A Quote by David Copperfield
If you ever saw All That Jazz [1979], Bob Fosse was kind of raised dancing in strip joints and the whole era of burlesque, and that form ran his visual aesthetic, the pacing and rhythm of what he did.
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I never danced a step in my life so naturally. My first motion picture was a musical, and Bob Fosse was the choreographer. I didn't exactly dance for Fosse, I just did the best that I could to do what he taught us to do.
Actually, I used to be a busboy in a strip joint in New York and so I hate strip joints. I'm not that kind of person.
I love visual stylists like Bob Fosse and Vincente Minnelli and Michael Powell & Emeric Pressburger with The Red Shoes and The Tales of Hoffman.
With access to the clubs, access to the strip joints. My house. My boat. We’re talking about high school football players. Not anybody can just get into the clubs or strip joints. Who is going to pay for it and make it happen? That was me.
Man is an organism, not a mechanism; and the mechanical pacing of his life does harm to his human responses, which naturally follow a kind of free rhythm.
The whole gist of 'All That Jazz' is Faustian. It's about a man who sells his soul to show business - which Bob didn't do. He understood the dangers of glamour and falling into that kind of life.
And how did little Tim behave?” asked Mrs Cratchit, when she had rallied Bob on his credulity and Bob had hugged his daughter to his heart’s content. “As good as gold,” said Bob, “and better. Somehow he gets thoughtful, sitting by himself so much, and thinks the strangest things you ever heard. He told me, coming home, that he hoped the people saw him in the church, because he was a cripple, and it might be pleasant to them to remember upon Christmas Day, who made lame beggars walk, and blind men see.
[Bob Fosse] was a temperamental fellow - it was his way or the highway.
I have more to boast of than ever any man had. I am the only man that has ever been able to keep a whole church together since the days of Adam. A large majority of the whole have stood by me. Neither Paul, John, Peter, nor Jesus ever did it. I boast that no man ever did such a work as I. The followers of Jesus ran away from Him; but the Latter-day Saints never ran away from me yet.
Bob Fosse and Gwen Verdon intimidated us all because she walked in and was going to be the dance captain. She was a great star, but she loved that kind of work as his assistant.
I love jazz. So to me, there are two main types of jazz. There's dancing jazz, and then there's listening jazz. Listening jazz is like Thelonius Monk or John Coltrane, where it's a listening experience. So that's what I like; I like to make stuff that you listen to. It's not really meant to get you up; it's meant to get your mind focused. That's why you sit and listen to jazz. You dance to big band or whatever, but for the most part, you sit and listen to jazz. I think it comes from that aesthetic, trying to take that jazz listening experience and put it on hip-hop.
That's very important to me as well: presentation and how people perceive you, the visual of how things look, your posture. I learned that from [Bob] Fosse and Jerome Robbins, from all the great theater directors and the Busby Berkeleys. You overdeliver: visually, emotionally.
You'd have to go all the way back to 1972 to find a version of me who didn't care about theater, who didn't read Playbill and watch the Tony Awards, or get why Bob Fosse's choreography was so groundbreaking that all you need to say is 'Fosse hands' and theater people know what you mean.
Obviously, there's the seedy side of the strip club world and pole dancing. But, pole dancing, as an art form, is really beautiful. It's been hyper-sexualized because it's associated with strippers, but if you think about it, just in terms of other kinds of dancing, they're using an instrument to create these amazing dance forms.
At Carnegie Hall the Preservation Hall Jazz Band showed how easily it could hop from era to era. It could work like a rhythm-and-blues horn section or a tightly arranged little big band if need be, but it could also switch back into the polyphonic glories of vintage New Orleans jazz, in which nearly every instrument seems to improvise around the tune at the same time.
There was a point when dancing to music became cheesy after the boy band era of NSync and Backstreet Boys, but there were always those who craved that kind of visual satisfaction. K-Pop really filled that void, because it's so geared to spectacle.
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