All the time we spent in bed, counting miles before we said, fall in love and fall apart, things will end before they start.

I think a lot of my interest in history now isn't so much in places and names and texts and public figures, but more in examining all the nuances and idiosyncrasies of particular stories of everyday people. And if that doesn't happen, then I usually transplant myself and my own stories to a particular historical event. Which is why you'll see me, the first person pronoun, interacting in a song about Carl Sandburg, or you'll find my [sic] interacting with Saul Bellow. It's sort of a re-rendering of history and making it my own.

A musician's attempt to summarize his or her work leads to all this prescriptive chatter, or what I call the Modifier's Madness. A lot of adjectives working overtime.

Art is... a reflection of a greater divine creation. There really is no separation.

It's nice for me to have a ballet as a kind of platform for creativity, because unlike modern dance or contemporary dance or downtown dance, ballet is formalized, and there's something orthodox about it that I like. I like that there's less emphasis on subversion and innovation. I actually think that my musical vernacular or my musical voice is also less inclined toward innovation and subversion. I think I'm a traditionalist.

I want to throw my voice more, I want to manipulate melody more... I want to be less deliberate and mechanical... I want less melody.

The round-up is an aggressive tradition. I'm trying to objectively be a steward of the tradition and what it means in its choreography.