He grew up in Atlanta, lived in LA for 15 years, and now resides in Minneapolis. Barry Lather is a nationally experienced choreographer. This king of music videos has a work ethic that’s nailed him jobs with almost every celeb artist you can think of. After 23 years of being at the top, listen in as he shares his expertise and tells a crazy story about working with Michael and Janet at the same time.

How did dance come into your life?
I came from a dancin’ family. My mom was a dance teacher and owned a couple studios. I was always around music and dance.

You’ve been in the business for 23 years. What’s your best celeb story?
There’s quite a few favorites. Working with Michael Jackson on Captain EO is definitely at the top of the list. Janet Jackson was my first choreographic opportunity. I was 20, she was 20. I was in a few of her videos and she asked me to choreograph for her. I was young and nervous, but it was a big break for me. I’ll always remember that as a special time.

Who else stands out to you?
I worked with Usher for two years, non stop including awards shows and his tours. I respect his tenacity, focus and determination so much. He was constantly asking how we could do something better. I was like, “He wants it!” To be able to work with someone so talented and eager to top himself was amazing. Some artists come late, talk on the phone, barely break a sweat… others put in a good 5-6 hours and get it done. Usher is one of those people. He always wanted to be the best, do the best, and do something no one else has.

Tell us about your latest project. 
I just finished the new Donnie and Marie Show at the Flamingo Hotel in Vegas. They haven’t performed together in a long time. I directed and choreographed the entire show. A show that was supposed to have a 6-month run turned into a 4-year run. It’s really high energy, with production numbers that range in everything from zoot suit jives to contemporary and hip hop. It’s retro, but has a taste of “today.”

How do you inspire others?
For some of the dancers in Donnie and Marie, this is their first big job. I can remember my first big job (working with MJ). Now I have the experience, so when I work with younger dancers on their first big job, I like to teach them and give them confidence. If I see someone struggling, I encourage them. I don’t yell or intimidate; I prefer to take the gentler approach. When people feel appreciated, they work harder.

How can you make a career out of something you love?
I feel blessed that I can dance and choreograph to make a living. I always watched the director, cameraman, producer, lighting guy, etc. I observed as much as possible to understand the whole process. You have to take all that in. You have to want it. Badly. I can tell if a dancer is truly focused at an audition. They may not know the combination perfectly, but I can tell when they’re determined. You can also tell if someone’s really good, but full of themselves. You gotta be a team player and work hard. Your attitude can make or break you. If you’re versatile and don’t come with drama, you’ll get hired again and again. I always say half of it is your skills and the other half is your personality.

What’s the craziest thing that’s happened to you?
When I worked with Janet on the American Music Awards in ‘87, I was on a TV show called “Dancing to the Hits”. I was working with my favorite choreographer, Michael Peters (Beat it, Thriller). After about a week’s rehearsal with Janet, one of the dancers just wasn’t strong enough. Janet asked me, “What’re we gonna do?” All I could think was, “I’m young, I can’t fire a seasoned dancer.” But I had to let him go and I felt terrible. Since I was the choreographer, I took his spot on a whim. But, I had to ask Michael Peters to leave rehearsal early for Janet. He made me sweat and said, “We’ll see.” The next day at one o’clock, he said I could go. I bolted. I missed camera blocking, so I danced right next to Janet without ever stepping on the stage. She stopped the show with a 30-second standing ovation on live TV. The next day, Michael came into rehearsal screaming my name, making a big deal about my performance. Getting complimented from a legendary choreographer gave me a lot of confidence.

What’s the toughest obstacle you’ve overcome?
I worked as a dancer for a year then started choreographing. Since I was so young, I was hiring dancers who were my peers, my friends. It was kind of uncomfortable, and I didn’t want them to take me for granted. I tried to be really fair and respectful, never egotistical. I was learning as I went along, not getting lost in the “I’m Mr. Big Shot” attitude.

Why are you a trendsetter?
I try to not repeat myself choreographically. I push myself to come up with new steps. If I did something six months ago, I don’t wanna do it again. I continue to want to grow and keep trying to reinvent my work.

What’s your best advice for the next generation?
Follow your heart and listen to your instincts. If you’re gonna do it, do it 110%. Also, don’t have a limited vision. There are so many other venues that dance can lead you to. Even though music and dance can be your favorite, at 18 you don’t know what you’re gonna do at 35. Have something to fall back on. Be really observant of the people who are running the entire production. Watch how they conduct themselves. Be aware of your surroundings. By asking simple questions like, “What kind of film you got in there?”, you can learn a lot. That’s what I did.

Besides dance, you love… 
Music. And there’s nothing better than working really hard on a project you’re proud of, then coming home to my wife and kids.

Very well said. This is by far one of our best interviews yet. Thank you Barry. We’re deeply honored. Go ahead, dancers. YouTube his work. It’s worth it to get inspired on gendance Thursday. That’s what it’s all about. Click here for more not to miss photos of Barry Lather.