- Jerry Ames: There's a lot of young people into tap now. The last few years there seems to be a great renaissance of tap dancing and that's a nice thing to see. I like it to be carried on. It's you know, it's the indigenous American art form. You have well, it's actually one of two, jazz music and tap dancing. And during the time when tap was supposedly out, I couldn't understand it, because when a tap dancer got an opportunity to perform, if he was good, invariably the tap act was the one that stopped the show. So, it was very frustrating for a lot of really good dancers during that so-called dead period for tap. It was a very, very bitter time.
- Ralph Brown: Dancers like I say, they have an unwritten understanding that you know, you feel something. I might be doing a little step and start it off and he would finish it off, cause he knows which way I 'm going. There's feeling in the climax, that's challenge dancing and like a code, you're sending a message.
- Ralph Brown: Like Louis Armstrong always said, you don't have to play the notes as written, play them as you feel. You can stick to the basics such as the melody, but you can improvise off of that. And dancing is similar, because you have to feel it to really execute. And rhythm is what it's all about. You've got to have rhythm.
- Lon Chaney: It wasn't dead, we always had it on the street of Harlem, so it wasn't dead. There might have been a period when it wasn't flourishing, you know like it is now. But it was never dead, cause the guys in this group right here, they never quit dancing, they always danced. Even when I met them and became associated, they was already dancing, they never stopped. Just needed a little kick, you know, a lift, up lift. We need more people to join in it to help keep it alive.