Laurieann Gibson Quotes
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'Born This Way' is shaping up to be creative ecstasy.
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I love working with Alicia Keys, because it's not just the ability to do the dance to me; I think it's the ability to interpret it that excites me the most.
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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.
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I was born in Toronto and studied with the National Ballet of Canada. I went to school to study dance, slept on the floor, ate nothing, waitressed - and then there was a Mary J. Blige audition.
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'Saturday Night Fever,' Paula Abdul, 'Fame,' Debbie Allen... all affected me and the generation before me.
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She's like a Barbie, then she wants to be a superhero, or coming out of a spaceship and everything's pink. She makes a certain move that's ghetto hood mixed with a little robot so its like I'm evolving Nicki Minaj and developing her style. She's fearless, and I love her.
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I like to always remind my dancers about ways to avoid injury. One of the basic ways to avoid injury is to always make sure to stretch and warm up your body. This will loosen up your muscles, which will help to avoid common strain injuries such as shin splints and ankle strains.
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Choreography is amazing. I'm still a dancer, yet I transitioned into choreography then as a Creative Director. All of these creative elements are brought out of being a dancer. Directing is something that comes out of understanding movement and choreography. Directing movement is directing a dance piece.
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The only thing that I have is the truth, so the only thing I fear is a lie.
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'The Dance Scene' is just a real look at what it takes. You see the award shows. You see the videos and you never realize what goes on behind the scenes. The reality and the preparation. The motivation I have to give each dancer on that set.
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I was obsessed with Chubby Checker and old dances, like the twist.
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I want to be able to say, 'you think you're odd, I'm even odder and I made it - you can too!' I want to direct, do more with 'The Dance Scene,' sign artists and just provide opportunities. I'm just getting started and having the time of my life!
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For me, a dancer is part of an artist's entertainment - 'backup dancer' isn't even in my vocabulary.
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I enjoy getting an artist at the beginning stages, and then I'm able to pull out something that is so pure and actually create their individual style. From how they pick up the microphone, to how to look on the stage, to their dance steps, to their talk, their opinions, to what they wear, so it really gets to be developed from the beginning.
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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.
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Artist development is something that I've been passionate about from my days at Uptown and Motown Records.
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I'm an emotional eater. If something's worth celebrating, we're going to grab pizza. If it's going bad, girl, pass me the chocolate. Gotta keep it in check!