Next Thursday April 3 - Birthday of Mona Phillips

Mona  - Birthday tango

We miss Mona and she misses us.  She has said that she can't think of a better way of getting older than with tango at Firehouse.  I couldn't agree more.    Kevin will start the dance and then all the tangueros can cut in. 

April 3 - Birthday of Mona Phillips

See details above in this newsletter under Celebrations.

April 10 - Birthday of Sue Dallon

 I hope every one of my Firehouse friends will join me for my birthday on Thursday. April 10.  I can't imagine a better way to celebrate the occasion than dancing, socializing, and sharing the best years of my life with the folks nearest and dearest to my heart.  Please don't disappoint me.

 April 17 - Birthday of Eva Roth and traditional Firehouse Tango Passover Milonga/Feast
 

 Passover feast

 See details about our annual traditional "More or less kosher for Passover" milonga under Firehouse Tango traditional Passover Milonga below in this newsletter. 

April 24- Birthday of Francis Gregoire

Francis and Marie Gregoire have been coming to Firehouse for many years and have been to Buenos Aires with us twice, and we are honored to be able to celebrate Francis' birthday on April 24th.  Francis will start the birthday tango with Marie and then we lucky ladies can begin cutting in. It will be delightful.   Oh, and   the mountain of huge and luscious shrimp and delicious chocolate cake that Francis and Marie always bring will be fabulous, as always. 

Hello everyone, Pat here. Our second Cat's Away Milonga turned out to be just as awesome as the first! It was extremely gratifying to see so many folks turning up for the feast.

 As the 7:00 p.m. lesson swung into gear, the kitchen began to fill with carefully prepared home-cooked dishes, once again providing distracting aromas for those in the class trying to concentrate on their tango technique. Each new arrival revealed not only that our cooks are very talented, but also familiar with the famous Firehouse appetite!

Once the food was set out, our outer room became like a gourmet restaurant as our hungry dancers worked their way through platefuls piled high with an impressive array of dishes. The sense of community and sharing was enjoyed and applauded by everyone in attendance.

Joining me on duty in the kitchen were Sue Dallon, Barbara Lombardi, Elena Titova and some of our cooks who assisted in getting their dishes ready.  Also, much gratitude to those ladies who ably offered assistance to Fran during  the lessons.

Our Cat's Away tradition - even if the Cats are actually here - is such a wonderful example of community spirit and people doing nice things for others. Yes, it's a lot of work, but to Fran and I every minute of it is worthwhile. Our sincere thank to everyone for their support.

And now on to the Acknowledgement Roll Call (in alpha order) for our very special banquet contributors:

Barbara (Lombardi)-3-Cheese Lasagna-

Bob (Brillo)-Large green salad

Eduardo (Campos)-Picadillo

Elizabeth (Pachella)-Pear Upside Down Pie

Faye and Lou (Levine)-Pineapple and Cherries platter

Ferd (Ritz)-Devilled Eggs

Flo (Salierno)-Orange Trifle

Fran and Pat-Sausage and Peppers

Francis & Marie (Gregoire)-Chicken Wings and Ribs

George (Ngo)-Vegetable and Pork Dumplings, and Roast Pork Fried Rice

Heidi (Fedor)-Ricotta Cake Squares

Jan (Folmsbee)-Chinese Cabbage Salad

Jean and Enrique - Italian Meats & Cheeses, & Chocolate Fudge Cake

Judy (Koski)-Vege Platter

Kathrin (Gschwend)-Meat Empanadas, & Spring Salad w/ Cranberries, Walnuts & Blue Cheese

Mike (Porro) - Large green salad

Rivky and Marina-Dessert Cake

Sue (Dallon)-Cherry Pie Cake

Sylvester-Coleslaw, & his famous"Manly" Beans

Please don't throw liquids in the garbage.  It makes a huge mess.  You can pour unwanted water and wine into the bar behind the sink or just leave it for us to do so.  Thanks.

Hi everybody, Fran here with your Tango Tip of the Week. One of the subjects I discuss quite often in this column is lead/follow. The reason for this, of course, is that good lead/follow skills make social Tango a comfortable experience right from a couple's earliest attempts, and insures success at even the most advanced levels of the dance.

Today, I want focus on a single aspect of the lead/follow mechanism, which often gets lost in even the most detailed exploration of this crucial skill set. I'm talking about the very precise movement of the leader's torso in providing the follower with an appropriate invitation to execute a given element of the dance.

As you've heard me say before, I identify six specific movements as basic to the follower's dance:

1.     The pause

2.     The weight change in place

3.     The forward step

4.     The backward step

5.     The side step

6.     The pivot

Tango is a dance in which what we might call "figures" ultimately comprise combinations of individual movements selected by the leader from those enumerated above. From the follower's perspective, her ability to competently read the leader's intent and to execute each of these elements is what makes it fundamentally possible for her to dance Tango.

Most dance teachers agree that the lead comes from the torso -- rather than, say, from the arms (although I am convinced that there are times when the leader's arms do indeed enhance certain complex invitations).  To begin with, let me describe the various kinds of torso movement I believe are used in creating effective leads:

1.     A leader can move his torso to the left or to the right while not moving through space. He does this by making what we call a weight change in place -- shifting from one lateral balance axis to the other.

2.     The leader can raise or lower his torso, usually by bending slightly at the knees.

3.     The leader can move his torso through space -- forward, backward, or to the side -- by first lowering slightly, then traveling from one place to another.

4.     The leader can twist his torso to one side or the other.

Now, let's talk about what I teach as the specific leads for each of the above movements, and describe the role of the leader's torso in this process. 

The pause.

The leader does nothing. He doesn't move at all. Therefore, his torso is still. In response, the follower also remains still.

The weight change in place.

The leader shifts his weight from one balance axis to the other. In doing this, his torso moves laterally. In response to this, the follower also shifts her weight from one side to the other.

The forward step.

The leader offers a sequential series of torso movements. First, he lowers his torso slightly in order to indicate to his follower that he is about to move. Then he takes a forward step, moving his torso through space. This tells his follower which direction he wants her to take. In response, the follower moves backward one step.

The backward step.

As with a forward step, the leader lowers his torso slightly in order to indicate movement; then he moves his torso through space, this time away from his follower. She responds by taking a single forward step.

The side step.

As above, the leader lowers his torso slightly in order to indicate travel. Then he takes a step to the side. This results in his torso moving through space to the side. The follower responds by taking a single step to the side. 

The pivot.

The leader twists his torso to the left or to the right in order to indicate one of several possible movements on the part of his follower. He may want her to rotate (pivot) for the beginning of an ocho. If she is already facing the side, having executed a pivot, he may want her to take a single step forward or backward in order to complete an ocho. In some cases, the leader's twisting action may produce a follower's side step. It may result in molinete. It may lead to boleo or to calicita. The follower's response to the twisting action of her leader's torso will depend upon what has immediately preceded this movement. Furthermore, if a follower has taken a step across the leader's front (as in completing a forward or backward ocho or perhaps a molinete, she will pivot by herself in order to bring her body into alignment with her leader.

The movement of a leader's torso is only one part of his overall skill set in providing a viable indication to his follower about precisely what he wants her to do at any given time. However, in developing your own lead/follow expertise, I believe that it is very important to concentrate on this crucial aspect of the total lead/follow communication.

Sunday, April 6, 12:30 -- 3:30 p.m., All levels welcome

Last November, Pat and I teased your appetite with our "10 must-have Tango moves" workshop. Now, we're going to absolutely knock your socks off with our follow-up intensive, "10 More Must-Have Tango Moves You Should Know." Please join us for this one-of-a-kind, 3-hour intensive Tango workshop, and get ready for more figures, more techniques, and much more non-stop excitement. If you liked what you learned in November, you're going to absolutely love what we'll be bringing you this time!

Here are a few hot spots:

·      Create a surprise with one of Gustavo Naveira's unique alterations

·      Channel the magic footwork of Orlando Paiva

·      Add more great adornos to your repertoire

·      Master the traspie wizardry of Julio Balmaceda

·      Define the moment with a classic combo from Osvaldo Zotto

Fran Chesleigh's "10 More Must-Have Tango Moves You Should Know" offers you a unique opportunity to transform your Tango, Vals and Milonga into the polished, seriously authentic dances you've been working so hard to achieve.

Don't miss it!

Prepaid by Friday, April 4: $30 per person

Standard price: $35 per person

No refunds. No exchanges.

Dance Manhattan

Ballroom,Swing and Latin Dance Studio

39-47 West 19th Street

5th Floor

New York, NY

1-212-807-0802

dancemanhattan.com

March 29, 2014

2:00 - 4:00 p.m.

Entry: $10 per person

Dance Manhattan will be closed on Saturday, March 29, because the building will be doing some electrical work. No classes, no practicas, no nothing.

So, for one week only, Fran will be running his Argentine Tango practica at the following location:

Chelsea Studios

151 West 26th Street (between 6th and 7th Avenues)

6th Floor

Studio 605

New York, NY 10001

1-212-924-5877

We're delighted to be able to offer you an alternative space for this week. If you want to contact Fran directly about this change of venue, he can be reached at

franchesleigh@mac.com or 212-662-7692.

We look forward to seeing you at Chelsea Studios this week!

Our annual traditional more or less kosher for Passover feast will take place at Firehouse Milonga on Thursday, April  17 (coincidentally, also Eva's birthday.)   If anyone would like to contribute a Passover dish, please let me know.   

Some items featured on our previous holiday menus were:

Sue - brisket with potatoes and carrots, salad, pastries, dried fruits and nuts,  macaroons, desserts, matzah

Judy Saul - holiday soup

Georgina Blitzer - Potato Kugel

Tsipoyra Sartan - egg salad

Judy Assisi- Sephardic fruit compote

Herb Goodfried- red cabbage

Jack B. - Tsimmes

Bonny Y - Chopped liver and pickled herring

Jack M. - Lamb stew

Janice G - Passover cake

Faye and Lou - pineapple

Norma Arias - roasted carrots and fennel and chocolate covered matzah

 Every day, our dear friend and teacher in Buenos Aires posts a historical tango fact of the day. These interesting and informative tidbits always include English, Spanish and Italian  information and a relevant recording. You can see all of them and listen to the recording by simply joining Monica Paz PractiMilonguero Facebook page. Below is the post for March 22nd and a link to the Facebook page, where you can hear the music:

22 DE MARZO DE 1946

March 22, 1946: Enrique Rodríguez recorded on this date a classic tango: ZORRO GRIS. The title refers to a garment covering the female neck. Without awareness for the preservation of animal skins, those were fashionable items in the mid-twentieth century. Its use began in the upper class and gradually extended to the middle class.

Enrique Rodríguez graba en esta fecha un tango clásico: ZORRO GRIS. El título hace referencia a una prenda de vestir que cubría el cuello femenino. Sin conciencia por la preservación de animales, las pieles fueron moda a mediados del siglo XX.  Su uso comenzó en la clase alta y se extendió paulatinamente a la clase media.

marzo 1946: in questa data Enrique Rodríguez registra un classico tango: ZORRO GRIS. Il titolo fa riferimento a un accessorio dell'abbigliamento femminile che copriva il collo. Senza rispetto per la protezione degli animali, tali pelliccie vennero di moda verso la metà del XX secolo. Il loro uso iniziò nelle classi alte e si estese progressivamente nella classe media.

 https://www.facebook.com/MPTango

And the following one for her latest interview (She regularly posts interviews that she does with surviving old milongueros) : 

MP Tango Interview

MPTango Presents Jose Santoro at PractiMilonguero

http://youtu.be/9CWJ2gAELnU

Our group leaves New York on Friday, October 31, 2014 at 10:15 PM and returns Monday, November 10 at 6:15 AM. As I write, the round trip fare for non-stop American flights #953/956 is $1285. Let me know now if you are interested in joining us. You can contact me (Sue) at 201-825-1570 or  firehousetango@gmail.com.

How Much:

Cost of the trip including everything listed below (excluding air) is $2000 (double occupancy). Single supplement is available for an additional fee of $300. Airfare should be about 1,285.

Give check made out to Firehouse Tango for $400 together with your name, address and phone numbers to Sue or send to Sue Dallon, 16 Fox Hollow Rd. Ramsey, NJ 07446. For more information or references ask Sue or call 201-825-1570 or 201-826-6602.

What's included?

·         8 nights / 9 days in Buenos Aires with the friendliest group around

·         Stay at the excellent, centrally located Bauen Suites Hotel

·         Full breakfast every day

·         Transfers to and from hotel (included only if traveling with group on American # 953 Fri Oct 31 and # 956 Sunday November 9 (arriving Mon  10))

·         Welcome luncheon where you will meet the instructors

·         Private group lessons with excellent local teachers and local hosts as partners

·         Milongas with local hosts (male and female) who are there just to dance with us

·         City Tour

·         Full day at gaucho ranch with barbeque and show

·         Popular Tango show with dinner

·         Day at San Telmo Flea Market & enough free time for shopping, exploring the city, visiting museums, taking private lessons, visiting milongas on your own or resting (heaven forbid).

·         You most certainly will want to visit a shoe store (shoes cost about 1/3 of price here).  Prices in Buenos Aires are amazingly low & additional costs are minimal.

·         Excellent & inexpensive local teachers highly recommended by us for privately scheduled lessons.

Optional add-on - Four days in Mendoza - Argentine wine country

The following folks helped set up, break down and clean up before and after the milonga. Without them, there would be no Firehouse Tango.

• Terri Lopez
• Tsipoyra Sartan
  
• Debbie Glaser
• Mike Porro
• Bob Brillo
  
• steve turi
• Elena Titova

• Rifky Mackeen - Cheese Cake
• Heidi Fedor - Ricotta Cake
• Elizabeth Pachella - Upside-down Pear Pie
• Katharina Gschwend - Empanadas Con Carne & Spring Mix Salad
  
• George Ngo - Vegetable Dumplings, Pork Dumplings & Fried Rice
• Bob Brillo - Salad
• Faye & Lou - Pineapple
• Fred Ritz - Devilled Eggs
• Francis & Marie - Chicken & Ribs

• Bill Krukovsky
• George Ngo
• Bob Brillo
• Edna Negron
• Horatio Piccioni
• Fred Ritz
• Francis & Marie
• Eduardo Campos
• Terri Lopez