… floating technique. The first job that he did after our sessions of working together was the Victory Tour. I didn’t know if he was going to use the stuff, but talk about a highlight of my career–it’s documented, and you will see Michael Jackson at Dodger Stadium–doing a new version of “Billie Jean” that’s totally different from Motown 25. He implemented some techniques he learned from me into that. I had no idea he was going to do it, so I was shocked when I was at the show and saw him doing it. He did a lightening fast back slide, which is a much faster progression than he did on Motown 25. He started floating in place, which is a circular glide. That’s what I was known for at the time, doing a backslide combination into a circular glide. Later on, when Mr. Jackson’s schedule would permit, we would get together and he would ask me what I’m doing and where my style was. Back in 1987 I told him it was about the kicking and when he saw that, that was all he needed, because he was a great dancer and a brilliant student of anybody’s work. That’s how he got so good; he would put in the research and study it and then master it. In 1987 I showed him a claymation movement, and when he came out later that year the world saw a totally different Michael that was more reserved and cooler. He really just got comfortable with his solo dancing and no longer relied on his moonwalk. So he had a variety of styles in his dance–a little Fred Astaire, and a lot of pop locking. He started getting real smooth in his lines and his grinding and it was immaculate.”
Now, Chambers is teaching dance, making appearances and helping mold the next generations of dancers.