.

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.

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.