“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 Astaire

Cyd Charisse in Charisse, Cyd; Martin, Tony; Kleiner, Dick. The Two of Us, New York: Mason/Charter, 1976. ISBN 0-884-053636.

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Fred Astaire73

American dancer, singer, actor, choreographer and televisio… 1899–1987

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“The major difference between Astaire and Kelly is a difference, not of talent or technique, but of levels of sophistication. On the face of it, Kelly looks the more sophisticated. Where Kelly has ideas, Astaire has dance steps. Where Kelly has smartly tailored, dramatically apt Comden and Green scripts, Astaire in the Thirties made do with formulas derived from nineteenth-century French Farce. But the Kelly film is no longer a dance film. It's a story film with dances, as distinguished from a dance film with a story. When Fred and Ginger go into their dance, you see it as a distinct formal entity, even if it's been elaborately built up to in the script. In a Kelly film, the plot action and the musical set pieces preserve a smooth community of high spirits, so that the pressure in a dance number will often seem too low, the dance itself plebeian or folksy in order to "match up" with the rest of the picture.”

Fred Astaire (1899–1987) American dancer, singer, actor, choreographer and television presenter

Arlene Croce, in Croce, Arlene. The Fred Astaire and Ginger Rogers Book, W.H. Allen, London, 1974. p. 7. ISBN 0491001592.

“I suspect it is this Camelot view that leads Miss Croce to be rather unfair to Gene Kelly…I should say the difference starts with their bodies. If you compare Kelly to Astaire, accepting Astaire's debonair style as perfection then, of course, Kelly looks bad. But in popular dance forms, in which movement is not rigidly codified, as it is in ballet, perfection is a romantic myth or a figure of speech, nothing more. Kelly isn't a winged dancer; he's a hoofer and more earthbound. But he has warmth and range as an actor…Astaire's grasshopper lightness was his limitation as an actor - confining him to perennial gosh-oh-gee adolescence;; he was always and only a light comedian and could function only in fairytale vehicles.”

Fred Astaire (1899–1987) American dancer, singer, actor, choreographer and television presenter

Pauline Kael, responding to Croce in her review of Croce's The Fred Astaire and Ginger Rogers Book, writing in The New Yorker, November 25, 1972, as reproduced in Kael, Pauline. Reeling: Film Writings 1972-1975, Marion Boyars, London - New York, pp. 58-59. ISBN 0-7145-2582-0.

“Me? I play Gene Kelly…It's a guy who produces, directs, sings, and dances. who else could it be but Kelly?”

Fred Astaire (1899–1987) American dancer, singer, actor, choreographer and television presenter

Fred Astaire on his role in Silk Stockings in Smith, Cecil. "Astaire prefers the 'Good Old Days' of the present." Los Angeles Times, July 14, 1957, sec. 5, p. 3. (M).

“Fred taught me a step because I said I can't let this experience be over without my learning something. He taught me the most wonderful Fred Astaire-like step, with an umbrella. It was a complete throwaway; it was almost invisible. It was in the way he walked. As he moved along, he bounced the umbrella on the floor to the beat and then he grabbed it. It was effortless and invisible. As a matter of fact, a few years later I was photographing Gene Kelly and told him that Fred Astaire had taught me this trick with an umbrella. And Kelly said, "Oh I'll teach you one," and he did, and the two tricks with the umbrella in some way define the difference between Fred Astaire and Gene Kelly, and, in my view, demonstrate who is the greater of the two artists. With Gene Kelly, he threw the umbrella way up into the air, and then he moved to catch it, very slowly, grabbing it behind his back. It was a big, grandstand play, about nothing.”

Fred Astaire (1899–1987) American dancer, singer, actor, choreographer and television presenter

Richard Avedon in Silverman, Stephen M. Dancing on the Ceiling. Knopf, 1996. ISBN 0679414126.

“My style icon is none other than Grace Kelly. She was not only classy but was also a fantastic woman who had a lot of grace.”

Sukirti Kandpal (1987) Indian actress

On her favourite style icon http://www.tellychakkar.com/tv/features/tv-actresses-pick-their-favourite-style-icons-337/

“I made it from just three lines in less than a minute. It was the first of the series [Water lily drawings, Kelly made in 1968; he admired the Waterlilies paintings of Monet that got the weight right. My eye followed my hand. Then I did all the others, but this was the best.”

Ellsworth Kelly (1923–2015) American painter, sculptor, and printmaker

Source: 1969 - 1980, In: "Ellsworth Kelly: Works on Paper," 1987, p. 26 : 'Notes from 1969'

“When you give a crazed, crying lowlife a break, and give her a job at the White House, I guess it just didn't work out. Good work by General Kelly for quickly firing that dog!”

Donald J. Trump (1946) 45th President of the United States of America

Tweet https://twitter.com/realDonaldTrump/status/1029329583672307712 by President Trump about Omarosa Manigault, as quoted by CNN https://www.cnn.com/2018/08/14/politics/trump-omarosa-attacks/index.html (August 14, 2018) <br class="br">2010s, 2018, August

“I made the photographs just like I draw... I wanted the photographs [Kelly made circa 1950 in Paris] to be enlightening to my art..”

Ellsworth Kelly (1923–2015) American painter, sculptor, and printmaker

Source: 'Kelly in conversation, summers 1985 and 1986'; ed. Diane Upright, "Ellsworth Kelly: Works on Paper", Harry N. Inc., Publishers, New York, in association with the Fort Worth Art Museum, New York, 1987 p. 21
Source: 1981 - 2008, p. 21 : 'Kelly in conversation, summers 1985 and 1986'

“The engine driving the Kelly system is the "law of large numbers." In a 1713 treatise on probability, Swiss mathematician Jakob Bernoulli propounded a law that has been misunderstood by gamblers (and investors) ever since.”

William Poundstone (1955) American writer

Part Two, Blackjack, The Kelly Criterion Under The Hood, p. 102
Fortune's Formula (2005)

“Dancing in Tijuana when I was 13 — that was my "summer camp." How else do you think I could keep up with Fred Astaire when I was 19?”

Rita Hayworth (1918–1987) American actress, dancer and director

As quoted in New York Times (25 October 1970)

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