In private, I'm a hippie who follows Buddhism, does yoga, meditates and loves to dance wildly.
I never studied dance, but if you look at 'Wild At Heart,' my mother saw that movie and said, 'You are a dancer. Look at how you're moving: all that strange energy is like modern dance.'
I used to be on dance team in high school; it was called drill team in Texas. And when I started doing theater sophomore year, I had to make a decision which thing I was gonna follow. It was a big shift because I sort of had all these friends on dance squad, and when I started to do theater, my whole identity shifted.
I really enjoy encountering a celebrity who's like, 'Let's go; you'd better have your A-game on.' You sit down with Madonna, and she's like, 'You'd better have something for me. If you're not ready to dance, I'll eat you up.'
Ambivalence is a wonderful tune to dance to. It has a rhythm all its own.
Many of my songs were dance orientated from way back. That's because I love dance! When I hear a dance number, just hearing the first eight bars, it immediately makes my bod start moving and dancing.
Visualization - it's been huge for me. Your mind doesn't know the difference between imagination and reality. You can't always practice perfectly - my fingers will play a little bit out of tune, or my dance moves might not be as sharp - but in my mind, I can practice perfectly.
A friend of my mother's, Irene Lopez, was a Spanish dancer. She saw me bopping around the room and said to my mother, 'Rosita might have talent. Can I take her to my dance teacher?' There was no thought of a career at that time, but I knew I loved the attention, and that's so much a part of being a performer.
When I was a baby, my mom used to have a dance school, and she used to teach classes there. We didn't have money for a babysitter, so she always brought me with her to the dancing school. Back then, I was already watching and listening to Michael Jackson for a long time.
I grew up an athlete. Track and field and dance. In track, I actually went to the Junior Olympics. I've always been very athletic.
I played a lot of Bach's partitas and sonatas; I like the way that Bach was abstracting already from these dance forms.
I grew up in dance class, so I was looking in mirrors all day.
When I coach dancers, I always like to get on the dance floor with them or describe something by showing them.
I want to be able to say, 'you think you're odd, I'm even odder and I made it - you can too!' I want to direct, do more with 'The Dance Scene,' sign artists and just provide opportunities. I'm just getting started and having the time of my life!
I'm no dancer. I got rhythm, I can dance if I need to, but I'm not Chris Brown. He's an amazing dancer. If I'm not going to be amazing at it, I'm not gon' do it. I'm gonna do what works for me, and you're going to feel it 'cause it's me.
I dance but I also work out. I run, do strength training... you name it. I've got to!
We did a student-initiated project of 'A Little Night Music', which was the first time that all of the divisions - music, dance, drama, opera - came together and put on a piece. It was a black box kind of feel. We had to get costumes that were pieced together. We had our own lighting that we finagled.
Rand Paul does not like being compared to his father Ron any more than sons named Bush like to dance in their father's shadow, but the crucial difference is that while the Bushes all hail from the relative mainstream of the GOP, the Pauls have an ideological tributary virtually to themselves.
My audience expects cold, hard truth. They don't expect me to dance around it. They expect me to say it the way they think it. That's part of my brand. If I don't do that, then my audience goes, 'What's up? Is he sick or something? What's wrong with him?' The entity has a brand.
The thing to do, it seems to me, is to prepare yourself so you can be a rainbow in somebody else's cloud. Somebody who may not look like you. May not call God the same name you call God - if they call God at all. I may not dance your dances or speak your language. But be a blessing to somebody. That's what I think.
If you're sitting across the table from someone, the geometry of the situation says 'confrontation.' If you're walking with somebody, you're heading in the same direction, and the spatial dance you're doing is a little more cooperative.
I was a dancer for many years. I was a premier dancer with 'Porgy and Bess,' the opera. And I taught dance some, in different places.
My genuine passion for dance was born watching Ballet Rambert perform Christopher Bruce's harrowing 'Ghost Dances.'
Any Latin dance, whether it be salsa, cha cha, samba, etc., is very sexy for me to see a woman do. Using your hips is the key.
I don't really think about dance except just before rehearsals start. I put it off. I don't live my life thinking about dance.
