First of all, break-dancing has been done for years, though not all of it put together the way it is now. But, actually, the distinctions have been blurring since the 1950s.

I wanted to invent some kind of American dance that was danced to the music that I grew up on: Cole Porter and Rodgers and Hart and Irving Berlin. So I evolved a style that certainly didn't catch on right away - but I had some good mentors in New York who encouraged me.

I never played a rich man, I never played a prince. And to play a sailor or longshoreman you had to make your dance more eclectic and varied, but still keep it indigenous to your nationality, upbringing, and background.

First of all, break-dancing has been done for years, though not all of it put together the way it is now. But, actually, the distinctions have been blurring since the 1950s.

I miss the romance. I keep saying this over and over again, but dance follows music. And if the accent today is percussion and rhythm and loudness, then that is the way the dance numbers will be. But it is pretty hard on romance with seven guitars, three drums, and no melody instruments in the band.

The way I look at a musical, you are commenting on the human condition no matter what you do. A musical may be light and frivolous, but by its very nature, it makes some kind of social comment.

I may be rancid butter, but I'm on your side of the bread.