Bøger af Solange Castro

Once Solange began to dance salsa she did little else. She worked and she danced. Try as she may, she could not imagine a more desirable way to spend her time. She became a "Salsera" or a "Salsa Chica," a woman who rearranges her entire life to accommodate her need to dance as much as humanly possible. It was a big experiment at first. What would happen if she danced night after night? Would her body fall apart? Would she be able to function at work? Would her mom get mad? She just lost weight and toned her body without getting on a hamster torture device. She grew more comfortable in her skin, developed confidence, became friends with people from different cultures, learned about music, and fell in love with the "wrong guys," - Salsa Guys - who weren't that different from other "wrong guys" but these guys could dance. Like every other Salsa Chica she struggled with her passions, choices, and technique. In "Salsa Chica: How I Learned To Dance Salsa And Avoid Real Life," Solange recounts the journey of learning to dance salsa and how it transformed and maybe even saved her life.

A man and a woman meet for the first time on an internet date. Nearby another man and woman meet to end their marriage. One coffee shop. Two couples. A million chances to settle the score. In the comedy CHANGES IN THE MATING STRATEGIES OF WHITE PEOPLE, playwright Solange Castro explores urban dating, technology, love and sex in contemporary Los Angeles. "Solange Castro's delightfully nimble piffle of a play… Solange's perky satire of device-era dating is largely about the plight of the self-absorbed…"Steven Leigh Morris, L A Weekly "Inspired by the mishaps and half-hearted personalities of the L A Internet dating scene, CHANGES tells the story of two couples. Jade and John are trying to get it on after their introduction over the web, while Louise and Tyler, a recently divorced older couple, are trying to keep it going.… Castro's CHANGES lives in a universe adjacent to that of the hysterical neurotics of Woody Allen's cinematic canon and one-act plays-flawed folks who cry about their vacancies, only to realize too late that what they're looking for is right in front of them."Anthony D'Alessandro, L A Weekly