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The 2008 Tribute to Women in Salsa showcases salsa performances by all-female groups, and will honor women who have made a contribution to salsa music, dance, culture, or community. It is organized annually by the fabulous Eileen Torres and has become an integral part of the DC salsa calendar.

Tribute to Women in Salsa

With performances by:

Dance In Time

Salsa Fuego Student Group

Clavekazi’s Birds of Paradise


Salsa Fuego

Joie de Vivre Salseras

Wednesday, April 2

Show will start some time after 9pm

Zanzibar on the Waterfront
700 Water St SW
Washington, DC 20024
(202) 554-9100

closest metro stop: Waterfront (green line)

Admission: $5 before 10pm, $10 after 10pm

Free salsa class, 7-8pm

Please note that Zanzibar does not allow jeans. If you must wear jeans, I think they have relaxed that policy a little but they will charge you double.[update: according to Beto’s comment, jeans are now allowed]

[Full Disclosure: this is a shameless self-promotion post…I will be performing in this event. Hope to see you there!]

We have a question from a reader, Maria (great name, btw!) who points out that the tango shoes she’s seeing are a lot sexier than salsa shoes. She wants to know if she could use tango shoes for salsa.

I have a tanguera friend who does wear her tango shoes to the salsa club sometime, so I know it’s possible.

Can we hear from anyone with experience in this? What are the characteristics of tango shoes? When I think of good salsa shoes, I think flexible suede sole, reinforced heel, and an ankle strap that holds the shoe securely to the foot. Does your average pair of comme il fauts come close to this?

This is by no means an exhaustive list, but these are events I’m more likely than not going to be attending this month. Words in italics taken from press release/website.


* Fundraiser to benefit Echo Park Contemporary Ballet

Tuesday, February 5th (tomorrow) from 5:30 to 7:30 pm at Marvin’s, 2007 14th St NW (Washington DC), Suggested Donation: $20


* Clavekazi Second Sunday Socials

Finally someplace to dance on Sunday afternoons! (Finally a social that fits my schedule!!!–ed.) The ClaveKazi Dance Studio is beginning “Second Sunday Socials” on February 10. Only $5 to come and dance to great music in our spacious studio! A FREE Ladies Styling class will start the evening, and we’ll be playing Salsa, Bachata, Cha-Cha-Cha and everything else that keeps you moving! Don’t miss it! Socials Begin at 5PM! These Socials will be held once/month, on the second Sunday. Featuring DJ Renzo.


* Alvin Ailey American Dance Theater

At the Kennedy Center, February 19-24. More details and tickets here.


* Bad Boys of Dance

February 22-23, 2008 at 8:00pm, Jack Morton Auditorium (George Washington University Campus),Tickets $25 (includes post show meet and greet reception).

 This will mark the first time the bad boys of dance have appeared and performed in Washington, DC. Featuring a new work entitled “Love Hang Over”; this performance will showcase the talents of America’s most renowned male dancers from stage to screen. For more info, visit


* Evenings With Extraordinary Artists, featuring EDGEWORKS

The Arts Club of Washington presents…”Evenings With Extraordinary Artists” featuring EDGEWORKS Dance Theater, Helanius J. Wilkins, Founder & Artistic Director

 Wednesday, February 27, 2008, 5:30 – 7:30 pm

 Please join us for an artful evening centered on EDT’s groundbreaking Negro Dance Theatre Project. The evening includes wine, hors d’oeuvres, a performance of excerpts of the critically-acclaimed, award winning Cold Case (1st installment of the Negro Dance Theatre Project), and discussion.

 Admission is $15 per person and reservations are strongly encouraged. For reserverations please call the Arst Club at 202-331-7282 x16. Free parking with validation is available at Colonial Parking between I & K Sts, NW. The Arts Club of Washington is located at 2017 I St, NW, Washington, DC.

If you have any additional picks you’re excited about this month, please leave it in the comments below

Only a fool would voluntarily go to Chicago in the middle of January (and before I get any haters, I grew up in an even colder place, so I know what I’m talking about). I spent the last 24 hours in Chicago and although my visit there was by no means voluntary, my consolation prize was some salsa tourism.

Was it worth the $20 in cab rides, $10 cover, $2 mandatory coat check, and $20 bar minimum (which the bartender sweetly informed me of after handing me my $7 drink), having to wait an hour for the DJ, which didn’t start until 10:30 (on a Tuesday night?!), and then dragging my tired self out of bed at the crack of dawn the next morning to give a presentation whose sole purpose was to deliver some bad news? The verdict’s still out on that one, but let’s rewind, shall we… Read the rest of this entry »

I think the catharsis I got from writing three posts age really did help. There was a really nice post on kk’s blog today about it, which made me feel like I have a kindred spirit in this.

I felt pretty darn good at rehearsal on Friday and there were a ton of new faces in my modern dance class today so the teacher slowed things way down and really got into the technique of things. It made me feel super proficient for once– it’s all relative.

We are now at t-6 on the Miami countdown! This is not before having to go to Chicago for one night (study in contrasts, I tell ya), but I’m planning to hit up a salsa club while I’m there, and there is nothing like salsa travel to reinvigorate me.

Although I’ve been going to class and practice more, I’ve been feeling rather ungraceful, slow, and inept. I’m not sure what’s going on, though winter blahs and desperately needing a vacation from work are surely playing a part.

It’s not that I’m thinking of quitting, but it is quite demoralizing to feel after each practice that I probably could have done better but didn’t have the energy and focus to pull it off. I’ve been coming home from practices and classes feeling like a phony, like maybe I’ve overinflated my own abilities in my mind and this is just life trying to keep me in check.

Of course, this self-pitying, self-defeating thinking is getting me no where. In my mind, I know that I’m getting better in class, that I can do a good job if I keep going to practice, and that if I keep on going I will find redemption.

A while ago, I wrote a post, Pearls of Wisdom, and promised to share some of the helpful and inspirational conversations I’ve had over the past few months. This seems like an ideal time– with deepest gratitude to the sources and my apologies for any misrepresentations of their words– for me to revisit some of them.

On balancing modern and salsa dance (which I am still doing on alternate days of the week and which I believe will continue to be part of my problem until I’ve mastered “flipping the switch” between them), I turned to my friend Kindra. Kindra has danced with a community modern dance troupe, done ballroom dance competitively, and a beautiful and highly capable salsa dancer. Kindra encouraged me to keep up my modern dance training, as it would help me with my release issues and make me a better overall dancer. As for the salsa, I should take a beginner ballroom class and focus on the technique and placement of the feet. She told me not to focus on the forms and patterns too much. This is advice worth taking. My re-aligned body is having trouble staying balanced in heels now.

Rob and I met up a while back to discuss blogging, writing and dance. I asked if I could pick his brain about the DC dance community and ways to develop myself as a dancer. Over the course of our conversation, he said something to me that has since become my mantra: Dancers don’t perform– they go to class.

There is so much meaning condensed in this one statement. Growing up, I played musical instruments, so I am well familiar with the old “practice makes perfect” adage. I think dance is ten times harder than playing a musical instrument because not only do you have to practice, but you have to be able to memorize and internalize things quickly. In orchestral performance you always have the sheet music to rely on. You also have a conductor and fellow section members as constant reference points. It also means that you can perform for hours, as long as you feel comfortable with your reading and interpretation of the sheet music.

In dance, the reward for going to class is all too brief and fleeting. Not only do you put immense quantities of (quite literally at times) blood, sweat, and tears to get things just right, but you also have to somehow commit all that to memory, and, come performance time (if it even reaches that stage) you must execute it with the proper feeling in your heart and expression on your face.

Sometimes I wonder if all those weeks or months of practice were worth it just to perform for 6 minutes. People who don’t dance don’t necessarily understand that. There are so many odds you are working against. And that is why it is all about going to class. Class is not a means to an end– it is an essential link in the chain, a chain of classes that you must continue going to. At the best of times, class is a meditation for me. Other times, like right now, it’s a struggle to get through with my pride intact, but I’m always glad I went. I would have felt worse about myself if I didn’t.

I’m going to stop here for now. These are the words that are inspiring me at this time. I’ll revisit some more pearls of wisdom when they become relevant in other ways.

As always, I appreciate it when my readers have their own thoughts to add. Any words of encouragement for the little rut I’m going through would be quite valuable.

Lucky me, look what I got, thanks to Crapdown ’08:

Moving As One by Elizabeth Rees- Front Cover

Back cover, synopsis, and in-depth analysis after the jump…

Read the rest of this entry »

Everyone’s doing “best of 2new year babies007″ rankings and such, but rather than dwelling in the past, I’m ready to embrace the new.
Here, in no particular order, are a number of dance blogs I’ve recently added to my blogroll. Some are new and some have been around for a while, but I’ve just begun following them in the last month or two.
  • Dance Primer is aimed at the beginning dancer, particularly adult learners. There are some good tips and reflections, particularly for those trying out the various social dances.
  • Dancing Perfectly Free seems like an independent version of the Winger– ballet focused, and with slices of the bloggers’ lives, but also with some more general interest content. It’s pretty new, so I haven’t gotten much of a feel for it yet, but look forward to seeing how it develops.
  • kk’s world, duly noted is a local DC blog by Kelly from Contradiction Dance. It’s not strictly focused on dance, but I enjoy reading about the inner poetic workings of a dancer and choreographer. I’m particularly enjoying the bar nap poetry she posts from time to time.
  • My Dance Place: The Dancer Universe Blog from Dancer Universe, which seems to be a portal for many dance-related topics, and primarily aimed at the young competition/performance set. However, the blog holds lots of promise with its multi-blogger format, which makes for a nice diversity of content ranging from the gossipy to the silly, to the philosophical.
  • I was familiar with Matthew Murphy from the Winger, and was turned onto his personal blog, Ranting Details about two months ago. It has been very touching to follow Matt’s struggle with an illness that has left him unable to dance with ABT this year, and I hope to follow him through to a speedy recovery. While I often struggle with keeping a balance between my passion for dance and the rest of my life, it must be ten times as heart-wrenching when the cause is beyond your control and affects your very livelihood. I enjoy the humorous and at times poignant point of view on Ranting Details.
  • Though at times painfully obtuse (at least for me– I may hold an advanced degree, but I have no academic foundation in dance, so maybe it’s my own shortcomings) quodlibet provides a delightfully intellectual point of view on dance, with a nice little extra sprinkling of interesting links and gorgeous photos. My biggest qualm– other than the occasional lack of plain English– is the tumblr format, which does not allow readers to comment on the posts, and thereby eliminating one of the nicest aspects of blogging. If I wanted to respond to anything on quodlibet, I’d have to email the author or post something on my own blog, which fragments the discussion. Despite those shortcomings, I always enjoy reading this blog.
  • IndySalsero is not new, but seems to be posting more frequently now. There have been some interesting posts lately, such as on the bane of my existence lately– ballroom posture in club salsa. It’s always nice to have more active salsa blogs out there.
  • DC local Daniel Burkholder’s new blog on Great Dance, act/re/act has some interesting reflections on choreography, teaching, and improvisation. There have been some interesting debates on this blog, including one about elitism in dance.
  • Moving Space and Time, from dancer Shallom (who has done a lot of work here in DC), has some very good writing, reflections and a couple videos of the dancer in action. This is one of those blogs that is just a pleasure to read.

Check them out, and let me know if there are any new ones I’ve missed that are worth noting.

    Everyone told me I would be disappointed, but I had to see El Cantante myself. Not so much to prove them wrong, but because I would always wonder about it if I didn’t. For the uninitiated, El Cantante is about the life and death of Hector Lavoe, a hugely influential salsa vocalist from the heyday of Fania (like the Motown of salsa in the ’70s and ’80s). Lavoe contracted HIV as a result of his drug use, and died of AIDS in 1993. The movie follows his rise to fame and events leading up to his death through the eyes of his wife, Puchi, who many saw as a bad influence in his life.

    On the whole, I was disappointed by the movie, but I am glad I saw it. From the point of view of a dancer, it was a huge letdown. There was almost no depiction whatsoever of the dance culture that helped support musicians like Hector Lavoe. There were only a few short clips in the movie that depicted any dancing to speak of.

    This movie fell into the formulaic trap of every other movie about a famous musical star who gets addicted to heroin and proceeds to self-destruct. Director Leon Ichaso tried to avoid the formula by mixing up the timeline a bit, but I just found it distracting. They were constantly cutting between JLo as Lavoe’s wife Puchi reminiscing, and the actual story. From the actual story they were also cutting all over the place– and to where, it wasn’t even clear at times.

    The best part of the movie was Marc Anthony’s portrayal of Hector Lavoe the singer. Anthony’s interpretation of Lavoe is spot-on– his voice, mannerisms, eyes, way of speaking, and physical movement make for a very convincing transformation. As interpreted by Anthony, the soundtrack is excellent in its own right.

    Here is one of my favorite Lavoe songs– Aguanile— as interpreted in the film. It’s also the best (and longest) dance moment of the movie with some gorgeous rumba dancing.

    And the original by Hector Lavoe:

    Here is some footage of Hector Lavoe (as himself) singing El Cantante, so you can compare those mannerisms I was talking about:

    Related posts: 

    There’s been no Dance on the Web for so long because I’ve been majorly behind on keeping up with my blog feed lately. I’ve whittled it down a bit now, but a few days ago I had about 800 unread dance posts in my feed, and that didn’t include any of the non-dance blogs I keep up with! Here are a couple highlights I’ve come across as I dig myself out from the backlog:

    • We can now enjoy So You Think You Can Dance year-round thanks to the Australians (and the Canadians) and the wonders of internet video [Blogging SYTYCD].
    • Justin Peck of the New York City Ballet documents his transformation into Mother Ginger for the Nutcracker. Pretty incredible and incredibly amusing [The Winger].
    • Artists who do not write about their work are allowing others to speak for them [Dancing Into the Future].
    • The San Francisco Ballet has commissioned a piece from Wade Robeson, my favorite choreographer from SYTYCD [Dance Outlook].
    • What salseras want [Salsa Gigolo].
    • “My posts will be brief but full of useful info. The shorter it is, the more you will retain.” [The Winger].

    I had a total “duh” moment in salsa practice tonight.

    There’s a move in the choreography where you drop down in a wide stance (grand plie in 2nd position), drop your head and torso over the left knee while straightening the right leg, and the shift your weight, lunging over to the other side. Think Pussycat Dolls. However, I had been feeling decidedly un-sexy when trying to execute this move.

    When I asked the director what was going on, it turns out I was staying too tucked in. SALSA POSTUREIn translation, with my knees bent, I needed to be sticking out my butt out and arching my back. As soon as I realized this was the problem, I was able to revert back and the whole choreography felt more fluid. This is correct salsa posture. It’s something that felt very natural to me when I first started dancing, and it’s something I taught my students when I was teaching. Yet in the year that I have been devoting myself to the study of modern dance, I have lost the instinctive placement of my body into a posture that used to come so naturally to me.

    correct ballet postureA year ago, it was so hard for me to get that tucked-in, tight core, straight spine posture required in my modern dance class. Now it seems that I have re-molded my body to instinctively put itself into the opposite of what had come naturally. On the upside, it means the modern training has been working. It also explains all the comments I’ve been getting while social dancing salsa about how I must do ballroom (I don’t. Never have.).

    I hadn’t been to a formal salsa class/practice in about two years. As of last week I’m doing modern Sunday/Tuesday and Salsa Monday/Wednesday. I have to figure out how to “flip the switch” each day. I actually view this as an excellent opportunity.

    My director likened it to switching between dancing salsa on 1 and on 2. In the beginning it’s very challenging and you need to focus on one, but with time you are able to easily switch between the two (as I do).

    In September, I wrote a post about how I was able to devote myself to my two “dance addictions.” Everything I wrote still holds true, but I must add to the list this more specific point about differences in posture between the two styles. At the time, I wrote “I am not sure if I am sacrificing one technique for another by doing both salsa and modern simultaneously.” I think that up until this point, the answer has been “yes,” but from here on out, I believe that I’ve reached a moment in my development where that can change.

    My “duh” moment gives me the knowledge I need to be intentional in the placement of my body. I don’t think it’s at all an insurmountable challenge, and I look forward to applying my new intention to my dancing.

    I think I have release issues. I’ve been chided before in modern dance class for not releasing my back enough. Many of my salsa partners ask me if I’m a ballroom dancer. I’ve never taken a single ballroom dance class in my life. Friends I’ve talked to about that say that it’s because of my good posture and “elegant carriage,” which is all very well and good most of the time, except I want to achieve that loose, earthy movement quality of afro-caribbean dance.

    I carry a lot of tension in my upper back, and often have pain in my lower back, and have done so for as long as I can remember. I will do pretty much anything for a massage any time. I’m always massaging my own shoulders, and twisting and stretching in my chair to excise the pain from my lower back. I sit on a ball to strengthen my core; I take yoga and pilates. In short, I’m doing everything you’re supposed to do to get at back issues.

    At a yoga workshop about chakras I learned that one of my chakras must be blocked. Someone else told me that there is some sort of emotional trauma that can be linked to tension in the back.

    Anyone else have these issues? What ideas do you have for being able to release one’s back more?

    Century Ballroom websiteWhen I was in Seattle, I had to check out the local salsa scene. Thanks to a tip from fluvial, I learned that the Century Ballroom is the best place to go on Saturday nights. A description of the place said it was more elegant. I was a bit worried because all I had for dancing attire was jeans and a cute top. Luckily, the definition of “elegant” in the Pacific Northwest is exactly what I had packed!

    There’s always the fear when you go out alone to an unknown place in a new city that the scene will be cliquish or there will not be enough partners. Not to worry. Before I even had a chance to finish buckling up the Salma Hayeks, I was in business. There’s nothing like saying to the world “I bring special shoes to dance my salsa in,” to communicate that you are a serious dancer.

    A big thank-you to the salseros of Seattle, because I hardly made it off the dance floor the whole night!

    I was trying to get a feel for the local style and after a couple dances it was clear to me that Seattle salseros are big on connection. I have never had so many strong, immediate dance connections with so many different partners in one night. There was one very notable exception– a tall guy, er, prick in a striped button-down shirt who looked everywhere but at me for the entire song and seemed incredibly bored– possibly the worst connection ever in the history of my life and not for my lack of trying. But I digress…

    Pretty much every other guy that I danced with, regardless of their level or technical ability, seemed really into trying to be the best leader he could be. I’m guessing that whomever is teaching most of the dancers in Seattle emphasizes connection, and to that teacher I say, “well done!” It was incredibly refreshing. There were few dancers who did fancy turn patters or inventive moves or whatnot (or dance on 2– only one person I danced with knew how to dance on 2), but who cares when you have a good connection.

    As for the venue, the Century Ballroom is gorgeous. It is an old-style ballroom in a historic building with beautiful, perfect-for-dancing-on wood floors, a balcony around three sides of the room, tables and chairs lining the edge of the large dance floor and a small stage in front. The size was perfect, not overwhelming. The lighting was good, and the cover and drinks quite reasonably priced. Just as I was thinking how lucky Seattle is to have a venue like the Century Ballroom, the owner made an announcement that the building had been bought and their future is up in the air. She said they may be forced out or they may have to pay much higher rent, which would of course affect the prices at the door and the bar. It is such a pity because that same building houses other dance and arts organizations, such as the Velocity dance center where I took a modern dance class the following day.

    The night I was there, there were two performances of companies who were about to go to the San Francisco Salsa Congress. The names of the groups escape me, but I enjoyed their performances. I thought they were sharp, very much in-synch, and technically talented. You may know how I feel about club performances– a pesky interruption to social dancing, which is why I came– but the interruption was brief, I enjoyed the performances and I actually welcomed the rest.

    Related: Pictures from my Seattle Trip


    Last night, I went to the only night of Ballet Hispanico‘s engagement at the Kennedy Center


    Palladium Nights is what I would describe as a full-length salsa ballet. The stage was set up like an old-time nightclub (i.e., the Palladium) with risers for the 18-piece, white tux-clad orchestra, and tables and chairs surrounding the dancefloor where the 10 clubgoers danced out the little dramas that occur in the course of a night out in the club.


    I’ve never seen a full-length salsa ballet before and didn’t quite know what to expect. What I did know was that I was incredibly excited about seeing two hours of live salsa music and dancing. When I think salsa performance, I think 5-minute cabaret style routine. I think matching outfits, synchronized dancing, part couples, part shines, and always within the basic structure of the salsa step and turn pattern, with perhaps some shines or a hip-hop interval thrown in.


    While Palladium Nights was not earth shattering for me in every way, it brought me a long way in rethinking new modes of salsa performance. Choreographer Willie Rosario did a nice job at times of incorporating the beauty, grace, and technique of contemporary ballet and modern dance in a harmonious and cohesive way. And there was also some pretty great dancing, choreography, and live music thrown in to boot.


    To keep a full-length ballet engaging, it’s usually necessary to bind it together with a plot (yes, I found it hard to sit through Balanchine’s Jewels). As for the plot of Palladium Nights—well, to paraphrase a friend—it just got in the way of the dancing at times. It was a pretty simple plot, yet difficult to follow at the same time. That was because there seemed to be different, mostly unconnected dramas that played out between various subgroups of the dancers and it was hard to keep track of them or figure out what was going on.


    Honestly, I think they just used the ‘plot’ as a way to keep us on the edge of our seats till the next time we could see the heavenly dance pairing that was Candice Monet McCall and Rodney Hamilton (playing the parts of ‘The Palladium’s Own Lovebirds,’ the performance act of Veronique and Anotonio). At some point after their second piece, they seem to have gotten in a fight and wouldn’t dance with each other for a couple songs, so I was on the edge of my seat waiting to see when they would reconcile and dance together again. Hands down, the most memorable moment of the night was Trumpet Fantasy—Veronique and Antonio’s Nightclub Act. They danced barefoot, a modern/afro-cuban cha cha cha pas de deux (wow, that’s a lot of languages in one sentence) that respected the musical phrasing and rhythmic structure of the music. The lines, the grace, the connection, the choreography—it was all perfect. When it was all over, I rapturously sighed, “I want to dance like her.” My friend said, “I want to be her.” Yeah.


    One charming story line that I was actually able to follow was that of Lola, the flapper-esque vamp danced by Irene Hogarth-Cimino (whose legs seem to go on for about 10 miles), complete with a bob, a boa and a long cigarette holder. She finds romance with Buster (Nicholas Velleneuve) a sailor in the Navy. But when she catches him kissing another woman, she endeavors to dance with all the men in the club to make him regret his actions. All of them together, at the same time, that is. And I’m not talking about a salsa tag team. The most amusing moment was when her 4 partners, all stacked up one behind the other, led her through a samba-esque reverse roll .


    One good function of the plot I will concede was that it allowed each dancer to dance in character without appearing out of sync with the others, even when the whole corps danced in unison. This expectation of being totally the same and in unison is of course the product of the salsa performance group box I’ve been thinking and performing inside of (and also, the corps de ballet). By having each dancer dance within their own character’s style and costuming, even the moments of unison seemed like organic spontaneous dance scenes in a nightclub—just like in the movies! So the plot was a necessary mechanism, but I wish it had been better integrated into a cohesive whole.


    Arturo O’Farrill’s Afro-Latin Jazz Orchestra was just as important a character in Palladium Nights. I loved seeing the band up there on the stage with the dancers. The dancers interacted with the band and the music, just as salseros do when they dance to live music. It simply would not have been the same if they were in the orchestra pit. The musicians were masterful, with many memorable solos—particularly the trumpet in Trumpet Fantasy. The band also had its moments to shine alone, when the dancers sat at the tables, shimmying, bopping, and even “air saxophoning” to the music.


    Palladium Nights really spoke to me in that it put into a “higher art” this style of club dancing that I love so much. Technically, not everything was perfect, and I did have some qualms about the cohesiveness of the plot and the dancing, but overall this was a lovely elevation of salsa to a level I have not seen before. Personally, it’s helped me to think about the box when I think of salsa choreography and has also validated to me the beauty of combining some of the structure, passion and tradition of salsa with the grace, technique, and more rhythmic fluidity of modern dance.

    Wow, what a great trip! I can’t believe I packed in so much in so few days. It was my first time in Seattle and I absolutely loved it. On top of some serious tourism (and lots of working), I managed to squeeze in a wonderful evening with old friends (and their beautiful, sweet baby), salsa at the Century Ballroom, and a modern dance class at the Velocity dance center.

    Here are a couple of highlights, pictorially. Click on the pictures for larger versions.

    Breakfast in Pike PlaceBreakfast in Pike Place Market– coffee from the original Starbucks, and an apple cinnamon roll from Piroshky Piroshky

    Mushrooms in Pike Place MarketBeautiful produce in Pike Place Market. I love Pike Place. A lot.

    Yummy indian lunch on Capital HillAfter attending a modern dance class at the Velocity dance center, I enjoyed a super cheap and delicious lunch from a little Indian place in Capitol Hill

    from the ferry to Bainbridge IslandView from the ferry to Bainbridge Island

    Sunset on the SoundPuget Sound at sunset

    Sunday evening carnage at Nordy’s RackSunday evening carnage at Nordstrom Rack (sadly, I left empty-handed)

    Sabor exhibit at the Experience Music ProjectSabor Americano exhibit at the Experience Music Project. Incredible exhibit, amazing museum, spectacular architecture

    Seattle Public LibraryThe Seattle Public Library is a green, high tech building.While I was there, it just so happened that they were about to start a lecture to preview the ballet’s upcoming season!

    Seattle’s greatest treasureSeattle’s Greatest Treasure (for Little Diamond and intlxpatr)


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