You get a show where people are jumping up and dancing, but it's not a critical event in the sense of profound catharsis. Essentially it's celebratory.

To some degree, yeah, because I have to play a certain number of originals that might be considered avant-garde material. I realize though, that only a few people in the audience actually know what that music is, or understand it.

So, rap has that quality, for youth anyway; it's a kind of blues element. It's physical, almost gymnastic. It speaks to you organically. Rap grows out of what young people really are today, not only black youth, but white - everybody.

Black music has become a commercial commodity. Live performances are not so accessible as they were previously. It use to be possible to go to the bar on the corner and hear music. It was available for a fifteen cent beer.

Yes, the audience is so important to Negro music, especially the element of call and response.

Negro music and culture are intrinsically improvisational, existential. Nothing is sacred. After a decade, a musical idea, no matter how innovative, is threatened.

And when I met Cecil Taylor it was a complete transformation of musical identities. All the tenets that I had grown up with were thrown out the window.

In America, for a brief time, people who followed Coltrane were studied and considered important, but it didn't last long. The result is that the kind of music I played in the '60's is completely dismissed in this country as a wrong turn, a suicidal effort.

In rap music, even though the element of poetry is very strong, so is the element of the drum, the implication of the dance. Without the beat, its commercial value would certainly be more tenuous.

Rap actually took root in the Negro community, and then in the Hispanic community, long before it impacted on the larger American community as a whole.

I find that here in the States, audiences are generally less knowledgeable, from the cognitive point of view, though they are emotionally more receptive.

So, I was just a young guy, maybe with an idea, and Cecil Taylor, himself a rebel, would take a chance on a guy like me. It turned out to be a very symbiotic partnership. I learned a lot from him.

You get a show where people are jumping up and dancing, but it's not a critical event in the sense of profound catharsis. Essentially it's celebratory.

It was a particularly interesting and exciting time, and the European political and artistic establishment was turned on by the Civil Rights Movement and the artistic revolution that was becoming a part of jazz.

A whole generation of young whites have involved themselves with traditional Negro music.

Today, music is visual.

In rap music even though the element of poetry is very strong so is the element of the drum the implication of the dance. Without the beat its commercial value would certainly be more tenuous.

They who love dancing too much seem to have more brains in their feet than in their head.

Dancing is a wonderful training for girls, it's the first way you learn to guess what a man is going to do before he does it.

I don't see my dancing or acting as two separate things. I don't define them separately, so I can't say one has helped the other, It's all the same thing. More than anything I love being on stage and performing.

It took a brave editor in the U.S. to sign a contract for Dancing Girls, and without her belief in the book, I'm not sure it would ever have found its way into print.

Dancing, apart to music with a beat, is my legacy.

Dancing on 'Dancing With The Stars' really broadened my fan base. I jumped off the stage backwards one week, and so many women come up to me now and say, 'You're so brave. I can't believe you put yourself out there like that'. If that inspires some girl out there, then great, because boys aren't the only ones who get to have fun. We get to have fun too.

I got started dancing because I knew it was one way to meet girls.

I had certain physical limitations that made me change the choreography for myself or made me more interested in choreography only rather than dancing. I have never been a person who wanted to just dance. I have always been interested in developing for other people.

On my fifth film, it was then that I stopped dancing.

Life is like dancing. If we have a big floor, many people will dance. Some will get angry when the rhythm changes. But life is changing all the time.

Aerobic dancing is already adjusting to injury problems and will probably phase out to some extent.

It is difficult to produce a television documentary that is both incisive and probing when every twelve minutes one is interrupted by twelve dancing rabbits singing about toilet paper.

Finally, you get the job, and you think you'll be dancing on the ceiling, but I just wanted to go take a nap. It was just like a weight had been lifted off or something.

You don't go dancing in the day. You don't go golfing in the night.

It was always acting, singing and dancing that I loved.

My grandmother had a Miss Margaret's School of Dance to teach tap and ballet to kids, but I never studied it. I was raised a Mormon and they're dancing fools. It's the only vice they have - dancing.

There is pain and sacrifice in everyone's world. That's why, when I was dancing, I had no pain.

Scriptures and creeds may come to seem incredible, but faith will still go dancing on.

I'm the hardest working person I know. I'm 20 years old - is it a crime to want to go out dancing with my friends?

Here, like everywhere else, laughing and singing, dancing and dreaming are not exactly the whole of reality; and for one ray of sun shining on the hut, the rest of the village remains in the dark.

I think probably the only thing that is around in these songs is that I was really lonely when I wrote a lot of them. But it was really by my own choosing because I was devoting myself to songwriting and dancing and I wasn't really going out and seeing people.

I have had so many great moments, but I would have to say that dancing the Swan in 'Swan Lake' was such a unique and passionate experience for me. It was such bloody hard work, even at that very early age, that I would not want to try to replicate it again now.

My mother told me I was dancing before I was born. She could feel my toes tapping wildly inside her for months.

So dancing was not something I had a great desire to do.

What I remember most about junior homecoming was my date getting sick afterwards. That kinda sucked. Then, senior year, someone got gum in her hair when we were dancing. She had to get one of the chaperones to take her to the office and cut up her hair. I felt really bad for her, but it worked out fine.

If you're in a company, you're dancing from 9 a.m. till 7 in the evening, and then you go home and get in a hot tub and get some Epsom salts and try to get your body goin' again. There's no social life, no anything.

I always tell my kids if you lay down, people will step over you. But if you keep scrambling, if you keep going, someone will always, always give you a hand. Always. But you gotta keep dancing, you gotta keep your feet moving.

Disco dancing is just the steady thump of a giant moron knocking in an endless nail.

I've learned one thing about life. We're a good deal like that ball, dancing on the fountain. We know as little about the forces that move us, and move the world around us, as that empty ball does.

Their way of Dancing, is nothing but a sort of stamping Motion, much like the treading upon Founders Bellows.

The Dancer believes that his art has something to say which cannot be expressed in words or in any other way than by dancing.

I was out dancing with one actress or another. And that got press. Even when it didn't, the whole town knew I was a dancing fool, and since I couldn't very well dance with a man, they saw me dancing with a lady, and they assumed the rest.