My dance classes were open to anybody, my only stipulation was that they had to come to the class every day.

My dance classes were open to anybody, my only stipulation was that they had to come to the class every day.

I was told that I had to give grades to the students, which I wasn't particularly interested in doing.

All these dismal things that are going on in the world - the isolation and the sickness and the governments and the pollution - it's so frightful, over the whole world.

Cage always wanted to know what my structure was, if I had one. I often did have some sense of the time structure. Then he'd make a different one for the music.

Dancing has a continuity of its own that need not be dependent upon either the rise or fall of sound or the pitch and cry of words. Its force of feeling lies in the physical image, fleeting or static.

Fortunately, dance has been what's interested me all my life. So whether I am faced with incapacities or not, it still absorbs me.

I began to do this thing I do of giving myself a class every day, and trying to experiment and push further. I don't mean to say I knew everything, because I didn't, but I would do what I knew and then push beyond that and see what else I could find.

I began to fear that the Graham work was not in lots of ways sufficient for me. I suppose it came about from looking at other dancing and being involved with the ballet - something about the air and the way she thought about dancing.

I don't like teaching, because it's so repetitive - especially the beginning of class, which is always more or less the same and has to be carefully done. It's tedious. But I know it's necessary for dancers to keep working on technique.

I have always had this thing about moving around, and that has just remained, regardless of my physical changes. That feeling about it has never changed.

I think anything can feed you, depending on the way you look at it or listen to it.

I think the thing that we agreed to so many years ago, actually, was that the music didn't have to support the dance nor the dance illustrate the music, but they could be two things going on at the same time.

I use the computer as a tool. Like chance or the camera or the other tools I've used, it can open my eye to other ways of seeing or of making dances. It's not simply to do a trick.

In using chance operations, the mind is enriched.

It is upon the length and breadth and span of a body sustained in muscular action that dance invokes its image.

Movement is expressive. I've never denied that. I don't think there's such a thing as abstract dance.

My process has changed over the years. I'd say it has been enhanced.

My work always comes from the same source - from movement. It doesn't necessarily come from an outside idea, though the source can be something small or large that I've seen, often birds or other animals. The seeing can then provoke the imagining.

Our emotions are constantly being propelled by some new face in the sky, some new rocket to the moon, some new sound in the ear, but they are the same emotions.

The legs and arms can be a revelation of the back, the spine's extensions.

The use of chance operations opened out my way of working. The body tends to be habitual. The use of chance allowed us to find new ways to move and to put movements together that would not otherwise have been available to us. It revealed possibilities that were always there except that my mind hadn't seen them.

Very often, you did something slow with your arm, for example, and something rapid with your feet - but the arm had to do something large against this - and this set up a kind of opposition.

What really made me think about space and begin to think about ways to use it was Einstein's statement that there are no fixed points in space. Everything in the universe is moving all the time.

You can get fixed ideas, and it can get restrictive. So, I try to put myself in a precarious position.

You do not separate the human being from the actions he does or the actions which surround him, but you see what it is like to break these actions up in different ways, to allow passion - and it is passion - to appear for each person in his own way.

You have to love dancing to stick to it. It gives you nothing back no manuscripts to store away no paintings to show on walls and maybe hang in museums no poems to be printed and sold nothing but that single fleeting moment when you feel alive.

I'm getting a wider circle of fans now. More women, more middle class people.

The best thanks we could offer those who went before and raised the Irish working class from their knees was to press forward with determination and enthusiasm towards the ultimate goal of their efforts, a Co-operative Commonwealth for Ireland.

Make no mistake: The organization of the working class must be both economic and political. The capitalist is organized upon both lines. You must attack him on both.

In economic panics throughout history, the wiping out of the savings accounts of lower earners and the middle class has often led to social revolution, sometimes violent upheavals.

It is the tendency of the social burdens to crush out the middle class, and to force society into an organization of only two classes, one at each social extreme.

I once said, "We will bury you," and I got into trouble with it. Of course we will not bury you with a shovel. Your own working class will bury you.

I certainly did feel inferior. Because of class. Because of strength. Because of height. I guess if I'd been able to hit somebody in the nose, I wouldn't have been a comic.

I grew up in Michigan, in a very small town, Centreville. In my graduating class, I had like 92 people.

These interests of the workers, as the exploited and oppressed, class of society, are the same in all countries.

We need to work together, on a bipartisan basis, to create new jobs, increase job training, enact real and substantive middle class tax relief, and reward companies that create jobs at home.

At one point in college I was so shy that I'd drop out of a class if asked to speak in front of other people.

I recommend the same therapies for all humans with HIV. There is no reason to believe that physiologic responses to therapy will vary across lines of class, culture, race or nationality.

After some minor pieces of theoretical study that I worked on, a student in my statistical mechanics class brought to my attention a problem in polyelectrolytes.

There is no class so pitiably wretched as that which possesses money and nothing else.

I was a class clown.

I made a living out of being a class clown.

Show class, have pride, and display character. If you do, winning takes care of itself.

I have thought about the next steps, and you know, they still don't know that I can dance. They don't know it, and it's frustrating me because I feel that it's an edge that I have, and I'm not talking about I took this hip hop class, I'm talking about this is how people actually know me.

I met Kevin when I was 19, at a Second City workshop. We were paired up together in the first class I went to. By the end of the class we formed our improv group, and over the next three years we performed leading up to the formation of The Kids in the Hall.

Making my class laugh and getting in trouble. I was the class clown.

If there's an enduring theme in my work, it's probably the effects of class on American life.

In my last year of school, I was voted Class Optimist and Class Pessimist. Looking back, I realize I was only half right.