For me, a dancer is part of an artist’s entertainment – ‘backup dancer’ isn’t even in my vocabulary.
I personally love to run outdoor fitness trails. I love the meditative value I get when out alone, challenging myself to run faster and higher.
A choreographer deals with the movement that you create, and with a creative director it’s about the story, the stage, the lighting, the costuming, executing someone’s idea, choosing how far to go or how little to go, and blending it so that you feel it, you’re emotionally effected.
I’m a tough coach, but on the other side of that is me telling them to go all out, “because you’re great, because I don’t want you to fail, because you were born to do this and you have a dream.”
The only thing that I have is the truth, so the only thing I fear is a lie.
I do believe God inspired and worked on everyone’s heart.
I was very disenchanted in the industry for a long time before I met GaGa. Everyone wanted a ‘Single Ladies’ for their artist, or a Puffy move.
You are absolutely enough the way you are.
Artist development is something that I’ve been passionate about from my days at Uptown and Motown Records.
Everyone has the notion that hip-hop is messy and loose, but there’s also another level to it.
I think that there was a fad where everyone said, ‘I want you to create a signature step for my artist.’ The thing is, for me, music creates the step. The artist commands the step, you know?
I was obsessed with Chubby Checker and old dances, like the twist.