User talk:Cdorkins

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Motortown Revue
Hi Charles, this is absolutely great! I love this. This is really interesting, as I'm a huge Motown and (mainly 1960s) R&B fan. I've seen these clips you directed myself, and I can honestly say thank you Charles for saving the negatives for all these years. If it wasn't for these, we would be missing some really rich music history. I think you are a very important person for doing all this, and I'm very pleased to meet you (well, on talkpage anyway) here at Wikipedia. Best, --Discographer (talk) 19:36, 21 August 2010 (UTC)


 * Hello, since all of Charles Dorkins’ material has now been removed from the article Motortown Revue due to it being “original research”, I will paste Charles’ statements below. Design (talk) 03:50, 1 August 2019 (UTC)

"My name is Charles J. Dorkins. I am a film maker, operating as C.J. Dorkins Productions, headquartered in New York City. I had earned some fame as a skilled film technician. I was good. I had been invited to be the first black member of the Screen (Film) Directors Guild, headquartered in Hollywood. I declined. I was working professionally in all phases of movie production. On June 1, 1963, I signed a deal to film the Motown Apollo show, playing at the Apollo. On June 4, 1963, I filmed the Motown show on the stage of the Apollo. For many years I had been seeking to film the fabulous live shows which appeared. My goal was to repeat the Apollo shows at theaters throughout the U.S. I had a letter of permission (from Bobby Schiffman, manager of the Apollo - January 13, 1953) to film the shows. I could not find the funding. If I could have filmed even one of those spectacular shows, I would be wealthy today. Then, the touring Motown show appeared at the Apollo, for a week's engagement. Motown probably discovered me through Bobby Schiffman. With a hurried contract and a small cash contribution, I swung into action. I had days (less than a week) to accomplish the feat. I set up the sound recording with my buddy, Lenny Lencina. To surely capture the photography, I hired the top guys of Local 644, the cameraman's union. I placed president of the union on the master-shot camera (His camera was slightly tilted). I placed a very experienced guy down front to capture close-ups of the performers (He spent half of the show focusing his camera). I placed the third camera in the upper box seats. I assigned this camera to the only black member of the crew. (We were filming in Harlem.) He was the least experienced member of the crew. But surprisingly he did the best job. The filming was not fabulous. With my concept of a concert film, I did not wish to show the audience. I was ready to roll! Except: at the last moment Local 52 (the soundmen's union) made me replace my friend Lenny with a black soundman of their choice. I edited the shooting into a one hour concert film. I made a deal with a distributor. On August 8, 1963, I left for the Congo (to give my assistance to the Angola revolution). On the way to Africa, I stopped in Athens to marry Miss Greece. I telephoned my distributor to find out how much had been deposited in my account. Nothing! Motown refused to permit the exhibit of "Motown At The Apollo" with that bad sound track that the substitute soundman delivered. He had killed the orchestra and the audience. There was no marriage. On to Leopoldville. This part one of the story."

"Charles J. Dorkins continues his story about “Motown At The Apollo.” February 15, 1985; Mexico City airport, I was waiting to board an American Airlines flight to New York. I hadn’t seen a U.S. newspaper for a few weeks and I hungrily consumed USA-Today. - And there was! - A one paragraph story: “Motown announces the planned TV production: “Motown Celebrates 25 Years at the Apollo” I had struck the jackpot! Since 1963, 22 YEARS ago!, I had sheltered the discredited concert film I had shot. In storage rooms, closets, the corners of rooms. But now . . . . !  As soon as I arrived in Manhattan, I telephoned Esther Edwards (sister of Berry Gordy, founder of Motown), in Detroit. Of course she was surprised to hear my story. Motown had forgotten all about me. Esther was there when I was contracted to film the stage show. What a nice lady! She had remained in Detroit to operate the “Motown Museum,” after Motown had moved to Hollywood. Esther shepherded me through my negotiations to sell Motown my interest in the film. Like I said, she was a nice lady. In a few days Motown reps showed up to inspect the 35mm black&white negative, and check the quality of the sound tape. Surprisingly, everything was in excellent condition. Hollywood called me, “Ship the film to us, immediately.” My answer: “No way. I will deliver the material personally. Send me a ticket and make hotel reservations. See you soon.” I boarded the plane with the film in my shoulder bag. In Motown's sleek Hollywood office, at Hollywood Boulevard and Vine Street, in Los Angeles, I signed the contract - and received my check. I went to the bank downstairs and cashed the check. “All hundreds, please.” See you later, I.R.S. April 15, 1985 End of part two."

"Motown 25 Years At The Apollo, May 5, 1985: The Video Production: "Motown Returns to the Apollo"

Charles J. Dorkins presents his personal observations. “Mr. Dorkins, meet us at 7 in the subway at Rockefeller Center, at 49th Street and Sixth Avenue. Wear your tux." (Tux? Who’s got a tux?) Somehow, I managed to arrive on time. I was the only guy in sight not wearing a tuxedo. What a sight I beheld! A special subway train waited to greet the spectacular crowd. The immaculate three or four coach train, sporting a total red carpet throughout. Everyone (except me) was in dazzling, colorful evening wear. The special “A-Train,” to Harlem’s 125th Street was serenaded by Motown hits as we expressed north. After an exciting twenty-minute ride, we exited at 125th Street; red carpeting led the way from the train, upstairs to the street. The station was immaculate! Exiting to St. Nicholas Avenue, two blocks of red carpet led to the Apollo. At that moment, 125th St. must have been the safest place in the world! Thousands of cops, with their gold braided top officers filled the blocked off street. I’ll say this right now: Motown sure knows how to throw a party! The producer/director of this spectacle was Suzanne De Passe, who had signed my film sale to Motown. I was a member of the VIP party. We were led upstairs to the Apollo mezzanine. Now, I had been attending the Apollo for more than forty years but this was the first time I had ever been above the orchestra. All Apollo performances were directed straight ahead - at the orchestra seats. All comedians got great laughs by the belittling the peasants upstairs, and the snobs and the gay exhibitionist in the box seats. With a sold out performance, my choice was always to stand behind the orchestra. Comedian Bill Cosby was the host of the show. Now, I’m an expert on the stars of Motown - who they are, and their history. Therefore, in this show, I was “turned off” by the presentation of new, young performers, who were not superstars, and would never be - and some “superstars” who had no talent, and performers who had nothing to do with the Apollo experience. Film clips of Motown members which I had shot on this same stage twenty years ago were shown throughout the show. But the most dramatic event happened at the end of the show: Without doubt, the true queen of Motown was Diana Ross. Diana had an engagement in Atlantic City at the time as the Apollo show. At the end of the video show, all of the performers were grouped around George Michael, a British recording star, singing the closing song; “I Know What Love Is” - end of show. - But wait a minute! At the last second, Diana Ross rushed to center-stage, and she repeated the song, with everyone. She had surely franticly flown from Atlantic City after her show there. This was the show ending used in the completed video. At the end of the taping, we VIP’s were ushered out of a side door to 126th Street - more red carpet! Wow! Surprise! On the playground of the city school across the narrow street, was a huge white tent! Inside, were many gold chandeliers, emitting a luxurious gold glow. The tuxedoed waiters looked as if the entire Columbia University football team had been hired. Dinner was served. When I asked for a Coke - “Sorry, we only have Champaigne.” What? Like I said, Motown sure knows how to throw a party! A few weeks later, the show was broadcast in prime time. I was greatly surprised when I got a call right after the show closed. It was Ruby, in Mexico City! She had seen a two second shot of me sitting on the mezzanine. Amazing! "Motown Returns to the Apollo," won the Emmy as the best video of the year. Many years later I was able to buy a 2-disc copy of the show, “Motown Returns to the Apollo,” on EBAY. There were Chinese subtitles throughout the DVD. But that’s another story.

Design (talk) 03:52, 1 August 2019 (UTC)

July 2012
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Sourcing information
Wikipedia's credibility requires others being able to verify the accuracy of information. First person accounts and original research Please see reliable sources, citing sources, wp:tone. Thank you for your contributions. Jim1138 (talk) 02:08, 14 July 2012 (UTC)

Please do not add original research or novel syntheses of published material to articles. Please cite a reliable source for all of your contributions. Thank you. Materialscientist (talk) 08:47, 16 October 2012 (UTC)