I wanted to invent some kind of American dance that was danced to the music that I grew up on: Cole Porter and Rodgers and Hart and Irving Berlin. So I evolved a style that certainly didn't catch on right away - but I had some good mentors in New York who encouraged me.
When Ginger Rogers danced with Astaire, it was the only time in the movies when you looked at the man, not the woman.
I'd studied dance in Chicago every summer and taught it all winter, and I was well-rounded. I wasn't worried about getting a job on Broadway. In fact, I got one the first week.
My mother had gotten a job as a receptionist at a dancing school and had the idea that we should open our own dancing school; we did, and it prospered.
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