A Quote by David Hallberg
No one around me was obsessed with Fred Astaire except for me. It just snowballed, really. I started with tap lessons. When I didn't have tap shoes, I taped nickels on the bottom of my penny loafers.
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My brother became so enamored with that film [West Side Story], that he started taking tap-dancing lessons, and I followed him and started tap dancing, and my mother and father started tap dancing - I was in a class with my family, tap dancing!
I started dancing when I saw Fred Astaire in 'Flying Down to Rio,' at approximately nine years old. Fred Astaire influenced me, more than anything, to be in 'show business.
I started dancing when I saw Fred Astaire in 'Flying Down to Rio,' at approximately nine years old. Fred Astaire influenced me, more than anything, to be in 'show business.'
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 remember vividly seeing 'Tarzan' and Fred Astaire, the Chaplin films, Fred Astaire musicals, MGM, because of my mother. She was just interested in everything and she took me to opera and ballet, and then ballet got me hooked.
Tap's foundation is jazz, just like hip-hop, so relating tap-dancing to rap is natural for me.
The sound of tap is not 'clickety clickety tap tap,' this monotone thing. The sound of tap has depth. We want you to hear the different highs and lows, the bass, the trebles and the melodies, if you can.
I'm a tap dancer. Once you're a tap dancer, you're always a tap dancer. In 'After Midnight,' I get to dance, but I don't do a full tap number.
I love the old Fred Astaire and Gene Kelly movies; they're so beautiful to look at. It's such a shame we don't make them anymore. Although, I don't know how you could make tap dancing current and topical.
Fred Astaire. Not a handsome man. He said himself he couldn't sing. He was balding his whole life. He danced like a cheetah runs with the grace of the first creation. I mean, that first week. On one of those days God created Fred Astaire. Saturday maybe, since that was the day for the pictures. When you s Fred you felt better about everything. He was a cure. He was bottled in the films and all around the earth, from Castlebar to Cairo, he healed the halt and the blind. That's the gospel truth. St. Fred. Fred the Redeemer.
My mom couldn't afford dance shoes, so she put me in these old cowboy boots with a hard bottom so I could get some sound out. I used them for seven months. When I finally got real tap shoes, I was nervous. I kept moving my feet, thinking, 'Oh, so this is how it's supposed to sound.'
I was about eight when I started tap dancing - against my own will. My mom wanted me to do it. She thought I would love it, and I didn't believe her. I turned out to be obsessed with it.
I was a working-class kid in a middle-class environment. Fashion was my way of saying, 'You can tap me for this and tap me for that, but you can't deny I look good.'
I did a dance with Fred Astaire in the movie 'Bandwagon.' I got to waltz just from left of camera to right of camera, and I'm taller than Fred Astaire. Fortunately, I was wearing a long skirt, so I waltzed with bended knees.
I could have kisses like that for the rest of my life. Kisses that don't know who I am. Kisses that make me feel more and less than what I am. But my finger tap tap taps on my leg and reminds me that I am not who Adam thinks I am, and it makes me want to cry. It's not that I don't deserve his kiss. It's that the person I am can never really share a life, a soul, with the person he is.
I am realizing and accepting my role as a tap dancer in this world is not only to tap dance for the sake of performance, but through tap dance be able to share and spread a message and congregate with people I would not necessarily be with had it not been for dance.
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