Customer Reviews

Class Act

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This is a great read from start to finish. The life of Cholly Atkins, a surprisingly unsung pioneer who should be a legend in his own time. It relieves readers of their ignorance about the many ways his influence has been in their lives all along, and how much they have to thank him for regarding many features of American popular dance culture that are traced right back to his doorstep. Great inside stories about many American music and dance icons. The only thing missing in having the entire book written in his (very colorful and endearing) voice is hearing more quotes and tales others might have to tell about what it was/is like to work under him, with him, and to be taught by him. Room for a sequel? Well and thorouhly researched by the co-author. Warm and genuine. There is something here for anyone with a pulse.

This is a great read from start to finish. The life of Cholly Atkins, a surprisingly unsung pioneer who should be a legend in his own time. It relieves readers of their ignorance about the many ways his influence has been in their lives all along, and how much they have to thank him for regarding many features of American popular dance culture that are traced right back to his doorstep. Great inside stories about many American music and dance icons. The only thing missing in having the entire book written in his (very colorful and endearing) voice is hearing more quotes and tales others might have to tell about what it was/is like to work under him, with him, and to be taught by him. Room for a sequel? Well and thorouhly researched by the co-author. Warm and genuine. There is something here for anyone with a pulse.

I loved this book on Mr. Atkins. Here is one of my favorite excerpts from him:

"I had an authentic jazz background. What I mean by `authentic jazz' is what they basically now call street dancing - things that black black neighborhoods came up with. We've been doing those moves for

thousands of year.

Tap dancers basically use portions of authentic jazz dance so they'll look good as well as sound good. I am talking about dances like the Suzie Q, Charleston, and the Black Bottom; things that created excitement as soon as we came up with them. Now, right away there were adaptations of these dances and they were claimed by other people and presented in places where we weren't permitted to go. But we all know where they came from.

A lot of the moves that the young kids are doing now are very familiar. They have a different beat and all that, but you look closely and you see steps there from African traditional dances."

I was prompted to read more about Cholly Atkins after reading Jacqui Malone's Steppin' on the Blues, in which she dedicates a chapter to him. The book was an enjoyable read, and I learned more about Mr. Atkins and people that touched his life, especially his tap partner and life long friend, Honi Coles. I was also touched by his revelations of some very painful events in his life.

I had always been vaguely aware of how important Mr. Atkins was to the development of Motown artist. But I knew nothing of his life before Motown. He was at least 50 when he became a part of their team. But most of his life he was a rhythm tap dancer. What struck me is when he said the best and most innovative tap dancer since his time is Savion Glover. Now when the master says something like that, I must take note. He says Savion is an innovator. He added a branch to an ancient tree. He has taken tap further alone and has created some complex taps.

I just love those old school artists. I just have a thing for classy, well dressed men and women. The Motown machine continued the tradition of class with their performers.

Thank goodness my knowledge of him is no longer vague. I want to thank Ms. Malone for introducing me to Cholly Atkins properly.