I love tango, and I used to dance when I was young.
I have the feeling that a lot of poets writing now are - they sort of tap dance through it.
At this point, I've really failed at a lot of things. It's nice to be able to say that, in a way. I've failed at music. I've failed at dance. And acting - there have been times when I went out and read lines to audition for acting parts. I believe that if anybody wrangled together those audition tapes, it would be pretty hysterically funny.
I think guys, because we share a history growing up of being stereotyped, because there are fewer of us in the dance world, that contributes early on to a bond among us. A lot of us share stories of being harassed or teased growing up - there's a certain deep camaraderie that's formed through that shared struggle.
It is entertainment; we mustn't forget that. Dance is entertainment. You can have the best technicians in the world, but they'll be boring to watch. It has to be about entertainment as well, but it's quality, grace.
All music is dance music. But when people think of dance music, they think of techno or just house. Anything you can dance to is dance music. I don't care if it's classical, funk, salsa, reggae, calypso; it's all dance music.
I was very into tribal techno and used to go and really lose myself in great dance music.
To me, there is nothing higher than fiction. Nothing. It is fundamentally who I am. I am a teller of stories. For me, that's the only way I can make sense of the world, with all the dance that it involves.
Even when disco went out, I could still make hits. Once I had so much success, every idea became concentrated. I had so much confidence. I knew how the bass should sound, what rhythms would work. The tempos I knew: 110 to 120 BPM. I knew they would dance in the clubs in New York or anywhere.
People like to hear songs that they can dance to. Even if they're sitting, they like being made to want to dance and move. By me being a dancer, I know how I'd dance at certain tempos. I was always good at it.
Hamp would ask me about tempos in the band: 'Jacquet,' he'd say, 'knock off that tempo.' A lot of jazz musicians didn't prefer to play for dancers, which was their loss, really. But good jazz has always had that dance feel.
Whenever you play dance music, it serves a function. It becomes a utility; you have to worry about the tempos and what you're going to play for people. But when you're playing for listening, you're free.
The content and thematic materials of dance is, of itself, like boxing. You play tennis and baseball. But boxing is not a sport you play: you stand up and do it.
In yoga, you hold the positions, whereas in dance, you're constantly moving, extending, reaching through the legs and arms, which helps build long, lean muscles as opposed to shorter, tighter ones.
I went to Irish dance when I was four. I was playing the tin whistle when I was five. So I think certain things are bred into you.
I've worked with lots of musicians - like Tina Turner - and I love when they go in front of the fitting mirror and do their thing, pose, dance. I love that moment!
We learn by practice. Whether it means to learn to dance by practicing dancing or to learn to live by practicing living, the principles are the same. One becomes in some area an athlete of God.
When you dance, your body just wants to find its natural weight. I'm naturally a lot more Tommy Tune than I am Wolverine.
For yesterday and for all tomorrows, we dance the best we know.
I had to dance topless for two years to make cash to pay my bills and save some money. But it was very enlightening, by the way. I'm talking about light from the gutter.
