Everyone has the notion that hip-hop is messy and loose, but there's also another level to it.

Artist development is something that I've been passionate about from my days at Uptown and Motown Records.

Back in the early days like for the Temptations, Supremes and Four Tops, artist development was alive in record companies. Every artist had a moment to develop the record visually. When the web took over and camera phones, it stripped the artists of the power to figure it out. So there's a need to bridge that gap and that's my job.

'Saturday Night Fever,' Paula Abdul, 'Fame,' Debbie Allen... all affected me and the generation before me.

I was very disenchanted in the industry for a long time before I met GaGa. Everyone wanted a "Single Ladies" for their artist, or a Puffy move.

I'm born originally in Toronto, and I have what I call my 'Fame' story. I took a Greyhound bus and went to Alvin Ailey and received Dunham, Horton, Graham technique there, but I could never take my eyes off of Balanchine doing 'Nutcracker'; to me he's the best who ever did it.

For me, a dancer is part of an artist’s entertainment - “backup dancer” isn’t even in my vocabulary.