The Lord doesn’t like us to be dead. Be alive. Sometimes I dance to the glory of the Lord, because He said so.
I wasn’t like a Hollywood child actor – ‘I’m five! I can sing, I can dance, I can act! I wanna be a star!’
In my dreams I am not crippled. In my dreams, I dance.
The little song and dance number at the end – that’s me, my voice, howling out. It was a new experience for me. I’ve never sung before and I’ve certainly never sung on screen. I think I sung on stage when I was 13 and for some reason nobody’s asked me to try it again since.
It’s a blessing as an artist to express myself – whether that be via dance, via song or via speech – in so many different ways.
Would you just strap some toe shoes on and dance ‘Swan Lake?’ No. Would you just put a violin in your hand and – ? No. I felt that way about acting, and I was taught to feel that way. I didn’t come to it on my own.
I just won’t sing and dance in a film. But when you have a chance to star in an Abbas-Mustan film, why will anyone let it go? I have been lucky to do films which have been different from each other.
I don’t want to be Mr. Romantic Leading Man. I don’t want to be the Dance Dude. I don’t want to be the Action Guy. If I had to do any one of those all my life, it’d drive me crazy.
Dance has helped me with everything. It was a great foundation for discipline, hard work and, unfortunately, the ever-elusive idea of perfection. It lends itself easily to fight choreography, because that’s what it really is. Choreography. And knowing how to move with someone.
I have grown up watching films in single screens where people would get up and dance in the aisles. With ‘Rowdy Rathore,’ I want to recreate the same magic.
It was an unwritten law that black comics were not permitted to work white nightclubs. You could sing and you could dance, but you couldn’t stand flat-footed and talk; that was a no-no.
I do martial arts mostly. But if I am bored, or my body is aching, I swim or go the gym. I can sometimes be doing cardio on the treadmill, kick boxing, stretching, dance, whatever I feel like. I just make sure I have something to do every day but no particular set routine.
I’m the same guy at that podium preaching to the people on every single song. I’m not doing a dance for you on another song. It’s all a direct assault.
Change is the only constant, whether it’s in music, culture, dance or fashion.
We should train kids in the music and dance of our legends. That’s how we can keep the traditions alive.
I don’t do karaoke. I don’t dance, even at weddings. I’m the grumpy one sitting down drinking wine.
It’s weird when you see pieces of choreography that were done for you 15 or 20 years ago and now they are being done by another dance company.
I can’t dance on ice, because I’m like Bambi on ice.
They’re making a song and dance because that serves their immediate interests. But what will happen tomorrow? They will have to pay salaries and pensions.
People strangely revere dance. They see it as another world, and dancers are somehow mysterious – just because they don’t speak.
My records are borderline dance records. They’ve got a real electro-rock heart and soul, and the vibe of the sentiment is pop, but there’s a lot of people that were like, ‘This is a dance record.’
That idea of not always being in control of the primitive parts of yourself – the bits that fall in love or the bits that dance or lose the plot or drink too much – and putting that across… that’s pop for me. It’s playing with all the different colours of the rainbow of life.
I mean whatever I do it’s important that I put my stamp on it and keep it in my world, whether I’m doing a dance track or something like the Russian album for example.
I was on Kanye’s Yeezus tour as a dancer, but really, I was a Vanessa Beecroft model. I was one of the three ‘dancers’ who couldn’t dance and was more of an accessory than an individual. Vanessa was pretty involved. Her style is about a lot of standing. It’s very simple but haunting.
We’ve matured musically, as well as in the way we think. We’ve also developed a higher sense of responsibility. This has refined us and these developments are really being reflected in our music and our dance.
Who is Mike Judge? Let me think. The only way I could possibly answer that question would be in a nonverbal fashion. I think I could do an interpretive dance that would answer that question for you.
Music is great; it all depends on what mood you’re in, what you want to listen to. If it’s party time, you listen to, you know, party music, if you want to dance with somebody. But then again, if it’s a slow dance, you need something slow.
Many people say to me, particularly about my dance writing, ‘It sounds just like you.’ But it sounds just like me after I’ve made it sound like me.
I studied dance at a high school arts magnet program before moving on to Miami’s New World School of the Arts, and from there, I went on to study at The Juilliard School.
Are the Democrats going to dance the mandate Macarena?
I have ballet class every other day for two hours. And for ‘Six Feet Under’, last week there was a sequence where I had to do a whole choreographed dance number, so I had four hours of dance practice every day.
I think hip hop is a dance music that’s rebellious by nature.
Playwrights have texts, composers have scores, painters and sculptors have the residue of those activities, and dance is traditionally an ephemeral, effervescent, here-today-gone-tomorrow kind of thing.
Someday, I’d like to create a fashionable dance shoe.
I feel like more than 80% of the world wouldn’t get up in front of 40 million people and dance on national television, and if I have the confidence to do that then that’s a step ahead in my life for me in terms of personal goals. I will gain a lot of confidence on all aspects right there.
I dance to the beat of a different drummer.
Justin Bieber stole my haircut. And Axl Rose stole my dance!
I want to win an Oscar. I want to be known for more than, like, going out. For being the ‘party girl’. I hate that. I bust my ass when I’m filming and when I have time off, yeah, I like to go out and dance.
When playing big festivals, I tend to play big, over the top techno tracks, like hands in the air songs that make sense being played in front of 30,000 people. I steer away from subtlety in the interests of big bombastic dance music.
I never went to the school dance.
The discipline that ballet requires is obsessive. And only the ones who dedicate their whole lives are able to make it. Your toenails fall off and you peel them away and then you’re asked to dance again and keep smiling. I wanted to become a professional ballet dancer.
Like, from my middle school dance… the boys were on one side, and the girls were on the other side, and we never interacted with each other.
My old dance teacher, Jimmy Wilde, a former European ballroom dancing champion, was so sophisticated.
People who don’t have gender dysphoria aren’t going to catch it by watching me dance on television.
When I was growing up as a little girl and as a teenager, I loved designing and making dogs’ clothes and wanting to be a fashion designer. I took art and ceramics. I loved dance.
But I’m tone deaf – window-shattering tone deaf. I can’t sing for the life of me. I can’t sing or dance, so no remake of ‘Grease’ for me!
On the other hand, now that I’m not dependent on fiction for my income, I’ve been writing more short stories despite the fact that there’s no real paying market for short horror other than Cemetery Dance.
Basically it starts with four months of training, just basic stretching, kicking and punching. Then you come to the choreography and getting ready to put the dance together.
As kids, we spontaneously sing and dance and tell stories, and along the way, someone comes and says, ‘No. You shouldn’t be doing that.’ And we slowly begin to unlearn our passions. I think you have to hold on to those things.
Joyce for all his devotion to his art, terrible in its austerity, was a lad born with a song on one side of him, a dance on the other; two gay guardian angels every human ought to have.
I want to be able to say, ‘you think you’re odd, I’m even odder and I made it – you can too!’ I want to direct, do more with ‘The Dance Scene,’ sign artists and just provide opportunities. I’m just getting started and having the time of my life!
And I always say, when Southern people get on the dance floor, they ain’t getting off.
You can have energy in music and dance to it but still have soul.
My mom is actually a former prima ballerina, and all the women in my family are associated either with dance or choreography or acting, so I’m very lucky in a way because I grew up in a family of artists. I’ve been dancing since I was a little kid.
I loved the atmosphere of the dance studios – the wooden floors, the big mirrors, everyone dressed in pink or black tights, the musicians accompanying us – and the feeling of ritual the classes had.
I was drawn to bakery and pastry. It’s the same discipline you employ in dance – you take the instruction, and you keep on practicing, seeking perfection. You never achieve it, but you strive.
Sex in a dance is in the eyes of the beholder. I never thought my dances sexy. I suppose that’s because I see myself with my face washed, and to me I look like a rabbit.
