I was initially a leading man, but only on television.
One of the processes of your life is to constantly break down that inferiority, to constantly reaffirm that I Am Somebody.
To be who you are and become what you are capable of is the only goal worth living.
Making dances is an act of progress; it is an act of growth, an act of music, an act of teaching, an act of celebration, an act of joy.
Dance is for everybody. I believe that the dance came from the people and that it should always be delivered back to the people.
The creative process is not controlled by a switch you can simply turn on or off; it's with you all the time.
My dancers must be able to do anything, and I don't care if they are black or white or purple or green. I want to help show my people how beautiful they are. I want to hold up the mirror to my audience that says this is the way people can be, this is how open people can be.
Emotion is more than just anger. When I am performing, I need emotion, but I need control, too. Emotion drives the best performance and is necessary, but it must be controlled. I believe Fedor [Emelianenko] does that. I do too. We may look different in how we do it, but we both do it.
When I'm playing with the band or playing with some projects or some of my own stuff it's about the musical approach. That would be the more turntablist approach to things of where it's strictly about music.
Making an effort is in your hands. Giving 100% is in your hands.
The unraveling that I experienced much earlier in the Vietnam war than many people think, was due to the immediate foxhole experiences. But once I got back home and began to follow the war on TV and in the press I began to see this enormous con game - I can't think of any other word for it - that government and the military was foisting on the American people, especially on the young men of my generation, and even worse, the young men of my generation who weren't particularly economically or intellectually privileged.