Quotes About Artistry

I saw music as a way to entertain people and take them away from their daily lives and put smiles on their faces, as opposed to what I see it being now, which is a way for me to actually communicate, and a way for me to tap into my subconscious.

I started with ballet, and once I started to really like it, I got into more - I did jazz and tap, and then kept going.

The Demon character is something I draw on occasion. It's something that requires a lot of focus to tap into and really requires the right situation for me to sort of draw on that darker side of my personality.

There are people who take tap class, do a tap dance. And then there are people who know the dance, who know why they take tap classes. Who know why they do 20 shuffles, or 50 shuffles, before they go on.

I'd like to be able to tap with my action this low without buzzing.

I would listen to something on the radio and try to tap out the melody, then the harmonies.

I've always, especially through old Hollywood musicals, loved just to watch tap dancing; I adore it. I think it's fantastic.

When I first saw tap dancing, I immediately got it: the righteousness of being able to make so much noise with your feet!

You know how there's always the one girl in drama school who can cry at the drop of a hat? She has that emotional well she can tap into in a second? I'm not that girl. It takes a lot to get me to that place.

I feel that when Chad is in the room, I can tap into this other thing where music comes from. I don't know. It's just this really magical, special connection and relationship.

I'm kind of lucky in the fact that I can take something that's in my head and write it down, or I can listen to a piece of music that somebody else has written and try to tap into what the music's saying and just kind of follow that, you know. I mean, nine times out of 10, I'm just kind of following where the music takes me.

Point a light at me, and I'll start tap dancing.

I deal with more complex rhythmical patterns than a regular tap dancer. I even think in rhythms.

I took tap and ballet, which likely contributed to my sense of rhythm and showmanship. I love creating music that gets people moving together, free of inhibitions.

Honestly, I feel pretty awed anytime I meet just about any writer. I get how hard it is to write and make a living from it, but there's also this almost magical force you need to tap into, and I'm amazed by anyone who can do it.

Just like a comedian has a certain joke or a jazz musician has a riff that they know will get the crowd, a tap dancer always has a step.

I grew up watching Gregory Hines banging out rhythms like drum beats, and Jimmy Slyde dancing these melodies, you know, bop-bah-be-do-bap, not just tap-tap-tap. Everyone else was dancing in monotone, but I could hear the hoofers in stereo, and they influenced me to have this musical approach towards tap.

I feel it's my duty, my job, now to allow people to hear the dance to different genres of music, to ensure audiences have the chance to listen to tap dancing up against all these other styles.

I think the first role I ever played was the Magic Carpet in 'Aladdin Jr.' I did a lot of tap dancing and not a lot of dialogue. But I loved it so much, and I loved the way people responded to the characters.

I make music for people to relate to and to connect with me. I want to tap into different emotions.

Each song has its own way that it likes to be done, but it can be more than one way. If you tap into it, you can feel it.

Tap was against everything I had learned to do. I was pulled up as a ballet dancer, and I wasn't used to pounding the floor with bent knees.

My dance shoes - ballroom shoes, tap shoes, ballerinas - are my life.

A strong concept is the most important thing in creating a record. When you can listen to it and see a whole movie in your head, that's what separates an instrumental album from a beat tape.