A Quote by Johnny Borrell

When I dance, it's incredible. I can't describe it, there's no words. You just tap into your mojo and you just go. — © Johnny Borrell
When I dance, it's incredible. I can't describe it, there's no words. You just tap into your mojo and you just go.
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.
So when you're talking about lyrics in the context of music, it's not just about what the words mean, and what you were thinking about when you wrote it. It's not cognitive in that same way. It's almost like music turns words into touch, which is hard to describe, like the feeling of your shirt on your back. It's a pretty delicate thing to try to put into words. You just feel it.
It's one of my strongest dance pieces - having just done Play Without Words which was veering away from a lot of dance - I thought it would be nice to go back to something with almost the most dance I'd done.
Imagine you're doing your thing, and somebody comes up to you and just kills your mojo. Just tell them, 'No flex zone!'
I don't tap dance, and I don't think you can learn to tap dance in three weeks at my ripe old age.
There are people who take tap class, do a tap dance. And then there are people who know the dance, who know why they take tap classes. Who know why they do 20 shuffles, or 50 shuffles, before they go on.
If you have to tell a story without speaking, it's sort of like - I come from a dance background, so it's like a ballet where you have to tell a story with just your body. I think that's really interesting to have to tell a story with just your face and your mannerisms, and I'd like to tap into that world.
Don't be daunted. Just do your job. Continue to show up for your piece of it, whatever that might be. If your job is to dance, do your dance. If the divine, cockeyed genius assigned to your case decides to let some sort of wonderment be glimpsed, for just one moment through your efforts, then 'Ole!' And if not, do your dance anyhow. And 'Ole!' to you, nonetheless. I believe this and I feel that we must teach it. 'Ole!' to you, nonetheless, just for having the sheer human love and stubbornness to keep showing up.
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.
You just can't muscle your way through some things in life. You just have to keep your head on your shoulders and dance with it as you go.
It's [Jack the Giant Slayer] one of those fairy tales your mom and dad read to you when you're little. Never once did I imagine myself in it. It's just phenomenal. Words just can't really describe it. It brings the biggest smile to my face.
New York has a deep culture of house and dance music, and to be able to tap into that is my way of shutting off. I go to friends' parties and local spots around the area: places I can go to, have a dance, and forget about being an actor and the attention.
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.
Here in New Orleans, what a lot of the musical families do - and this is a romantic concept on my part - is they teach their kids to tap dance first. Then after tap dance, you learn piano, and after piano, you get to pick between all the instruments that are out there.
To be a great actor, you really don't need to go to acting school or learn dance classes or work on your body. You have to be intelligent. You have to draw on a lot of emotions that you go through in life that you can tap into once you work on a set.
I would love to learn how to dance. I can pick up choreography pretty well. But when you're dancing with your friends, I can't do that. I'm not a freestyler. It just doesn't come naturally to me. Clapping is my go-to dance.
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