Dancers From The United States

"Fred Astaire represented the aristocracy, I represented the proletariat."

"In the 1930s, when I started, Martha Graham was the only dancer doing anything modern, but she did it all to classical music. I couldn't see myself doing Swan Lake every night, and I wanted to develop a truly American style. The only dancer in the movies at that time with any success was Fred Astaire, but he did very small, elegant steps in a top hat, white tie, and tails."

"Manhood is what we profess, and what we try to get across."

"Hair is the first thing. And teeth the second. Hair and teeth. A man got those two things he's got it all."

"A colored is a very frightened-to-death Afro-American. A Negro is one that makes it in the system, and he wants to be white. A nigger, he's loud and boisterous, wants to be seen. Nobody likes a nigger. A black man has pride. He wants to build, he wants to make his race mean something. Wants to have a culture and art forms. And he's not prejudiced. I am a black American man. Now you go ahead and print it."

"Don't terrorize. Organize. Don't burn. Give kids a chance to learn … The real answer to race problems in this country is education. Not burning and killing. Be ready. Be qualified. Own something. Be somebody. That's Black Power."

"The American black person knows something which nobody else in the world knows. To have been where we were, to have paid the price we have paid, to have survived, and to have shaken up the world the way we have is a rare journey. No one else has made it but us. There is a reason that people are listening to James Brown, Nina Simone, and Aretha Franklin all over the world, and not to somebody from Moscow, Turkey, or England. And the reason is not in our crotch but in our heart, our soul. It's something the world denied and lied about, energy they labeled savage, inferior, and insignificant. But it has been proven that no matter what they labeled it, they cannot do without it."

"Watch me … watch me! I got it! Watch me … I got it. HEY!I got somethin' that makes me wanna shout. I got somethin' that tells me what it's all about. Huh, I got soul and I'm super bad!"

"Get up, Get on up. Stay on the scene. Get on up, Like a Sex Machine. Get on up, Get up. Shake your arm, Then use your form. Stay on the scene, like a Sex Machine. You gotta have the feeling, Sure as you're born."

"Look a'here, some people say we got a lot of malice Some say it's a lotta nerve I say we won't quit moving Til we get what we deserve. We've been 'buked and we've been scourned We've been treated bad, talked about As just as sure as you're born But just as sure as it take Two eyes to make a pair, huh Brother, we can't quit until we get our share.Say it loud, I'm black and I'm proud."

"Mama, come here quick, Bring me that lickin' stick. Mama, come here quick, Bring me that lickin' stick. People standin', Standin' in a trance. Sister out in the backyard Doin' the outside dance."

"Our love is kind of stalled, baby. But it ain't about the sex. I'd trade the roses and the negligees If we could just connect. I go deeper when you look into my eyes. There's a place where neither one of us can hide. And it's up to us to reinvent the game. Love it when you call my name."

"When you kiss me, And ya miss me. You hold me tight, Make everything all right. I break out - in a cold sweat heh!"

"This is a mans world. This is a mans world. But it would be nothing, nothing Without a women or a girl."

"When I hold you in my arms, I know that I can't do no wrong. And when I hold you in my arms, My love can't do me no harm.And I feel nice, like sugar and spice I feel nice, like sugar and spice. So nice, so nice, well I got you."

"Come here sister... Papa's in the swing. He ain't too hip... about that new breed babe. He ain't no drag, Papa's got a brand new bag."

"Try me. Try me. And your love will always be true. Oh I need you (I need you). Hold me. Hold me. I want you right here by my side. Hold me. Hold me. And your love we won't hide."

"I'm going away tonight."

"I'm the most sampled and stolen. What's mine is mine, and what's yours is mine, too … I got a song about that … But I'm never gonna release it. Don't want a war with the rappers. If it wasn't good, they wouldn't steal it."

"This is an issue couples have to be straight on and agree on before they walk down that aisle; otherwise there is no way their marriage will survive."

"I would warn against anyone marrying a person with more than a ten-year age difference. It almost never works. It is difficult to find things to talk about, to use similar reference points, and to operate at the same speed of life. Another problem is that both sides usually don't want the same things at the same time."

"To make it in life, you and your wife need to be in the same business. That has been my problem all along. My wives didn't know what I was doing. I would come back home from the road to a stranger. That's no good."

"When I'm on stage, I'm trying to do one thing: bring people joy. Just like church does. People don't go to church to find trouble, they go there to lose it."

"Sometimes you struggle so hard to feed your family one way, you forget to feed them the other way, with spiritual nourishment. Everybody needs that."

"It doesn't matter how you travel it, it's the same road. It doesn't get any easier when you get bigger, it gets harder. And it will kill you if you let it.""

"I can make $4 million somewhere else. My body is for me and for whoever my love interest is at that moment, and that's the only person who gets to see it."

"I feel so bad. My band started playing the wrong song and I didn't know what to do so I thought I'd do a hoedown. I'm sorry."

"As long as there are girls, we need guy bands. However, in this day, it is not good enough to just sing great. You have to write, sing and play. We want it all."

"You can get dancers like this for $75 a week."

"The higher up you go, the more mistakes you are allowed. Right at the top, if you make enough of them, it's considered to be your style"

"(Cary Grant) is, along with Fred Astaire, the best-dressed actor in American movies"

"I think I can pinpoint the one moment when the American style of dressing first appeared. It was in an appalling 1933 movie called Dancing Lady during an otherwise forgettable dance number. It also just happened to be Fred Astaire's first on-camera dance. But don't look at the steps. Look at the outfit: Astaire is wearing a single-breasted, soft flannel suit with two-tone spectator shoes and a turtleneck. You wish you could look that stylish! Later that year, in Flying Down to Rio, we get the full Astaire impact. The muted plaid suit is not all that striking, but Fred is wearing it with a soft button-down shirt, a pale woven tie, silk pocket square, bright horizontally striped hose and white bucks. Whoa! Now that's different. This melange of the classic and the sporty was an American innovation. As we approach the impeccable Astaire's 100th birthday on May 10, it's worth remembering that he remains the greatest exemplar of that style."

"[[w:Leslie Caron|[Leslie] Caron]] is one of only six women who danced with Kelly and Fred Astaire in movies. She says that while Kelly always danced close to the ground, with Astaire (in 1955’s Daddy Long Legs) she felt as if she was floating. Who did she prefer? She gives me a look. "It's not fair to ask me that. For 70 years, I've refused to answer that. A great dancer is a great dancer." She says they were such different men – Kelly tough and generous, Astaire urbane and genteel."

"I suspect it is this Camelot view that leads Miss Croce to be rather unfair to Gene Kelly...I should say the difference starts with their bodies. If you compare Kelly to Astaire, accepting Astaire's debonair style as perfection then, of course, Kelly looks bad. But in popular dance forms, in which movement is not rigidly codified, as it is in ballet, perfection is a romantic myth or a figure of speech, nothing more. Kelly isn't a winged dancer; he's a hoofer and more earthbound. But he has warmth and range as an actor...Astaire's grasshopper lightness was his limitation as an actor - confining him to perennial gosh-oh-gee adolescence;; he was always and only a light comedian and could function only in fairytale vehicles."

"The major difference between Astaire and Kelly is a difference, not of talent or technique, but of levels of sophistication. On the face of it, Kelly looks the more sophisticated. Where Kelly has ideas, Astaire has dance steps. Where Kelly has smartly tailored, dramatically apt Comden and Green scripts, Astaire in the Thirties made do with formulas derived from nineteenth-century French Farce. But the Kelly film is no longer a dance film. It's a story film with dances, as distinguished from a dance film with a story. When Fred and Ginger go into their dance, you see it as a distinct formal entity, even if it's been elaborately built up to in the script. In a Kelly film, the plot action and the musical set pieces preserve a smooth community of high spirits, so that the pressure in a dance number will often seem too low, the dance itself plebeian or folksy in order to "match up" with the rest of the picture."

"Fred taught me a step because I said I can't let this experience be over without my learning something. He taught me the most wonderful Fred Astaire-like step, with an umbrella. It was a complete throwaway; it was almost invisible. It was in the way he walked. As he moved along, he bounced the umbrella on the floor to the beat and then he grabbed it. It was effortless and invisible. As a matter of fact, a few years later I was photographing Gene Kelly and told him that Fred Astaire had taught me this trick with an umbrella. And Kelly said, "Oh I'll teach you one," and he did, and the two tricks with the umbrella in some way define the difference between Fred Astaire and Gene Kelly, and, in my view, demonstrate who is the greater of the two artists. With Gene Kelly, he threw the umbrella way up into the air, and then he moved to catch it, very slowly, grabbing it behind his back. It was a big, grandstand play, about nothing."

"The fact that Fred and I were in no way similar - nor were we the best male dancers around never occurred to the public or the journalists who wrote about us...Fred and I got the cream of the publicity and naturally we were compared. And while I personally was proud of the comparison, because there was no-one to touch Fred when it came to "popular" dance, we felt that people, especially film critics at the time, should have made an attempt to differentiate between our two styles. Fred and I both got a bit edgy after our names were mentioned in the same breath. I was the Marlon Brando of dancers, and he the Cary Grant. My approach was completely different from his, and we wanted the world to realise this, and not lump us together like peas in a pod. If there was any resentment on our behalf, it certainly wasn't with each other, but with people who talked about two highly individual dancers as if they were one person. For a start, the sort of wardrobe I wore - blue jeans, sweatshirt, sneakers - Fred wouldn't have been caught dead in. Fred always looked immaculate in rehearsals, I was always in an old shirt. Fred's steps were small, neat, graceful and intimate - mine were ballet-oriented and very athletic. The two of us couldn't have been more different, yet the public insisted on thinking of us as rivals...I persuaded him to put on his dancing shoes again, and replace me in Easter Parade after I'd broken my ankle. If we'd been rivals, I certainly wouldn't have encouraged him to make a comeback."

"Me? I play Gene Kelly...It's a guy who produces, directs, sings, and dances. who else could it be but Kelly?"

"As one of the handful of girls who worked with both of those dance geniuses, I think I can give an honest comparison. In my opinion, Kelly is the more inventive choreographer of the two. Astaire, with Hermes Pan's help, creates fabulous numbers - for himself and his partner. But Kelly can create an entire number for somebody else... I think, however, that Astaire's coordination is better than Kelly's... his sense of rhythm is uncanny. Kelly, on the other hand, is the stronger of the two. When he lifts you, he lifts you!... To sum it up, I'd say they were the two greatest dancing personalities who were ever on screen. But it's like comparing apples and oranges. They're both delicious."

"If I was black and blue, it was Gene. If I didn't have a scratch it was Fred."

"I guess the only jewels of my life were the pictures I made with Fred Astaire."

"We were only together for a part of my career, and for every film we did, I did another three on my own. The studio was working me too hard. Fred would rush off for a holiday and call me and say: "Hey, ready to do another?" And I didn't have the sense to say that I was too tired. Those times were murder for me. Oh, I adored Mr. A but all the hard work...the 5 a.m. calls, the months of non-stop dancing, singing and acting. We just worked it out and had a lot of fun and got very exhausted. And Mr A was quite divine."

"How do you think those routines were accomplished? With mirrors?... Well, I thought I knew what concentrated work was before I met Fred, but he's the limit. Never satisfied until every detail is right, and he will not compromise. No sir! What's more, if he thinks of something better after you've finished a routine, you do it over."

"Just try and keep up with those feet of his sometime! Try and look graceful while thinking where your right hand should be, and how your head should be held, and which foot you end the next eight bars on, and whether you're near enough to the steps to leap up six of them backward without looking. Not to mention those Astaire rhythms. Did you ever count the different tempos he can think up in three minutes?"

"The girls always think we're going to throw them over a table or toss them in the air. Their muscles tense up right away. So Fred and I go and sit in a corner and pretend we're talking business."

"I once said that fifty years from now, the only one of today's dancers who will be remembered is Fred Astaire."

"Come on, Fred, I'm not your sister, you know."

"If people would only realize when they ask me why I don't do a picture with him - they ask me that all the time, and were quite keen on it while I was in Hollywood - if they'd only realize that he's gone 'way ahead of me. Why I couldn't begin to keep up with him. I couldn't even reach the steps he throws away."

"I'd never seen him out front before. It was also the first time I realized that Fred had sex appeal. Fred. Wherever did he get it?"

"Grayce Llewellyn thought that with appropriate dietary restrictions, she and J Sheringham Adair could have Ivor Llewellyn looking like Fred Astaire."