As one of the handful of girls who worked with both of those dance geniuses, I think I can give an honest comparison. In my opinion, Kelly is the more inventive choreographer of the two. Astaire, with Hermes Pan's help, creates fabulous numbers - for himself and his partner. But Kelly can create an entire number for somebody else... I think, however, that Astaire's coordination is better than Kelly's... his sense of rhythm is uncanny. Kelly, on the other hand, is the stronger of the two. When he lifts you, he lifts you!... To sum it up, I'd say they were the two greatest dancing personalities who were ever on screen. But it's like comparing apples and oranges. They're both delicious.
Fred AstaireRelated topics
coordination dancing dance entire handful help hermes number opinion sense somebody uncanny Astaire apples choreographer girlsRelated quotes
If the right hon. Baronet [Peel] chooses to retire from office in consequence of this vote, he carries with him the esteem and gratitude of a larger number of the population of this Empire than ever followed any Minister that was ever hurled from power...I am not misinterpreting the opinion of the people, not only of the electors, but especially of the working classes, when I tender the right hon. Baronet, in my own name, as I might do in theirs, my heartfelt thanks for the unwearied perseverance, the unswerving firmness, and the great ability with which he has during the last six months conducted one of the most magnificent reforms ever carried in any country, through this House of Commons.
Richard Cobden
Thus did a handful of rapacious citizens come to control all that was worth controlling in America. Thus was the savage and stupid and entirely inappropriate and unnecessary and humorless American class system created. Honest, industrious, peaceful citizens were classed as bloodsuckers, if they asked to be paid a living wage. And they saw that praise was reserved henceforth for those who devised means of getting paid enormously for committing crimes against which no laws had been passed. Thus the American dream turned belly up, turned green, bobbed to the scummy surface of cupidity unlimited, filled with gas, went bang in the noonday sun.
Kurt Vonnegut
For my own part, I may desire in general to be other than I am; I may condemn and dislike my whole form, and beg of Almighty God for an entire reformation, and that He will please to pardon my natural infirmity: but I ought not to call this repentance, methinks, no more than the being dissatisfied that I am not an angel or Cato. My actions are regular, and conformable to what I am and to my condition; I can do no better; and repentance does not properly touch things that are not in our power; sorrow does.. I imagine an infinite number of natures more elevated and regular than mine; and yet I do not for all that improve my faculties, no more than my arm or will grow more strong and vigorous for conceiving those of another to be so.
Michel de Montaigne
I was very much surprised when Mill informed me that he had not read a line of Hegel, either in the original or in translation, and regarded the entire Hegelian philosophy as sterile and empty sophistry. I mentally confronted this with the opinion of the man at the Copenhagen University who knew the history of philosophy best, my teacher, Hans Brochner, who knew, so to speak, nothing of contemporary English and French philosophy, and did not think them worth studying. I came to the conclusion that here was a task for one who understood the thinkers of the two directions, who did not mutually understand one another. I thought that in philosophy, too, I knew what I wanted, and saw a road open in front of me.
Georg Brandes
...there is no point to musical analysis at all unless it is 'two-dimensional' – unless [...] one examines the music in terms of what I call its 'Background' (and this 'Background' is the sum total of the expectations which the composer creates) and its 'Foreground' (and its 'Foreground' is what he does instead). That is to say, the composer creates certain expectations, well-defined expectations, which he proceeds to meaningfully contradict. There is therefore a strong relation between 'Background' and 'Foreground', between that which happens and that which lies at its back – or to put it the other way round, between that which the composer leads you to expect, and that which he does instead...
Hans Keller