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.

The only thing that I have is the truth, so the only thing I fear is a lie.

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?

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

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.

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.

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