"Astaire really sweat - he toiled. He was a humorless Teutonic man, the opposite of his debonair image in top hat and tails. I liked him because he was an entertainer and an artist. There's a distinction between them. An artist is concerned only with what is acceptable to himself, where an entertainer strives to please the public. Astaire did both. Louis Armstrong was another one."

"You're the nimble tread/Of the feet of Fred Astaire"

"Our homeward step was just as light/As the tap-dancing feet of Astaire/And, like an echo far away,/A nightingale sang in Berkeley Square"

"Fred Astaire is the best singer of songs the movie world ever knew. His phrasing has individual sophistication that is utterly charming. Presumably the runner-up would be Bing Crosby, a wonderful fellow, though he doesn't have the unstressed elegance of Astaire."

"Astaire can't do anything bad."

"They climb the clouds/ To come through with airmail/ The dancing crowds/ Look up to some rare male/ Like that Astaire male."

"Fred Astaire once worked so hard/ he often lost his breath/ and now he taps all other chaps to death"

"When you talk about Fred Astaire, you talk about heaven. What more can I say?"

"For a guy who had retired ostensibly, your comeback represents the greatest event since Satchel Paige."

"There never was a greater perfectionist, there never was, and never will be, a better dancer, and I never knew anybody more kind, more considerate, or more completely a gentleman...I love Fred, John, and I admire and respect him. I guess it's because he's so many things I'd like to be and I'm not."

"He has a remarkable ear for intonation, a great sense of rhythm and what is most important, he has great style - style in my way of thinking is a matter of delivery, phrasing, pace, emphasis, and most of all presence."

"As a dancer he stands alone, and no singer knows his way around a song like Fred Astaire."

"There is no setup in Hollywood that compares with an Astaire picture."

"Except for times Fred worked with real professional dancers like Cyd Charisse, it was a twenty five year war."

"The history of dance on film begins with Astaire."

"When I was in the Soviet Union recently I was being interviewed by a newspaperman and he said, "Which dancers influenced you the most?" and I said, "Oh, well, Fred Astaire." He looked very surprised and shocked and I said, "What's the matter?" He said, "Well, Mr. Balanchine just said the same thing.""

"He was not just the best ballroom dancer, or tap dancer, he was simply the greatest, most imaginative, dancer of our time."

"It's unmatched perfection. It's a taste, understanding of his strength, and weaknesses in a way. He was not a sexual animal, but he made his partners look so extraordinarily related to him."

"He's a genius...a classical dancer like I never saw in my life."

"What do dancers think of Fred Astaire? It's no secret. We hate him. He gives us a complex because he's too perfect. His perfection is an absurdity. It's too hard to face."

"He is the most interesting, the most inventive, the most elegant dancer of our times... you see a little bit of Astaire in everybody's dancing--a pause here, a move there. It was all Astaire's originally."

"He is terribly rare. He is like Bach, who in his time had a great concentration of ability, essence, knowledge, a spread of music. Astaire has that same concentration of genius; there is so much of the dance in him that it has been distilled."

"I remember when I was doing a film with Fred Astaire, it was nothing for him to work three or four days on two bars of music. One evening in the dark grey hours of dusk, I was walking across the deserted MGM lot when a small, weary figure with a towel around his neck suddenly appeared out of the giant cube sound stages. It was Fred. He came over to me, threw a heavy arm around my shoulder and said: "Oh Alan, why doesn't someone tell me I cannot dance?" The tormented illogic of his question made any answer insipid, and all I could do was walk with him in silence."

"He lacks confidence to the most enormous degree of all the people in the world. He will not even go to see his rushes. He’ll stay out in the alley and pace up and down and worry and collar you when you come out and say: ‘How good was so and so?’, and he’ll keep you for 45 minutes. It would be much simpler if he would go and look at them himself, you know? But he always thinks he’s no good."

"Oh, there's no such thing as my favorite performance. I can't sit here today and look back, and say, Top Hat was better than Easter Parade or any of the others. I just don't look back, period. When I finish with a project, I say 'all right, that's that. What's next?'"

"I have had to do most of my choreography. I would say most of it, with help from various choreographers I have worked with."

"What's all this talk about me being teamed with Ginger Rogers? I will not have it Leland--I did not go into pictures to be teamed with her or anyone else, and if that is the program in mind for me I will not stand for it. I don't mind making another picture with her but as for this teams idea, it's out."

"A four wood I hit on the 13th hole at Bel Air Country Club in June of 1945. It landed right on the green and rolled into the cup for a hole in one."

"There comes a day when people begin to say, 'Why doesn't that old duffer retire?' I want to get out while they're still saying Astaire is a hell of a dancer."

"Either the camera will dance, or I will."

"I don't make love by kissing, I make love by dancing."

"But I do nothing that I don't like, such as "inventing" up to the arty or "down" to the corny. I happen to relish a certain type of corn. What I think is the really dangerous approach is the "let's be artistic" attitude. I know that artistry just happens."

"When working on my choreography I am not always receptive to outside suggestions or opinions. I believe that if you have something in mind in the way of a creation, such as a new dance, a sequence, or an effect, you are certain to come up with inaccurate criticism and damaging results if you go around asking for opinions."

"I have no desire to prove anything by it. I have never used it as an outlet or a means of expressing myself. I just dance."

"I wanted an autograph from Northern Calloway, when we were in Stony Lodge together, I asked and was dragged away. He was the only celebrity I met as a kid. I still remember, the sheet over his face, his body on a stretcher. And the only food for thought that would feed my head was like my childhood, David from Sesame Street was dead."

"Help! I'm David of Sesame Street, and they're trying to kill me!"

""Clay I think, without a doubt, this performance, that song, is the best performance of the entire competition that I've ever known. Unbelievable, unbelievable. - Paula Abdul on "Unchained Melody" -"

""And Clay, I want to say something to you. I think you are one of the few people I've met throughout this competition who can take criticism like a grown up. Learn, You definitely got better, You've lost some of this facial thing which I think was distracting, and You just did a really grown up, fantastic performance. Congratulation." - Simon Cowell on "Solitaire" -"

"Clay, you sing like Andre Agassi plays tennis, perfection, perfection. And I would kill to write and produce your first CD.""

"And I can honestly say I have never, in all of my life, seen a theatrical groundswell that this kid has motivated, that it makes us all come right back to the bobby sox and Frank. And isn't it nice to live through that magnificence again? Here is Clay Aiken"

"We have someone here today, from the smash hit show American Idol, we're thrilled to have him joining us today, because when it was made known that he would appear on this Telethon, the emails and the fan clubs that this young man has have sent us $30,000.00 just at the fact that he was here."

"I always like the idea that you can turn on the radio and say, 'Oh, that's Clay Aiken. Oh, that's Barbra Streisand. Oh, that's Frank Sinatra, Oh, that's Tony Bennett.' They're a star if you can identify them immediately by their sound. That kid has his own sound. He's got energy. He's got soul. He's got it all. That voice pours out of him."

"What a dear young man.It was like watching magic. Absolute pure song. The boy stopped being there and there was nothing but singing. It was like watching magic...this young man unzipped himself and emerged like a butterfly.He did it so naturally and so beautifully that I think all of our jaws dropped and we thought "wow." Clay Aiken. What a great kid."

"When I review the tape [of the show] the next day, there's lots of screaming and crying,..."hen I recover the same way I do anytime I'm injured: ice, elevation and my Clay Aiken CD."

"To be fair to all, nobody from the show can tell a finalist whether a song choice is good or bad, no matter how much they want to know. Byrd remembers Clay Aiken: He'd say, 'Byrd, if this is a great song choice, blink your left eye."

"It's also our true privilege to present the Robert M. Barg Memorial Achievement Award to Clay. This award is very special to our hearts as it is named after the kindest man that we have ever met, our dad. It's rarely given and only presented to those who share that special brand of kindness and who work hard to truly make a difference in the lives of those in need. Ladies and gentlemen, may I present Mr. Clay Aiken."