I would enjoy venturing into music, as I do write songs and compose music! And, of course, dance, rhythm and performance are in my blood, so eventually I see myself doing something in that area, surely!
My sound definitely pays a lot of homage to the Nineties, but not just the dance music. There's also breakbeats, R&B, the big ballads. It's that whole era infused with very modern sounds.
Scotland is one of my favourite places to perform: it's really something special. Scottish audiences are just so enthusiastic; their approach to dance music just feels similar to my own somehow.
I don't understand why the press is so interested in speculating about my appearance, anyway. What does my face have to do with my music or my dancing?
I make the music my ears want to hear, I wear the clothes my body wants to wear and the ones boys call me back for, and I generally make the songs that my feet dance to.
I used to go to soul nights because I loved dancing, and so did my friends, and we loved the music. We used to go listen to black American soul.
Every girl likes to just rock out when they put music on in their room - I learned that personally when fans would tell us how much they loved to make up their own dances to Cheetah Girls songs.
Whenever you play dance music, it serves a function. It becomes a utility; you have to worry about the tempos and what you're going to play for people. But when you're playing for listening, you're free.
Dance has always just been an extension of music for me. It's about putting my music into motion. It's just another dimension that I tap into with my music that not many artists do anymore.
There have been a lot of people involved in the growth of EDM's support in the U.S., from DJ/producers like David Guetta, Deadmau5 and Skrillex, to major festival organisers and pop artists of EDM integrating elements of dance music into their music.
Everyone is taught the essentials of writing for at least 13 years, maybe more if they go to college. Nobody is taught music or tap dancing that way.
I believe honesty comes across in music because for people that music isn't just something to dance to. For people for whom music is something that they feel, they understand what I'm talking about.
I went to some sports camps when I was really young and hated it. So I changed and went to camps where I could dance all morning and act all afternoon.
People often say to me, 'I don't know anything about dance.' I say, 'Stop. You got up this morning, and you're walking. You are an expert.'
I didn't know that I could do a talk show. I didn't know that we could bring variety to daytime. I didn't know that people wanted to see singing, and dancing and comedy in the morning.
One out of forty American men wears women's clothing. We've had more than forty presidents. One of these guys has been dancing around the Oval Office in a prom dress.
'Seven Sonatas,' with its flowing series of meetings between men and women in an identifiable emotional world, is in the mould of Jerome Robbins' glorious 'Dances at a Gathering.'
Southern people are raised with a work ethic. My son is 5 years old and does chores. My mom was a dance teacher, and the training and discipline it takes to be a dancer I've carried with me in Hollywood.
We didn't have movies in this little mining town. When I was 12 my mom took me to New York and I saw Bye Bye Birdie, with people singing and dancing, and that was it.
Gary Poulson: What are you deeing man? This is hand to hand combat not a bloody tea dance!
[first lines] Nina Sayers: I had the craziest dream last night. I was dancing the White Swan.
