Grub, bub

Oct. 18th, 2010 12:09 pm
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We have two fast food Indian joints now in Center City Philadelphia: Minar Palace and Mumbai Bistro. Both come off as fancier restos from the outside, especially Minar. I didn't realize it was a fast-food establishment until I was inside.

Minar Palace is horrible, everything is made of pure grease. Definitely a no-fly zone.

Nevertheless we tried Mumbai Bistro last night. It is really good, almost Tiffin quality. They label what's vegan, gluten free, etc. They have a schedule of buffet items available on each day of the week. Buffet is $4.50 a pound. If you go nuts adding naan and pickle and a beverage you'll come in around $10 per person. Recommended.

Mumbai Bistro is located at 930 Locust Street. (Yes, I know their website is of the godawful "can't copy and paste" variety, whatever it's good food)
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The South Street TLA Video is closing. 15th and Locust will stay open for "as long as the community supports it" but the writing is on the wall.

This is sad. I'd rediscovered the TLA in the past year or two, getting rid of my netflix subscription because I want a movie when I want it (or Eleanor wants it), not days later, and the "Netflix Now"streaming service almost never had what I wanted.

I'm told Netflix Now has improved, but this still suxx0rz.

Granted I don't rent a hell of a lot of movies, owing to the art form that has cheerfully taken over my life, but I'll have to make a pilgrimage or four to the 15th and Locust store while I still can.
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All "members," including folks like myself who recently ceased to be members, just received an email from phillycarshare. They took a slightly less patronizing tone and apologized for any confusion they may have caused with the recent changes. They continue to describe their changes as a "simplification" and still don't acknowledge the (perfectly reasonable) real economic reasons why the change was necessary, which is very puzzling to me.

It's too expensive to insure us occasional drivers. I get that. But lots of people don't get that— because you didn't tell them. Treat your customers like adults. Keep people in the dark and patronize them like two-year-olds and they will yell and cry and moan like, well, two-year-olds.

Their newsletter makes the point that "for-profit car sharing services" (i.e. zipcar) are much more expensive in cities other than Philadelphia (where there are no alternatives). This is true and it's cause for concern. But I'm not sure who they are making that point to, since they never actually address their former members in the newsletter. They just sent it along to us anyway, complete with links to check your April invoice which don't work if you quit two weeks ago.
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Phillycarshare just dumped their "basic freedom" rate plan with a shady email at 6pm on a Friday night, giving only six days' notice to cancel your account or be charged a monthly fee on the 1st. And they cheerfully announced it as a "rate simplification."

The account cancellation form linked to in the email is a security nightmare, with no password required. Just your member number. Member numbers are consecutive. Which means you could readily cancel other members' accounts unless they are manually checking the names of users (they do prompt for names). In which case I feel bad for their employees.

Actually I DEFINITELY feel bad for their employees. Rumor has it they are facing bankruptcy.

(No, it's not a phishing scam as you might be wondering. It went only to legitimate members and the cancellation form is on the site mail.phillycarshare.org.)

The twitterverse went berzerk with the news tonight. Not one supportive or even tolerant email, due to the thoroughly unprofessional way the rate hike was implemented.

zipcar offers a $50/year "occasional driver" plan. I'll be going with that or just ditching car sharing completely. The only times I really need-need a car tend to be weekend commitments exceeding three hours, so it makes more sense to just rent one for the day and be done with it. I used phillycarshare for late-night salsa (I'll miss the night rates) and the occasional IKEA run. I can live without both. Though the IKEA people could increase their business by working out a better relationship with the local cabbies.

Here's the ever-so-special email for your amusement. Crazy emphasis theirs.


Rate Plan Change to Benefit You: Please read on...

PhillyCarShare is pleased to announce that we're simplifying car sharing in Philadelphia!

Starting May 1st, we will streamline our offerings into one plan, the Philadelphia Plan, which will give every residential member access to the lowest PhillyCarShare hourly rates. The monthly fee will be $15 and the hourly rates will range from $3.55 to $8.55, with the continued monthly 5 cent reduction in the hourly rate through July 2009. All current Basic Freedom members will be converted to this new membership plan on April 30th, when the first of your $15 monthly membership fees will be charged to your credit card.

With the significantly lower hourly rates available in your new plan, you will have access to the lowest hourly rates on the largest fleet with the most locations in Philadelphia.

If you have any questions, please call our Member Services folks at 215-730-0988, ext. 5. If you would prefer to pay all at once, we will provide a 30% discount on the monthly fees; you should mention "Coupon Philadelphia" to the Member Services associate, who will then charge you $125 for a 12 month membership.

If you have any concerns, please call Member Services at 215-730-0988, ext. 5. If this plan is not for you, then please use the link below by April 30th, 2009 to cancel your PhillyCarShare membership and avoid being charged the $15 May membership fee.

With rate simplification and the most extensive network of vehicles and neighborhoods, we are solidifying the fact that PhillyCarShare is the most convenient choice for those short trips around the city.

Since we launched in 2002, Philadelphians have embraced car sharing because we're convenient, we make good sense for your wallet, and we're green. As the nonprofit car sharing company dedicated wholly to serving Philadelphia now and in the long-run, PhillyCarShare is, in fact, a plan for Philadelphia, creating a more sustainable future for this great city and playing a fun and convenient role in your life.
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Approximately as taught by Sebastian at Estilo Dance Studio on Thursday night. Rueda varies from place to place, some of these differ from Mike's calls which differ from Darlin's calls which differ from yours. These are my personal notes... if you really want to learn, show up!

Enchufle double con something-double con abooya-double. Enchufle double. Then rock into the circle on one-two-three, setting her up for an outside turn that carries her in and out of the circle on five-six-seven, yelling "heeeey-ya" on the one-two-three. She echoes on five-six-seven. Do that twice. Dile que no.

Dedo. Break back on one-two-three, as for an enchufle. On three take her right wrist with your right hand and let go with your left. Outside turn her as she comes across and you turn right. Keeping that one hand, do an enchufle con muerte (enchufle with a hook turn for you), then a regular enchufle. Ends like the previous move with the rock into the circle, but no abooya and you only do it once.

Sombrero. Break back on one-two-three. Change hands and outside turn her as she comes across. Sombrero (arms over your respective heads) by seven. Dile que no.

Sombrero con bachanga step. Begin with a somebrero; stay that way. Tap forward on one, return your left foot to its usual place right away on two; same for the right foot on three-four. Keep that going through five-six-seven-eight. She does the same on the opposite foot (but still forward, not back). Dile que no.

Sombrero double. I'm surprisingly good at this, I think I've been messing with it on the social dance floor or something. Begin with a sombrero. Now, lift up the arms again and inside turn her as she comes across, settling into somebrero again by seven. Now lead her back across in a simple reverse cross body lead.

Chico derecho. Not really a move that requires any explanation, I'm just amused because for the first time in maybe eighteen years I heard a command in Spanish and immediately understood and carried it out without explanation or repetition. If only all calls were as simple... okay, that'd be pretty boring. Oh yeah, the move: guys step into the circle on one, step around their partner to the right, claim their next partner on five-six-seven.
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Next month, SEPTA rail may finally be on Google Transit, with buses to follow "by the end of the year."

Meanwhile, indie screenscraper-driven sites like iSEPTA and septime will likely remain useful for quite some time to come. For rail travelers iSEPTA is vastly more pleasant to use on an iPhone or similar device. And my septime site, which includes buses, trains, trolleys and subways, is still the way to go if you want to quickly find the next departure of a particular route from a particular stop. septime, which looks awfully basic on conventional desktop computers and even iPhones, is built for simpler cell phone web browsers and works very well indeed on a Blackberry.

Will SEPTA ever release the feeds they are giving to Google as public data feeds that other organizations can use to create better SEPTA-related services for the public? No sign of that yet. But other major transit agencies have done so. So there's always hope.

Thanks to R. for pointing out the Metro story. (Since when is Metro more on the ball than the Inky? Sigh.)
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Katie Henry is THE front-page featured seller on Etsy as of this writing! Holycrap! Her original sewn art is on my wall yo.

I better start keeping "Party Party Party" in a friggin specimen jar! Protected by alien laser beams!

Here's a permalink to her featured seller interview.



I am super proud of my neighbor.
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Setente siete as taught by Sebastien at Estilo Dance Studio, and as misremembered by me. Don't just read about it, come join the rueda class!

Begin the setente as usual: Break back and come forward, making a wing with her; break back again and turn to the right, bringing her into a hammerlock.

Enchufle on one-two-three. On five-six-seven, DO NOT turn right, resist temptation! She's behind you now, that's a GOOD thing. On five-six-seven do a hand shuffle: your right to your left shoulder on five, your left joins it by seven.

On one-two-three bring the hands out in front of you, bringing her around you. On five-six-seven right turn her.

Enchufle (yes, you do turn this time); let go of the arms to undo the knot on five-six-seven.

Dile que no.
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Estilo Dance Studio is in the Fitness Works at 7th and Reed Streets in South Philly. Don't just read about it, come take classes!

There is an additional rueda instructor at Estilo now: Sebastien. Sebastien has taught rueda in France. He's awesome. French-accented Spanish rueda calls are your best entertainment value.

He threw in some silly variations on the enchufle. Principe bueno is an enchufle ending with a kiss on the hand as you sweep by to the next girl. Principe malo ends with a turn away and a stomp. Principe... heckiforget ends with mussing the girl's hair wildly. DO NOT TRY THIS WITH STRANGERS IN CLUBS IF YOU DO NOT WISH TO TASTE SPIKE HEEL. In a way you won't like.

I worked on the candela, a not-too-fancy move that I've nevertheless had persistent trouble with, and seem to have it down:

Break back and cuddle her in, then push her out again.

Repeat that.

On the third repetition, cuddle her in as usual on 1-2-3. On 5-6-7, keep both hands high, and turn left away from her. On 5, bring your right hand to your left shoulder (which is what kept biting me in the ass before). Now on 6-7 you'll settle the left hand to the right shoulder.

Now march in place in the direction you're now facing. When "paribe" (I think) is called, turn left to face your partner again, but keep marching in place.

When "dorito" is called, raise your left arm and walk under it to the next girl.

When "daiquiri" is called, reach over your partner's arm to the arm of the next girl, but don't go anywhere yet! When "zefir" is called, complete the move by raising your arm and passing your current partner under it and behind you, welcoming your new partner in front of you.

When "dile que no" is called, cross-body lead your partner and you're back to normal.
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Baillala: dile que no, tap your left on eight, her right in your left. Give her a free spin inside turn. Chill out and wait for her to finish. Dile que no.

Baillala dos: dile que no, tap your left on eight. Give her a free spin inside turn. Turn left yourself.

Adios medio: like a regular adios, then step into the middle of the circle, then step out five-six seven. Repeat that bit.

Siete coca-cola: dile que no, tap your left on eight. Roll her in, push her out again, continue into a 360. Don't let her get away from you, keep her close, keep it tight and continuous, don't let her step back and away.

We spent a lot of time on the setenta complicado again, which is good because, we'll, it's complicado but it's nice to have it falling into place and not completely beyond me anymore. Rock.

We need more people in the rueda! Philly has a zillion salsa dancers, we need more rueda visibility. Any salsa dancer can pick it up quickly...
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The Thursday night salsa rueda class at Estilo needs more people! Jump in! Mike and Darlin are open to starting a beginner's catch-up class at the same time if there's call for it (so to speak). You should have at least a few months of social or classroom salsa dancing experience under your belt going in.

I rueda really a lot. But I've been trying to learn the setenta call for months. The dam finally broke tonight.

I have goofy explanations for my triumph: my brain is full of gourmet theobromine thanks to [livejournal.com profile] solestria! Rapid progress is only possible with $20 chocolate bars!

But it's really because I took the parts of the move I did have down and incorporated them on the social dance floor... a lot... building my vocabulary of basic moves so that I can better understand complete sentences. This is almost always the real reason why you "just can't" learn a pattern: you don't know the pieces yet. Break 'em down.

Setenta. Break back on one, then bounce back, coming side to side with her on three; the two of you are like a wing at this point, with you on the left. On five-six-seven, as she comes across, right turn her into a hammerlock; turn right to face her.

Enchufle on one-two-three. On five-six-seven, chaqueta: tuck your right elbow outside her arm.

Dile que no (cross-body lead), bringing your elbow in again on one-two-three.

Setenta complicado. The first set of eight is the same.

Enchufle on one-two-three. On five-six-seven, make a window with your right arm; as you step back on five and return on six, pull her through it; on seven turn left to face her, letting go with the right hand. Reclaim her left in your right; you have a normal hold again.

Enchufle on one-two-three, stopping her with your right hand on her hip so she winds up facing the same direction as you. On five-six-seven, glide her back.

Dile que no.

Siete. Easy-peasy one. Dile que no, tapping on eight. On one-two-three, break back and roll her in; on five-six-seven roll her out again.

Dame por... something: cross-body lead opening on one-two-three. On five-six-seven, inside turn her into a hammerlock with your left hand, letting go on seven; she comes across but you remain facing your new partner, and go straight into guapea (basic). This means your next partner is clockwise rather than counterclockwise. That also happens in other calls when pariba is added to them.

Darlin and Mike said something to the effect that they need to add more calls soon, so I expect to be back in kindergarten very shortly. But it was a very nice feeling to be Right There With It.

I like the feel of rueda moves and I'm noticing that they are very leadable on the social floor in Philly, since we dance on one here anyway.
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Hey webworkerz,

Please weigh in over on window.punkave.com regarding the proper definition of the term "front end developer." I'm curious what others who work professionally in the field consider the term to mean. I'm also curious whether a moderately bright line divides designers and developers in other job markets the way it seems to here in Philadelphia. That surprised me quite a bit.

The punkave window blog in general has been interesting lately— we've each claimed a day of the week to post and so far we've stuck to it. Not every post is on a serious topic. (:

HOLY SHIT

Nov. 17th, 2008 07:40 am
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Congratulations to our Philly Roller Girls (aka the Liberty Belles), third ranked nationally with a victory over the Texas Rollergirls who kick-restarted it all! This is woman-walks-on-fucking-moon territory in local roller derby terms. Well, maybe woman-orbits-fucking-moon. Let's reserve walks-on-moon for the year they win all the marbles.

Congratulations also to their surly-but-sort-of-loving big sisters, the Gotham Girls, who won the whole goddam WFTDA national championship shooting match.

Second place went to the Windy City Rollers, home of statistician Scorey Feldman, aka Eamon... a man the talk.bizarre contingent will recognize in this slickly produced professional dance video.

The results were reported here.

For those with no idea what the hell I'm talking about, this video explains it all to you and also features a rockabilly song about the sport:



But of course that's not quite as much fun as a highlights reel of an actual bout (not one of ours, just one I could find):



Go PRG!
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This afternoon, Independents Hall hosted cupcakecamp, an event inspired by the successful distribution of "open source cupcakes" at barcamp. I missed barcamp, and nearly missed cupcakecamp as well. While I suspect others (notably Roz and [livejournal.com profile] nohx) had mentioned it in my hearing, it never quite sunk in as something I needed to do.

Then Alex Hillman tweeted about it at 1pm today, and suddenly I was arrested by a deep and abiding need to be There. At. 3pm. With. Cupcakes. So I did that thing.
Cell phone pix, details of my boozetastic contribution, commentary on fine cupcakes offered. )
This event was awesome. And free. And full of cupcakes.

One comment: phrases like "open source cupcakes" do lead me to expect sharing of recipes and other open source-y activities. I was surprised to find that no one else had brought their recipe along. I'm not particularly concerned about cupcake vendor lock-in, though, and if it's a monopoly, it's a delicious one.
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[livejournal.com profile] solestria asks, "so what did you do last night?"

I picked up Eleanor from her after school activities a little early and brought her to the Rosin Box to purchase her first pair of jazz shoes. Eleanor already has ballet flats for her ballet class, but they are soft-soled, therefore not appropriate for her salsa class. According to the proprietor, the jazz shoes we purchased are Mike Andino's recommended practice shoe for salsa. and they are only $30. I could've purchased heels she'll outgrow in five minutes for $75, but I did not. I could have purchased an extremely handsome pair of English shoes for myself for $120, but I did not.

On the way east from there, we naturally passed Capogiro, and succumbed to the inevitable. O the pain. Half pumpkin, half dark chocolate for me. Eleanor had half chocolate, half vanilla. Total: $10.

We resumed our trek and soon passed Genji Sushi Express at 1720 Sansom Street. I'd already made dinner plans of my own with [livejournal.com profile] nohx, but it was dinnertime for Eleanor, who promptly inhaled california and avocado rolls. I nibbled on edamame. $15.

We stumbled across an Obama volunteer office and picked up new buttons. Little 50-cent ones for both of us, and a $1 "Woman for Obama" pin for Eleanor.

There was no getting home without passing Borders! Restraint was shown: paperbacks only. Eleanor bought Flyte, the second book in the Septimus Heap series. I picked up Ilium, the first in a newer series by Dan Simmons, author of Hyperion. I recently reread part of the Hyperion series and was sad to finish Rise of Endymion. I... may have had something in my eye at the end. $12, all told. Eleanor also spent $6 of her own money on an Eleanor Roosevelt bookmark.

After dropping off Eleanor at her mother's I met [livejournal.com profile] nohx for dinner at the Royal Tavern. It is good to have palz in one's own 'hood. I spent $10 (with tip) on the tempeh club sandwich, which is tasty. I avoided the temptation of more expensive fare... but mostly because the advertised pumpkin ale did not exist. Also, I am still a rueda newbie and I'm okay with that, but I don't like to screw up for reasons that are within my control. So drinking before class is not a great plan.

Around nine-thirty I hit rueda class at Estilo, which was even better than usual. The rueda actually flowed as it so rarely does when moves are being taught. $10 (which I forgot to pay... oops... I'll pay Saturday Mike!) I also met, or re-met, Julie of Salsa in the Suburbs, a great latin dance studio in Media, PA (suburban friends take note). This morning I sent her a login for the Salsadelphia back end; she's my guinea pig for Project Let Everybody List Their Own Stuff. I'm excited to see how it plays out.

Afterwards I felt pretty done in, but there's a new salsa night at Glam on 2nd street in Old City and I had to give it a shot, seeing as Joe Figueroa is involved. Also, I had the impression it was free.

So I went. And it was not free, it was $7. There were maybe twelve people in there, a good mix of men and women... all sitting down. That was a little odd, but I recognized some people so I made the decision to shell out a few bucks and head on in and scoop up a girl.

And boom: in this tiny little place, there were exactly enough men and women to go 'round; everyone could dance at least a little, some people could dance a whole lot better than me; everyone was incredibly nice. And we all rocked out until a little after midnight and decided to go home at pretty much the same time. Yes, separately.

A wonderful day. Also: a $96 day. This is why cash is never petty and it is why I don't indulge in "little, affordable" things every time I get the urge. It's also where all my damn money went in the nineties (well, the portion of it that isn't in my house). You gotta make choices. I don't regret indulging yesterday at all— I was overdue— but you can bet this is not how I roll on a daily basis.
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Intro

I blog about the salsa moves I learn in in clubs and studios. I do that for my own amusement. I don't claim to be particularly accurate, nor do I claim to be the Greatest Salsero Ever. Reading my blog is not the way to learn to dance— go forth and take a lesson!

To save time, I generally do not explain the basic step, cross-body lead, etc. over and over. I usually describe every set of eight beats in a single paragraph. And if you're meant to let go of a hand... I'll say so.

Wednesdays at Brasils, Sonya Elmore of La Luna Dance Studio teaches an intermediate salsa lesson. She repeats each pattern for two consecutive weeks, giving us a chance to get it right. And sure enough, I made a mistake in last week's post. Plus, she added more cool stuff. So here you are. Come on out to Brasils and learn for yourself:

Last Week (corrected)

Around the world. Give her a plain ol' outside turn (right turn), but keep both hands. This is the bit I left out last week.

Enchufle on one-two-three (break back and come over; the arms pass by on her left as she comes over). On five-six-seven, turn yourself left (not the usual hook turn to the right); don't let go with either hand.

Now the tricky part; thanks to Joe of La Luna for spotting my moment... extended moment... of doubt last week and helping me nail this one:

Man's right turn with arm switch (not a hand switch). Keep both hands. On one-two-three, lower your left hand and turn right, under your right arm. Keep your left elbow below your right so that things don't disentangle— that's what I kept having trouble with. By three bring your left elbow up again as you come around. On five-six-seven, with your right forearm, flick her right arm up and away (breaking its connection to your left hand). Her arm lofts up and settles down on the other side and you're in a plain ol' two-hand hold again. (Just a reminder: if I don't mention letting go of a hand... you don't! Until that final flick there is no disconnection or change of hands involved in any of the above.)

New Stuff

Cross-body inside turn with a fake caress. In essence this move is simply a cross-body lead with an inside turn, keeping both hands (you open up to the left by three, then extend her left arm forward on five, push back and turn her left with your right hand as she comes across, keeping the left hand low so that she wraps into it). The fake caress just takes it up a notch: on one, bring your right arm over and around her head, bringing it back again by three as you open up to the left.

End of inside turn, and basic step. Right now she's halfway through her inside turn, facing away from you. Let her finish coming around and wrapping into your left arm on one-two-three. On five-six-seven, just complete the basic step.

Flick-switch-catch and cross-body inside turn. She's facing you again. Your left hand is at her left side now, holding her right hand, and your right hand is holding her right. On one, with your right hand, flick (toss) her right hand down and away, behind her back. On two, let go with your left hand, replacing it at her side with your right. On three, catch her left hand behind her back on her right side (your left), opening up to the left as you do so. On five-six-seven, let go with your right hand and inside (left) turn her with your left hand as she comes across for the win.

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Taught today in Mike Andino's 12:30pm Saturday basic salsa class at Estilo Dance Studio. Don't just read my crappy notes, go take the class:

Normal hold, left hand only. Walk-walk-turn her, bringing your right hand to her left shoulder on three, turning her right on seven. Don't telegraph your intentions ahead of time, just walk her across.

Man's half right turn on one-two-three. On one, you step forward— not to the right. Step to the left a little, even. By three you're both facing in the same direction and you're out of her way (at her left); change her right hand into your right. On five-six-seven, inside turn her as she comes across (that is, she turns left). Now you're in a handshake hold.

Give her a plain ol' right turn, but claim her left hand underneath with your left on one. After her turn your left hands are on top.

On one, bring your left hand behind her head and let go. On two, bring your right hand behind her head and let go. On three, open up for a cross-body lead and claim her left hand in your left. On five-six-seven, inside turn her as she comes across.

Taught in Mike's intermediate 1:30pm class:

Double handshake hold, rights over lefts. Outside turn her.

By one, bring your left arm behind her head so her elbow is locked, letting go with your right hand. Open up to the right by three (not to the left as you normally would for a cross-body lead). On five-six-seven, half left turn her. On seven, stop her with a "hug" around the shoulders with the right arm, turning half left yourself on seven so you are both facing back the way she came.

On one-two-three, break back, letting her pose (you still have her left in your left to point out with). On five-six-seven, roll her into your left arm (this is a left turn for her, but you keep your left hand low so she wraps into it and must stop turning as she faces you again).

Change hands on one, opening up for a cross-body lead by three. On five-six-seven, check her again: again it's a left turn for her, but while your right arm stays high, it stops at her right shoulder so she must remain facing away.

On one-two-three, use that right arm at her right shoulder to "run her around" (turn her half left to face you again). I had trouble with this bit, don't take me too seriously here. On five-six-seven, she naturally walks forward (because you're well out of her way), and you signal her for a right turn with your right hand so that she rolls into your arm again.

After that it's just a chase scene (that's as far as we got).
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Back to back salsadelphia posts... I'm on a tear here.

Last night at Brasils:

Enchufle on one-two-three (break back and come over; the arms pass by on her left as she comes over). On five-six-seven, turn yourself left (not the usual hook turn to the right); don't let go with either hand.

Now the tricky part; thanks to Joe of La Luna for spotting my moment... extended moment... of doubt and helping me nail this one:

On one-two-three, lower your left hand and turn right, under your right arm. Keep your left elbow below your right so that things don't disentangle— that's what I kept having trouble with. On five-six-seven, flick her right arm up and away (breaking the connection to your left) with your right.

Just a reminder: if I don't mention letting go of a hand... you don't! Until that final flick there is no disconnection or change of hands involved in any of the above.

As taught... more or less... by Sonya Elmore last night at Brasils. Intermediate salsa lessons every Wednesday. Sonya also teaches at her studio, La Luna.
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My brain is full. Please deposit twenty-five cents for the next three rueda calls.

Enchufle con muerte: enchufle, exchanging places on one-two-three. On five-six-seven, hook turn yourself under the arm. On one-two-three, let go and brush past on your way to your next partner. On five-six-seven, cross-body lead your new partner.

Adios con muerte: adios (break back on one, right hand to her left hip by three and get out of the way so she can pass on your right; on five-six-seven right turn her with the hand at her hip; her arm passes over you as you turn right). On one-two-three, rather than just walking forward three steps to your next partner, execute a progressive left turn to reach them. Five-six-seven, cross-body lead them as usual.

Hilo: starts out as an enchufle con muerte. Then travel to your next partner with a progressive left turn instead of a simple walk forward.

Sombrero: cross-body lead her, changing hands by five, right hand on top. Tap on seven, getting out of the way so that she can pass on your right on the next set of eight. On one-two-three, right turn her as she comes across (yes, you're turning her on one). On five-six-seven, settle your arms behind your left shoulder and her right. Cross-body lead her.

Coca-cola can replace any of these cross-body lead endings, indeed any cross-body lead anywhere at any time. Coca-cola can strike without warning. Do not taunt happy fun coca-cola. Really. You have no idea: your left hand to her right shoulder by one, opening up for a cross-body lead by three. Free-spin left turn her (i.e. tug toward you and release on five) as she comes across. 360 her around. You gotta lead this, put some oomph into it, don't be shy.

Pasilla is another alternate ending. On five-six-seven, open up to the circle, allowing your partner to do the same. On one-two-three, go get the girl to your left. I am never quick enough with this, so I suspect I'm still not doing it quite right.

Roughly... very roughly... as taught by Mike Andino at Estilo Dance Studio. Rueda classes are held every Thursday night at nine-thirty. C'maaan, you know you want to! I do recommend completing a basic salsa class first. Plenty of those at Estilo too.
boutell: (Default)
salsadelphia.com is now mobile-friendly: cell phones get the next week of salsa events, plain and simple. No extraneous navigation to clutter things up, slow things down and suck up expensive bandwidth. Everything is perfect forever.

... Or is it? I've tried it on my phone, of course. But I haven't tried it on an iPhone or an iPod Touch. I'm wondering if it might be better to just let those devices see the full site.

Your feedback, mobile geeks, is very welcome.

(Yyyeah, I probably will have to at least get a Mac as my next laptop, so I can emulate the iPhone... my laptop, coincidentally, is dying. The three-year service plan is up, and guess what, the mouse has started to experience fits of clicking itself. These last anywhere from a second to 30 seconds. Joy.)

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