Huangshan (黄山), or Mount Huang or Yellow Mount, is a prefecture-level city centered around the Huangshan Mountains in southern Anhui province, People's Republic of China.
Huangshan, is famous for its mount beauty, and was acclaimed through art and literature during a good part of Chinese history. Today it holds the same fascination for visitors, poets, painters and photographers who come on pilgrimage to the site, which is renowned for its magnificent scenery made up of many granite peaks and rocks emerging out of a sea of cloud

Entertainment in Huang Shan is fairly limited to hiking and exploring the mountain. However, Tunxi (also known as Huang Shan Shi, or Huang Shan City), a town 70 km (43 miles) away from the main entrance to the mountain area, is home to teahouses, karaoke centers and a few bars. Yilin Ge Teahouse offers a nightly tea ceremony and a Hui opera performance. Huangshan Bar has great snacks and cocktails and the Huashan Hotel has a sports and entertainment center. Tunxi also has a small but fun night market located along the banks of the Xin'an River.

Huangshan has many tea houses. There are also KTV, discos, internet bars, cafes and bars to make you enjoy the city.

Some best bars and tea house in Huang Shan are listed here :
1. Yilin Ge Tea House
A cultural site with simple and elegant art style offers the cultural performances of tea ceremony, Huangmei Opera (popular in Anhui Province) and Hui Opera which are always performing to the delight of visitors.
Add: Tunxi Ancient Street

2. Huangshan Ziteng Tea House
This tea house serves some of the best tea grades in Anhui Province. It is reputed to be one of the largest and the best tea houses in Anhui Province.
Add: No. 9-12 in Qianyuan South Road of Tunxi District, Huangshan City, Anhui Province, China

3. Huangshan Tianzhu Tea House
Add: No. 3 in Qianyuan South Road of Tunxi District, Huangshan City, Anhui Province, China

Huangshan best bars :
1. Huangshan International Hotel Dancery
Add: No. 1 in Small Mt. Hua Scenic Spot

2. 9C Bar
This bar also offers quality in all ramifications.
Add: Huangshan Shangmao Emporium.

3. Huangshan Pinwei (tasting) Bar
This bar offers western wine, cocktail, coffee, compote, snacks and beer to delight visitors.
Add: No. 20-22 in Kangle Road of Huangshan Shangmao Emporium.
Read More..

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Salsabor Tropical Presents:
Halloween Bash SALSA/MAMBO SOCIAL, PRACTICE DANCE PARTY plus CHACHA WORKSHOP
Best Costume will win a 10 group class card worth $100
Come join us at Feathers for some fun and dancing.
Bring your instrument if you have one, guiros, campananas, bongos, claves, congas, etc.. Se Formo La Rumba - The Party is gonna get live!
Whether you are a beginner salsa dancer or an advanced experience dancer, its all about having a good time and dancing the night away.
youll be dancing to 90% Salsa/Mambo, 10% mix of Cha-cha, Merengue and Bachata.
Lets Dance, s have some fun .
When:
SATURDAY November 1st
Time:
9:00pm to 10:00pm Cha-cha workshop (Learn to Dance ChaCha)
Beginners and Intermediate levels
10:00pm Practice Dance Social starts .. time to dance and have a good time
Admission: $10
BYOB-You are welcome to bring your own drinks!, event though Feathers do have refreshment and water for sale but did I mention that you will need the cooler!!!
Please remember to bring your coolers fill them with ice, drinks, gather your salsa friends and bring them with you to dance the night away and have some fun at the Latin Dance Social Cha-cha Workshop at Feather Dance Studio.
Free parking for everyone.
Where:
Feathers
4343 South State Road 7 (441)
Davie Fl 33314
Directions:
From Turnpike - exit on Griffin Rd., go East to State Road 7 / 441 and make a left, drive 2 Lights north, on second light make a U-Turn, Feathers is on the shopping center as soon as you make that U-Turn. From I-95- Connect to 595 west, exit on 441-South, drive 2 Lights south, as soon as you pass second light go into shopping center on right hand side where Feathers is located. From I-75- Connect to 595 east, exit on 441-South, drive 2 Lights south, as soon as you pass second light go into shopping center on right hand side where Feathers is located.
Contact Information:
www.SalsaborTropical.

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E/The Environmental Magazine

The average dance club uses 150,000 watts of electricity. And while we cant place the blame for global warming on the shoulders of their sweaty, dancing masses, these clubs could be doing morereducing bottle and cup waste, conserving energy used for lights and sound and putting all that people power to good use. Clubs across America are responding to the call and stepping up their environmental commitmentsome with technological innovations to rival the DJs complex beat-mixing.

Temple Nightclub in San Francisco, California, opened in 2004 and boasts an 89% diversion rate of landfill waste. The nightclub, which is housed in a 100-year-old building, uses corn-based, biodegradable cups to combat generated waste. re also thinking about giving a discount on drinks, maybe $1 or so, for reusing the same cup, says Mike Zuckerman, Temples director of sustainability. To conserve water resources, Temple uses a rainwater collection system for toilet plumbing. The club also boasts a vertical garden that landscapes the exterior of the club. This provides thermal and noise insulation, as well as counteracting carbon dioxide emissions.

But its the soon-to-be-installed energy-generating dance floor thats getting all the attention. Through piezoelectric technology, crystals in the dance floor will be activated and generate electricity when stepped on. This is just one small part of our commitment to the environment, Zuckerman says. We want to be stewards in the community.

The Butterfly Social Club in Chicago uses kinetic energy from a bike in the front of the venue to generate some of its energy. Employees pedal the bicycle, thus powering the DJ booth and the drink machines. The sound system from the DJ booth has speakers made from recycled wood that resemble tree trunks. The bar, deemed the by the Chicago Tribune, was built of recycled waste products like clay and straw. The clubs 30-something owner Mike Klemen told the Associated Press that the key to sustainability is not to recycle more, but to use less. All drinks and mixers are organic, and the venues website boasts that organic alcohol does not contain the impurities (like nitrates in wine) that are the real culprits behind hangovers.

In Denver, Colorado, the 16,000-square-foot Beta Nightclub is in the process of instituting a widespread recycling program to counteract its waste, separating glass, plastic, aluminum and paper products. Spokesperson Catherine Nguyen says, We use tons of Red Bull cans and vodka bottles here, so its really silly not to recycle.

The club recently opened its 5,000-square-foot outdoor patio, complete with tall hedges, comfortable cabanas and green grass. Like Temple Nightclub, its goal is to offset carbon dioxide emissions, as well as provide a botanical experience within a secluded lounge area.

Thanks to Al Gores documentary An Inconvenient Truth, New York now offers its own sustainable night club. Jon B., renowned owner of New Yorks GuestHouse and Home, had a private screening of the film in his apartment, and felt moved to act. Greenhouse mixes eco-friendly features with upscale ambience. Slated to open in November, the club was constructed with recycled eco-resin materials, and uses a rainwater collection system for toilets. Furnishings come from recycled products, and the club features all-LED lighting.

Greenhouse spokesperson Adam Starkman says that the new venue cost quite a bit more than our other clubs to make, but that Prices for Greenhouse will be the same as any regular New York club.

The management debated whether or not to implement an energy-generating dance floor into the venue, but because of the makeup of a Manhattan nightspot, it may not contribute to Jon B.s environmental mission. Typical New York nightclubs are banquet-styleserve alcohol, have patron tables and play music, Starkman says. They dont really have a dance floor. People just kind of dance where they can. Because a human-powered dance floor would have to be installed throughout the entire venue, nightclub officials didnt find it practical.

Still, the club has received significant corporate attention, generating buzz from the Hollywood fashion circuit to Mercedes Benz and the United Nations. re really proud of this idea, Starkman says.

American venues are following the example of Sustainable Dance Club in Rotterdam, the Netherlands. The company was the first to devise the energy-generating dance floor. The technology is not identical to the piezoelectricity used to craft the floor at Temple; rather, Sustainables floor uses energy-generating coils beneath the surface of the floor that, when stepped on, send electricity to the lights and sound system of the club.

Vera Verkooijen, the consulting firms director of communications, points out that the energy generated from the dance floor will not power a nightclub on its own. Every tile of the dance floor produces five to 10 watts [of energy] per person, she says, de-pending on someones weight and the intensity of dancing. This voltage, Verkooijen says, is not high enough to accommodate the en-ergy needs of a traditional dance venue. But its pretty cool nonetheless.

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New Details!!!

Monday 7.30 to 8.30
Wednesday 7.30 to 8.30

Cost is $10 per lesson (this will need to be paid in a 5 week block if you keep with the classes, but go to one class first to see if you like it and just pay the $10 for the first class.)

Above the Groove Cafe on Progress Drive in Nightcliff. Go through the glass door and up to the top of the stairs (next to the groove cafe shop front). This is where the Jaz Academy used to be, above where the National Bank used to be. I will be going this Monday night so if you get lost call my mobile 0419815243.

I went to one of these classes last Wednesday and absolutely loved it. Ian is really friendly and full of energy. He choreographs moves to modern dance / hip hop/ pop music and starts with a couple of moves and keeps adding as the class progresses. So at the end of one night you have one whole routine that is easy and lots of fun. Be prepared to get hot and sweaty and have lots of fun.

My apologies to those who went to this Jazz / Funk class last week. Ian was away and the class was not on Friday after all. However I have met Ian now and the details above are the correct ones for his classes.

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Over the past few weeks, we've been posting videos of auditioning crews that our LA field reporters Brooke and Rebecca watched and really liked. As always, we'll remind you that they didn't see all the LA auditioners and that Blogging America's Best Dance Crew has no insider information or influence with the ABDC judges.

Here's one more crew for you to watch: Essence. We like their creativity with movements and props. While they showed no tricky moves, they had good detail and humor. We said the same thing about Fanny Pak when we watched the audition special from Season 2. So, maybe this girl crew has the goods for Season 3. What do you think.

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Walter Trout - Marys Mood this song is absolutely gorgeous and is near perfection for a slow stripper floor!
this is a bluesy instrumental song with some very good melody and guitar skill! blue light with a little bit of smoke would be great while using this song!
The second instrumental song would be a track from guitar god John Petrucci - Lost without you hes well known as one of the top guitar player in the world! Petrucci play guitar in the the progressive metal band Dream Theater. i add some magical slow song from DT as well in the playlist!
A great song for a really sensual stage would certainly be Conjure One - Tears from the moon with the special guest on vocal Sinead OConnor! Conjure One have tons of potential strip club song they are a Canadian electronic music project, headed by Rhys Fulber, better known as a member of Front Line Assembly and Delerium (silence). song such as : Sleep, Center of the sun, Extraordinary Way are all incredibly smooth ans sensual songs.

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check out the slideshow.
We had high expectations for Thursday night’s performance by the King Khan and BBQ show, having been promised an experience that would make us want to “break chairs, have sex.” So when we walked into Exit/In, just as the Canadian two-piece were beginning their set, we were surprised at the number of patrons still wearing jackets. This crowd didn’t look ready to start breaking anything, let alone make love to each other! The club may have been a little drafty, but shouldn’t Nashville’s rock 'n' roll fans have been working up a sweat—or at least drinking too heavily to feel the cold?
The band had the right idea. While BBQ was dressed conservatively, in black pants and shirt, black cape and red turban, King Khan brought some flash, performing shirtless in Daisy Dukes, a curly pharaoh wig with gold headband, and a sort of gold mesh shoulder garment festooned with mirrors. Apparently he’s the exhibitionist of the two?
The dudes got things started with an old favorite, “Waddlin’ Around,” and moved quickly through a set heavy on rhythmic stomp, while showing off their stylistic range. The crowd seemed a bit bewildered by their doo-wop-y slow jams (“Into the Snow”), but their fast punk rockers (“Dock It #8”) did get people jumping around excitedly enough to bump us in the nose. As we wittily remarked at the time: “Ouch, that really hurt!”
By the end of the set, even the non-moshers were ready to get down, at least a little bit. They complied with Khan’s request, at the beginning of a brief encore, to “get into it, clap your hands.” This display of moderate enthusiasm managed to impress the band, at least by contrast: Khan went on to note that “last time we were here, it sucked shit.”
The show ended all too soon around midnight. By that time, there was no sign of spontaneous chair breakage, but at least one audience member had removed his jacket, and revealed a flamboyant fashion statement of his own: an ironic Christmas sweater. And it’s not even Thanksgiving.

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The album chart isn't the only thing country cutie Taylor Swift is taking by storm.
She's also ripping it up on the singles charts!
With the song White Horse, the 18-year old wonder scored her sixth top 20 debut - just this year alone!!!!!!
According to reports, that's a calendar-year record for any artist in the 50-year history of the chart.
She breaks the record of five, set this summer by the Jonas Brothers.
Woo hoo!
Take THAT, Joe!
This also ties her for second place with Mariah Carey and the Beatles for the most top 20 debuts in a career.
And, just one more new entry in the singles chart will put her in a three-way tie for first place with Janet Jackson and Madonna.
Also, Taylor's six debuts and seven total tracks on the Hot 100 each tie her with Miley Cyrus' "Hannah Montana" character for the most by a female artist in a single week.
We think Taylor's more impressive than Slutty Cyrus' score cause the blonde beauty wrote her own stuff!
Congrats, Taylor!
Keep it up!
[Image via WENN.

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I don't know if I'll keep making this type of DJ mix. I was playing around with some different tunes from different decades and ended up with this mix ...and I thought I'd share it with everyone.

Basically, I took two songs from each decade starting with the '60s up through the current decade (whatever you call it...2000s?) and mixed them. It starts slow (87 bpm) and gradually ends up at 116 bpm.

It's definitely a change of pace. Let me know if you dig it or not.

Playlist:
1. Elton John - Nikita (Extended Version) [1985]
2. Christina Aguilera - Genie In A Bottle (Radio Remix) [1999]
3. Tom Jones - It's Not Unusual (DMC Mix) [1967]
4. The Jackson 5 - I Want You Back (Z-Trip Mix) [1969]
5. Mariah Carey - There's Got To Be (12" Mix) [1991]
6. Blue Lagoon - Heartbreaker (Extended Version) [2005]
7. Five Star - Another Weekend (Friday Night Mix) [1988]
8. K.C. The Sunshine Band - Get Down Tonight (Dance Mix) [1975]
9. Sophie Ellis-Bextor - Murder On The Dancefloor (Extended Mix) [2001]
10.

Similar posts: dance night club

I don't know if I'll keep making this type of DJ mix. I was playing around with some different tunes from different decades and ended up with this mix ...and I thought I'd share it with everyone.

Basically, I took two songs from each decade starting with the '60s up through the current decade (whatever you call it...2000s?) and mixed them. It starts slow (87 bpm) and gradually ends up at 116 bpm.

It's definitely a change of pace. Let me know if you dig it or not.

Playlist:
1. Elton John - Nikita (Extended Version) [1985]
2. Christina Aguilera - Genie In A Bottle (Radio Remix) [1999]
3. Tom Jones - It's Not Unusual (DMC Mix) [1967]
4. The Jackson 5 - I Want You Back (Z-Trip Mix) [1969]
5. Mariah Carey - There's Got To Be (12" Mix) [1991]
6. Blue Lagoon - Heartbreaker (Extended Version) [2005]
7. Five Star - Another Weekend (Friday Night Mix) [1988]
8. K.C. The Sunshine Band - Get Down Tonight (Dance Mix) [1975]
9. Sophie Ellis-Bextor - Murder On The Dancefloor (Extended Mix) [2001]
10.

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Jason Bentley, public radio's longtime stalwart of electronic dance music and one of American club-land's most influential DJs, has been named as the music director of National Public Radio's flagship station, KCRW (89.9 FM Santa Monica, Calif./Los Angeles). The coveted slot means that Bentley will be in charge of the station's vaunted music policy and that he will have to drop his beloved weeknight dance show in order to host "Morning Becomes Eclectic," the outlet's weekday morning showcase.

"This is a wonderful KCRW story," says KCRW General Manager Ruth Seymour. "Jason began as a phone volunteer in the front office when he was still in high school. He grew up on KCRW because his parents were listeners. When he returned from college he reconnected with the station and debuted on the air here 16 years ago. He has a passion for the music and a deep connection to the local music scene. Moreover KCRW is in his DNA."

States Bentley: "I'm immensely grateful for the opportunity and humbled by the task, which is to open a new chapter for the station. It's a reinvention of myself to match the gold standards set by previous music directors. Its no longer the hypnotic pulse of the city at night its the ever-evolving optimism of weekday mornings. My show has always reflected the continual evolution of music and emerging artists. And while I built my foundation as a champion of dance and electronic music, this is a great opportunity for me to grow, a challenge I will take very seriously."

*Bentley will start in the position Dec. 1. I believe he's the the station's third music director after Chris Douridas and Nic Harcourt, but I could be wrong. *(CORRECTION: I'm told by the station he's number four, with world-music guru Tom Schnabel having held down the job first, before Douridas). As we told you previously, music director Nic Harcourt is stepping down.

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Ministry of Sound London, the worlds most renowned clubbing venue, will launch its very own DJ Academy on 5th December 2008. A unique one day course that will invite music enthusiasts from all over the globe on to its legendary soundsystem, to study DJ skills with the biggest names in dance music including Danny Rampling, Ray Keith, Chad Jackson and Karl Brown. Since Ministry of Sound first opened its doors back in 1991 it has become the venue that DJs and clubbers have admired. Whether on the decks or on the dancefloor, dance music enthusiasts have travelled far and wide to become a part of the Ministry of Sound experience. Now the club is giving dance music fanatics the opportunity to go behind the scenes to kick start their own DJ career, and learn first hand exactly why it has become the most pioneering and celebrated venue to ever exist in clubland.
TUITION
Starting on Friday the 5th December, and taking place every month thereafter, the MoS DJ Academy will introduce a DJ teaching course to rival all courses of its type currently in the market. The course, which has been devised by Jim Jomoa a DJ Producer and full time DJ Lecturer at the ACM in Guildford, will provide students with an intensive one day insight into the world of dance music, guiding them through a full DJ aptitude programme whilst also supplying vital information about the nightlife industry, its many career options and guidance towards how to market and develop oneself as a DJ in what has become a very desirable workplace.
TUTORS
The real significance for anyone choosing this course lies in its tutorial team which is made up of eight of dance musics most legendary DJs, all of whom have shaped and influenced their respective genre and scene via their input as DJs, promoters and producers. First up is Danny Rampling, reverently known as the Godfather of the British house music scene and a legend all over the globe who will be joined by Karl Tuff Enuff Brown, one half of DJ and production duo TuffJam, a team that alone are held responsible for the emergence of the UK Garage scene. Next up is Ray Keith one of Drum Bass foremost DJs and remixers whose weekly spot on Kiss 100 continues to supply the most upfront music from this genre. Chad Jackson, one of the UKs first ever DJs and the architect of the house music scene made famous by his legendary Hacienda residency, will also be supplying his extensive experience and knowledge alongside Jazzy M, the first DJ to ever play at Ministry of Sound on its opening night. Other DJ and producers on the rota and currently influencing the scene today are Circo Loco resident Shane Watcha, Jamie Griffiths and aptly named DJ Tutor, who has transformed the DJ tuition market with his on-line tutorials, some of which have received a staggering 338,000 hits in the past year.
VENUE
If the tutors are not enough enticement for those of you already nearing your own superstar DJ status, then the fact that this course takes place within Ministry of Sound on the best soundsystem in the business is bound to have you dribbling on your EQs. No other DJ course is able to offer its students the opportunity to play in an actual venue, and certainly not on a sound system of this outstanding quality. This really will be the best tuition on the market, as students will get the extraordinary opportunity to play on equipment including 9 Technics SL1210s, 7 Pioneer CDJ 1000 MK3s, 4 Pioneer DVJ 1000s and a DJM 1000 all on a sound system with a whopping output of 34k at your disposal. It does not get any better than that.
So whether you are simply a beginner who is eager to get started on your DJ career, or indeed an avid mixing anorak who has already dedicated a large part of their life to DJing, this course will enable progression at every level whilst also putting you face to face with industry experts at the greatest venue on the planet. We look forward to seeing you soon.
An introductory price of 299 is available for a limited period of time.
Visit www.ministryofsound.

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When I first heard of the addition of Hustle to the Dancing with the Stars repertoire, it seemed to be a positive step toward bringing awareness and exposure to the dance. Upon further thought, the questions became evident as to how accurate these dances would be performed and how seriously the pros would treat them.
It is common knowledge that Hustle, as well as West Coast Swing, are viewed as rogue dances of the Ballroom World. Ballroom Pros use these dances in Pro-Ams to have an extra entry for their student at competitions; often using a Latinized style and perhaps a 4-count version of Hustle.
My feelings, after the routines that were performed on Monday night (see video below), were mixed. The most positive result was Tony Dovolani and Susan Luccis valiant attempt at executing a proper Hustle. They had the assistance of, Hustle supporter and sometimes judge, Paul Pellicoro of Dancesport in New York; a decision that gave me some respect for Tony. Pellicoro made a smart business decision as he had a party where Tony and Susan were in attendance and it was possible exposure for his studio.
Since there were no Hustle Pro performances to show proper technique and how the dance doesnt have to include Saturday Night Fever moves, this routine was an adequate demonstration of basic moves even though it included the cheesy John Travolta Style pointing. Although it had all the flavor of a Saltine cracker. Hence, the not so positive reviews from the judges.
The routine performed by Kym and Warren, on the other hand, while having energy and sass, was an amalgamation of stereotypical moves and bad Hustle. I am not faulting Kym for not really knowing the dance, as it has never been her job to learn the dance before. I just fear that this is the image that the public will have of the Hustle because the routine gained praises from the judges. Judges who dont know the difference between and the Hustle.
In general, I do not feel that the image of the Hustle was scarred too badly. Though I cant help but wonder how this perhaps was a lost opportunity for the powers that be of the Hustle Community to use this as a way to grow the interest in the dance especially by young people. I feel that if the producers were contacted and bombarded with emails and/or phone calls encouraging them to feature a pro Hustle couple or have a pro help the competing couples, the dance would have gained more respect and the exposure that it deserves. Showing that the Hustle can be done to contemporary music would not have hurt either.
All we can do is hope that if there is another season of DWTS, that someone will have to motivation and foresight to do everything they can to spread the word. I believe there is no time like the present and the seed should be planted now for a chance to have a Pro Hustle couple featured next season. I feel the opportunity should be taken while it exists.
What do you think about how Dancing with the Stars showcased Hustle? Did it help or hurt the dance? Please weigh in with your opinions, they are always welcome. Heres the video of Tony and Susan for those of you who did not see the show.

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Formado de 1972 en Detroit, Michigan, EE.UU. Suprimida 1989 Miembros del Grupo: Anita Baker, Carolyn Crawford, Vernon D. No, Van Cephus, Derek Dickson, Scott Guthrie, Courtlen Hale, Gerald Lyles, Rick Medios, Allen E. Nance, Michael Powell, David y Valerie Washington Pinkston. Este grupo de Detroit es conocida como la banda que ayudó a lanzar Anita Baker de la carrera. El grupo original fue fundada por Michael Powell y David Washington en 1972. Se respaldó la Esmeraldas hasta Detroit y Washington, Powell añadió vocalista Rick Medios y Carolyn Crawford. Crawford fue posteriormente sustituido el amor por Barbara. Cuando salió de amor, Washington añadió Baker, quien había escuchado cantar con el fondo Osmoses, otro grupo local. Medios han dejado por el momento el capítulo 8, firmado con Ariola en 1979. Baker y Gerald Lyles llevar la voz de división, con Powell, Derek Dickson, E. Allen Nance, Courtien Hale, Scott Guthrie, Van Cephus, Washington y completar la alineación. Su LP debut, "Capítulo 8", fue lanzado en 1979, pero descendió rápidamente Ariola ellos. Este álbum ha alcanzado 'poco Groove' en el Reino Unido, que contiene las canciones' Listo para tu amor 'y' Sólo quiero ser tu chica ". Baker pasó a la fama en solitario. En su segundo LP en 1985 por Beverly Glenn, Valerie Pinkson se alterna sobre el plomo con la voz de Lyles, mientras que el tecladista Vernon Falls se sumaron a los veteranos de Hale, Washington, y Powell. "Este amor por la Real" no obtener ninguna pega, pero fue un sólido alma y funk excursión, que contiene las canciones' Cómo puedo llegar a tu lado 'y' No deje de amar de mí ". La alineación se mantuvo intacta para su tercera versión, 'definitivamente', en 1988 para Capitol. Powell producido, pero es también no vender Capitolio y también se redujo ellos. Powell se ha convertido en un exitoso productor, anotando éxitos en canciones producidas por Baker y Regina Belle. Capítulo 8 Varios músicos también han grabado con Baker, Peabo Bryson, David Peaston, y James Ingram.

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Queen Salsa redhotred Salsa
presents
SPIRELLA BALLROOM Party Night
(Letchworth Garden City, Hertfordshire)
Saturday 8th November 2008
from 8pm until 01.30am
QUEEN SALSA and RED HOT RED SALSA bring you: THE SPIRELLA BALLROOM SALSA PARTY NIGHT!!!This magnificent ballroom has been fully restored to it’s former glory, including the rooftop stained glass domes, and stands to be one of the best salsa ballrooms outside of London.
With the best Guest Teachers, DJs and Performers each month, and all Salsa styles covered, this will without doubt become the most talked about Saturday Salsa Party Night for a long time to come!
Taking place monthly at Spirella’s in Letchworth, come along and take a warm up class with Francis Marinho of Almas Latinas…it may be a Reggaeton, Bachata, Funky Salsa or even La Rueda …one never knows with Francis! Fun and full of vitality, don’t miss this energetic talented young man.
Each month we will offer Cross Body Salsa lessons as well as an eclectic mix of Cuban, Colombian and Puerto Rican style Salsa, brought to you by Mina Queen Salsa.
A guest instructor will also be invited along each month so you can sample the skills and knowledge of all the best instructors that the UK has to offer. We will also invite other dancers/instructors from around the world as and when their schedules allow.
Highly acclaimed DJ Mauricio Reyes will be joining us in November giving the Advanced Cross Body Salsa class while Rafael del Busto will be giving his very popular Cuban (possibly Rueda) Salsa class, plus two other Cross Body Salsa levels will be available given by: Paul Ross - Improvers/Intermediate and Jason Canning - Beginners.
Our Guest DJ this month will, of course, be DJ Mauricio Reyes of Latin Motion (Birmingham) - Top UK Salsa DJ 2003 UK Congress.

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If you are unable to fix the problem yourself, please contact info at crushorlando.com and be sure to provide the technical support key shown above.

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This community forum with some of the Bostons Senate and House of representatives candidates for the upcoming election. This forum is open to the public.

Invitees include:
Representative Jeffrey Sánchez Democratic Nominee Sonia Chang Díaz Senator Dianne Wilkerson Boston Socialist Workers Party Nominee William Theodore Leonard Representative Elizabeth A Malia Representative Marie P. St. Fleur Representative Gloria Fox Do not miss out on this important opportunity to learn more about the candidates before election day. Hear the responses from the candidates on how they will handle these cuts, talk about their proposed solutions and how, if elected, they plan on working with the community-based organizations.

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Tracklist:
HOUR 1:
Amex - World Doesnt Care [Shah-Music Digital]
Leon Bolier feat. Simon Binkenborn - I Finally Found [2 Play Records]
High Noon At Salinas - Whales [Magic Island Records]
Hydroid - The Eternal (Activa Remix) [Vandit Records]
Hodel Hornblad - Hydrogen [Enhanced Recordings]
Icone - Cosmos [Flux Delux]
Foundry - Believe (Fast Distance Remix) [Monster Pure]
Epos - All Saints Day [Shah-Music Digital]
HOUR 2:
Tom Cloud - Pictures [In Trance We Trust]
Global Illumination - Season Turnaround [Electronic Elements]
Blake Jarrell - Punta del Este (Arnej Remix) [Electronic Elements]
Ohmna - Faith [Cyber Records]
Lokitas - Magenta (Cassino Laben Remix) [Pitch Music]
Evgeny Bardyuzha - Bali [Coldharbour Recordigns]
Jon OBir feat.

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The Uniqueness of Hustle and Why New York Loves It
By Derrick Allen
There has been a lot of talk lately of New York style Hustle, the lack of a younger generation taking up the dance, and its “social utility”, i.e. people who look at it and want to do it. With all of the back and forth, I’ve been asked to comment about the uniqueness of the Hustle and why it has even lasted as long as it has and what the future holds for the dance. However, like many things in life, in order to know where you’re going you have to appreciate where you have been. Before I begin, let me state upfront that this is not a historical piece per se. There just isn’t enough time or space to do that and acknowledge every single person and event that occurred. I’m just trying to give some context and perspective based on my first hand relationships and direct experiences. So here’s my take on where we’ve been, and how The Hustle has been dominated for so long by so many New Yorkers.
First you have to understand that New York City is the birth place of The Hustle. If you talk to 10 different people from New York, you’ll get 10 different responses as to how it started, how it developed and who was responsible for it; but, the one thing that every one of those 10 New Yorkers will agree upon is that The Hustle started here, in the Big Apple. To be sure, it rode the wave of change of popular music that occurred during the early seventies and went through several evolutions, however; around 1974-1975 something stuck, and it developed into something more than just a fad; it actually became a dance. And what made it unique was that it was the only dance at the time that could be done to a wide range of popular music. So it became something that could be done in the clubs, and it brought back “touch” dancing which hadn’t been around in the pop scene for more than a decade since the Lindy.
Once Saturday Night Fever exploded on the scene in 1977, the dance craze received a fresh shot of adrenaline and The Hustle was here to stay. However, the portrayal of Hustle in the film was nothing like what we were doing in the clubs of New York. To many of us purist Hustle dancers, the film was sacrilege and we couldn’t stand it for that reason. A lot of us actually hated it because it was a caricature of what we did and were doing in the clubs and with the dance. But the rest of America bought it and the movie became a social phenomena. Still, although we hated how the dance was portrayed, we did like the way it recreated the dynamic of going out and dancing all night to the wee hours of the morning. (Remember breaking night?)
Clubs were everywhere (discos are what people called dance clubs outside of NY – we called them clubs) and along with the clubs came the contest; big ones too! It was nothing to compete in a preliminary and make $500.00 cash just for winning the preliminary not to mention the thousands that would be awaiting the lucky winner of the finals. Looking back now I chuckle as the “Tony Manero” story from Saturday Night Fever, that living-for-the-weekend-to-go-out-for-the-love-of-the-dance, played itself out in real life among a small group of street dancers. Kids really, sneaking into clubs with fake ID’s and doing our best to look like we were 21. Some of those “kids” with names like George Velázquez, Billy Fajardo, Lisa Nunziella, Eddie Vega, Lourdes Jones, Sandra Rivera, Maria Torres, Arte Philips, Hector Berrios, Debbie Ferro, Tony Marolda, Susan Marolda, Ralphie Ramirez, Maria Gomez, David Padilla, Miguel Marrero, Floyd Chisholm, Nellie Cotto, Ricky Quintana, Lee Rafrano, Scott Nurse, Suzanne Lambro, Keith Merriwether, and well - myself, yours truly Derrick Allen.
We ranged from 13 to about 18 years of age, with little to no formal dance training. (I believe as far as the guys go, Billy Fajardo had the most formal dance training having been trained in classical ballet with the American Ballet Company). Still, for the few that did have formal training, Hustle was their first exposure to any type of touch dancing. Having nothing else other than the belief in ourselves and the desire to be the best, we all sought to excel every time we hit the floor. There were no dance events, socials or Pro-Am Competitions to build your name or showcase your ability. The clubs of New York are where we honed our skills and the club competitions are where we demonstrated and spotlighted our talent and abilities. Although we knew we had something that was new and hot, we all lacked the experience on where and how to capitalize on the new dance craze. But then again we were kids, mostly from the streets of New York with New York common sense and street smarts. So remember that point as it will put into focus the actual accomplishments of some of these kids that I will touch upon later in this series.
Now don’t get me wrong, there were other individuals, older people who had business savvy and saw what was happening in the dance market place and figured out ways to capitalize on it. The two groups I believe that deserve the most credit for tapping into the Hustle dance phenomena, for setting the ground work for making it commercially viable and eventually becoming a conduit for teaching others in the business were Jack, Jeff and Donna Shelly and the late Ralph Lew and his wife Lucille.
As former Fred Astaire dance instructors, Jeff and his brother Jack used their knowledge of the dance business to open a series of dance schools featuring the Hustle. Now the Shellys weren’t the first to put the dance into a teachable format, nor were they the first ones to teach the dance in a dance school setting. They were significant, in that they were the first to open a chain of dance studios built around Hustle as the featured dance form, which was appropriately called “New York Hustle Dance Studios”. Actually, I believe the Shelly’s were the first to coin the phrase “New York Hustle” and they helped provide a structure for teaching the dance. They were key players in moving the dance toward being a legitimate commercially viable dance form. The Shelly’s were the first to have a series of three instructional dance records (no video back then) called “Do The Hustle” which sold over an unheard of quarter of a million copies. (By the way, the count back then1,2,3 4,5,6). They touched many young dancers along the way. Hustle giant Billy Fajardo credits Jeff and Jack for “teaching me the business”. My personal introduction to a “structured” dance environment also came during my 2 year association with the Shelly’s out of their Brooklyn studio. They were also well known for their weekly appearances on the nationally televised dance show “Soap Factory Disco”. (I guess you could call it our “American Bandstand”). The Shelley’s and their dancers, along with Billy Fajardo and his Disco Dance Dimensions, were one of the earliest performers of the Hustle to appear for a nationally televised audience on a consistent basis.
Ralph and Lucille Lew were known for their “Ralph Lew Dance Review” and introduced thousands to the Hustle and helped showcase the dance. Ralph used his musical editing background to upscale the music and costumes and presented our street dance as a true main stream commercially viable “Las Vegas” style act. Ralph utilized his Latin music connections such as, Tito Puente, Eddie Palmeri, Celia Cruz, and Vince Montana, to open venues to showcase the Hustle. Through Ralph, some of us appeared in such prestigious places as Madison Square Garden, Lincoln Center, Radio City Music Hall, Westbury Music Fair, the casinos of Atlantic City and the resort hotels of the Catskills and the Poconos. Anybody who was somebody in the hustle dance scene back in the mid 70’s and throughout the 80’s, at some point in time, worked with Ralph. If you didn’t, then you either didn’t rate or you simply weren’t around back then; period.
For those of us kids that were there and helped shape and define this dance, we knew we were more than something that was just a part of pop culture. We had the rare opportunity of being able to create a piece of pop and dance culture history. We didn’t belong to it. It belonged to us. We owned it. Because don’t make any mistake about it, just like Michael Jackson’s “Thriller” album revived the whole music industry, our dance, The Hustle, helped revive the dance studio industry. It was our dance that brought people back into the dance studios. It was our dance that revived touch or partner dancing. . It was our dance that the movie “Saturday Night Fever” was centered around. It was our dance that people paid for and wanted to see and do.
To be sure, there were many other people and places in the country that tried to capitalize on the “Disco Dance” phenomena. They had their Discos. They got hooked on the “Saturday Night Fever” craze. They called our dance “Disco”. They had their contests. They even wore white suits and did the 3 year old “Bus Stop” line dance. But none had the impact, longevity or success like the kids of New York City. The kids who helped bring this dance form to the world. It is why we love this dance so much. And it all started here, in the greatest city in the world, the Big A - New York City.

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