Quotes About Expression

That's what makes writer's block so painful. You think the well has run dry, maybe somewhere in the heavens the tap has been turned off. That's beyond frightening.

I've always, especially through old Hollywood musicals, loved just to watch tap dancing; I adore it. I think it's fantastic.

I liked tap, because I liked hearing the results of my movements.

When I first saw tap dancing, I immediately got it: the righteousness of being able to make so much noise with your feet!

I tap dance.

When I write a song, I tap into the emotion and the feeling and then I use the emotion to write the words. It's the opposite when I act. I use the words and tap into the emotion.

You know how there's always the one girl in drama school who can cry at the drop of a hat? She has that emotional well she can tap into in a second? I'm not that girl. It takes a lot to get me to that place.

I'm kind of lucky in the fact that I can take something that's in my head and write it down, or I can listen to a piece of music that somebody else has written and try to tap into what the music's saying and just kind of follow that, you know. I mean, nine times out of 10, I'm just kind of following where the music takes me.

I would love to be able to tap dance.

I think as an actor you have to be open to your emotions - that's how you tap into other characters. Besides, by being so open I've come to terms with how screwed I am!

I think there's a lot of similarity between what people try to do with religion with what they want from art. In fact, I very specifically think that they are same thing. Not that religion and art are the same, but that they both tap into the same need we have for surrender.

I'm a tap dancer. Once you're a tap dancer, you're always a tap dancer. In 'After Midnight,' I get to dance, but I don't do a full tap number.

Everyone is taught the essentials of writing for at least 13 years, maybe more if they go to college. Nobody is taught music or tap dancing that way.

Point a light at me, and I'll start tap dancing.

I was in a competing company and have been dancing since I was four - ballet, tap, jazz, hip hop - so it's a huge part of my life and my music.

Dance has always just been an extension of music for me. It's about putting my music into motion. It's just another dimension that I tap into with my music that not many artists do anymore.

I can tap dance a little bit.

Tap's foundation is jazz, just like hip-hop, so relating tap-dancing to rap is natural for me.

When I'm on TV or whatever, I'm able to bring my instruments, my board, and my sound is intact. But other kids who are on TV, when they're doing tap, sometimes they're just on the regular floor. It's not as safe; it's not as sound-worthy as it should be.

I took tap and ballet, which likely contributed to my sense of rhythm and showmanship. I love creating music that gets people moving together, free of inhibitions.

Maddie Ziegler

Just like a comedian has a certain joke or a jazz musician has a riff that they know will get the crowd, a tap dancer always has a step.

I grew up watching Gregory Hines banging out rhythms like drum beats, and Jimmy Slyde dancing these melodies, you know, bop-bah-be-do-bap, not just tap-tap-tap. Everyone else was dancing in monotone, but I could hear the hoofers in stereo, and they influenced me to have this musical approach towards tap.

I feel it's my duty, my job, now to allow people to hear the dance to different genres of music, to ensure audiences have the chance to listen to tap dancing up against all these other styles.