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.

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.

I dance but I also work out. I run, do strength training... you name it. I've got to!

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 think that there was a fad where everyone said, "I want you to create a signature step for my artist." The thing is, for me, music creates the step. The artist commands the step, you know?

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

People were being so mean as a result of my ability - a gift, really. So I think that's what makes me fight harder to provide an option to aspiring kids or artists. I wouldn't want anyone to go through what I went through... to see a little girl or a little dancer experience such unnecessary rejection.