Nancy Kerrigan Quotes

Music is my life. I love doing it, so I just do it nonstop all day. And with dancing, I wanted to put on a show for people. I don't want to just be sitting there doing nothing, so that's when I started to dance.

When I was a teeny little girl, I was in dancing school, and I sang. We had to put a dance to a song, so I went to the 10-cent store one day and looked at all the sheet music. It was all laid out, and I picked 'Life Is Just a Bowl of Cherries.'

'The Dance Scene' is basically the most amazing dance show in the world, and it follows me as a creative director. You see how I maintain that creativity.

My wife Juliana and I first saw Eurovision while on our honeymoon in Greece in 2006, and we were amazed by it. They basically recreate a music video onstage, and pyro cannons, LED video screens, background dancers, fireworks, costume changes, and wind machines are their tools.

I design all of my costumes. I like to go out there and feel like I have contributed to every part of what I do. I choose the music, the choreographer, I've obviously chosen my coach, my costumes - all if that falls under my realm of power, my realm of influence.

The good part is once I start directing, I can choose the songs I want to do. I'm just selective now when it comes to choreography.

Doing 'New Rules x Are You That Somebody?' was really, really fun.

I think that music is crucially important in Shakespeare - and, clearly, was an important part of the Elizabethan theatre. And, it's always been something that was a profound element of the experience of Shakespeare that I have been drawn to - and interpreters have, as well.

The costumes had to serve the choreography.

The first show I did was 'The Nutcracker' ballet. I was one of the kids who comes out in the beginning.

When you sing R&B songs in front of an audience, you look out and there's 85% women. I think R&B music is sort of designed for a man singing to a woman. I don't sing it like the sexy thing, but sort of pseudo-sexy. We rally the women together because it's about being independent and things like that.

The actual cheerleaders in our film are all Broadway dancers.

Dancers, like all performing artists, like nothing better than to be challenged.

All ballet galas are unbearable, but they're unbearable in different ways.

Obviously there is stuff that I wouldn't play in a club that I play at festivals, and vice-versa, but my sets are still dominated largely by my own music. I think that's what makes me stand out a bit. My music is also festival- and club-friendly, so it generally works out well.

Ballet needs figures that people can recognize and relate to. People don't know ballet dancers as well as they know other artists.

I've just been learning how to direct my own videos, choreography, doing costumes... every creative opportunity there is with my music I've taken.

Almost all of what I learned about mounting and hosting a dance show I learned from Dick Clark.

I would love to compose something for dance before I kick the bucket, and I'm not closed-minded about the dance, or the dance company.

You don't go see Primus to see what kind of new clothing I'm wearing or what my new hairdo is. You come to see Primus for the musical experience and the visual experience. I think, anyways. Maybe I'm wrong!

I'm a showgirl, as you can tell. I'm ever ready.

I started performing very young as a salsa dancer, and every time I was on that stage dancing, all I knew was that I wanted to speak. I wanted the music to stop, and I wanted to speak.

The music industry is so easy compared to the ballet world.

'River of Light,' to a dense but powerful score commissioned from Charles Wuorinen and with ravishing lighting by Mark Stanley, has depth and resonance.

When preparing for a concert, I do lots of training. I work with a choreographer to create great moves and then I have to keep my voice strong with lessons.