Phone: 954 603 8772.
Please leave a message and you will be contacted ASAP.

A/C not fixed = $20 (diagnosis/service)
If your air conditioning (A/C) is not fixed, the charge $20 to diagnose the problem.

A/C fixed + No parts = $50
(If your A/C is fixed and no parts are needed, the charge is $50 total.You will not pay more than $50 unless parts need to be purchased.)

A/C fixed + Parts = $50 + Cost of parts.
If your A/C is fixed and parts are needed, the charge is $50 + the cost of the parts.

Please note: Freon/refrigerant is a part and is not included in the service fee.

This is not an hourly fee – the labor fee is $50 no matter how long the repair takes. The charge is $20 if the A/C is not fixed.

Please note that the following services are not currently being offered: 1) coil change-outs, 2) compressor change-outs and 3) installations.

Here is a list of cities currently being serviced:

Boca Raton
Coconut Creek
Coral Springs
Deerfield Beach
Fort Lauderdale
Hillsboro Beach
Lauderdale Lakes
Lauderdale-by-the-Sea
Lauderhill
Lighthouse Point
Margate
North Lauderdale
Oakland Park
Parkland
Pompano Beach
Tamarac
Wilton Manors

South Broward, West Broward and Miami-Dade County are not currently serviced.

Here is a list of some of the units that may be repaired…
- Commercial A/C units
- Residential A/C units
- Split A/C units
- Package A/C units
- Wall A/C units
- Window A/C units

Please note: Personal Checks and Business Checks are not accepted as payment at this time.

If you can’t call, feel free to email your phone number to the email address at the top of this listing and you will be contacted ASAP.

Any and all air conditioners have a possibility of repair.

Here are some (but not all) brands that repairs are possible for..
Goodman, Trane, Carrier, York, Rheem, Ruud, Fujistsu, American Standard, Lennox, Mitsubishi, Bryant, Payne, Duchane, Fedders, Heil, Janitrol, Armstrong, GE, General Electric, Honeywell, Amana, Comfortmaker, Tempstar, Briggs & Stratton, Kohler, Guardian, Generac.

License # CAC014666

Bailey is my daughter’s friend. She is a kind, loving child and is always laughing. Her and Amanda love hanging out together. Even though it was pouring rain all day we took advantage of a few minutes when it wasn’t raining and took some pictures of them.

They are both ballerinas and I thought it would be fun to get some shots away from the studio.

Love this one!

Before the rain hit, we also managed to get a few other images captured.

We had a great time together. I love that Amanda begs to go on photo shoots! It wasn’t that long ago that she dreaded me dragging her out, so I stopped. Now, she is begging ME. Nice change of events! Now to get that to happen with my son, I don’t think so!

I will end with a typical Bailey… happy and laughing! The movement in this image helps tell the story, don’t you think!

Thanks girls! xoxoxo

Edgar Degas, "Petits Rats"

I saw my first Degas while visiting the National Gallery in Washington, DC, and paused in front of it for about ten minutes, trying to capture the grace of line that Degas seems to have so flawlessly captured in his paintings of ballerinas.  His unusual use of color is worth noting–brilliant colors that cared nothing for what the critics said, but instead recreated the glow of stage lighting.  Also, take a look at his compositions.  Often, his subjects go off the canvas, giving the viewer the impression that they are just catching a momentary glimpse of the dancers, like butterflies crossing your sight-line.    I hope you enjoy these selections of Degas’ paintings.

Edgar Degas, "Ballet Dancers in Butterfly Costumes"

Edgar Degas, "Opera Diablo". Love the viewpoint from the orchestra.

Edgar Degas

Edgar Degas, "Ballet Rehearsal"

Edgar Degas

Edgar Degas

Edgar Degas--love the colors here, her white skin in the pale yellow and pink.

Edgar Degas, "Yellow Ballerina"

Looking at his paintings really makes me want to paint some ballerinas. Maybe sometime soon.  I just have to figure out a way to get backstage during a ballet …

Ballet class combinations, ballet steps, ballet exercises, and tips on dancing ballet from a former ballerina who holds an MFA in dance.

Pointe shoes can be constraining and painful if not previously prepared — follow this guide to quickly and correctly break in a new pair.

The rite of passage that is pointe is an important and painful step for any dancer. The transition from ballet slippers to pointe shoes (also called “toe shoes”) is not an easy one, and generally separates true budding ballerinas from casual dancers.

Pointe shoes, made of canvas, burlap, glue, and satin, are deceptively elegant. They are sleek and unmarred when you first open the box and accompanied by beautiful pink ribbons. It is not until you attempt to put the shoes on your feet that you recognize them for what they really are–a corset for the foot, tight, constraining, painful, difficult to dance in, and difficult to wear for long periods of time. Fortunately, some of these difficulties can be alleviated through the process of “breaking in” the shoe. This involves molding the shoe to the shape of your foot – pointe shoes are generally useless for ballet exercise until they are at least slightly broken in.

Start by softening the shank (the underside) and the block with your hands. Bend the shoe gently and massage it, concentrating on the demi-pointe area and continue with this technique. Some dancers need to arch their shoes (holding the toe and heel and manipulating the shoe into an arch shape.) However, do not overarch the shoe! Applying too much pressure can make it snap, and although some dancers will break the shank deliberately, it is not recommended for your first pair.

Next, if you’re going to add anything to make your shoes more comfortable, now is the time. Many dancers stuff the toes with lambs’ wool, but feel free to be creative with whatever you think could work. You can buy gel packets that are fitted for pointe shoes, or sew a tiny cushion. Keep in mind that when you had your shoes fitted they would already be snug, and if you add too much now they may be even more uncomfortable to wear. This is also a good time to add protection to the tips of your shoes to make them last longer– apply a square of moleskin or simply tape them with medical or sports tape. This will prevent your shoe from wearing out too quickly as the satin is rubbed off the tip, and it will afford you some extra grip on the dance floor.

Once you have done all you can with your hands, lace the shoes onto your feet. (If you have not yet sewn on your ribbons, do so now.) With any luck the softening should have rendered your shoes capable at least of performing minor exercises in. Tendus and relev?s in first and second position are excellent here, and be sure to roll through your feet.

Keep at the barre for at least an hour, either in-class or on your own. Your shoe will soften evenly and conform to the shape of your foot, making it not only more comfortable to wear but easier to dance in. Try not to move away from the barre (however, go ahead and try some other exercises) until you are sure your shoes can handle it. First-time pointe dancers should not have to worry about that right away, but keep it in mind for your next pair of shoes!
ballet pointe shoes
ballet pointe shoes

La Pointe du Cap Ferret, France, originalmente cargada por Nino Lasaosa.

Playa de La Pointe, en Cap Ferret, en la Bassin d’Arcachon. Al fondo, la celebérrima Dune de Pyla

Haz clic para ver más fotos de la Bassin d’Archachon

I’m hearing a lot about retirement lately from a lot of my young dancer friends. There is a common question whispered throughout the ballet community; How do you know when to retire?

I had a conversation with an old friend of mine, Matthew, who dances with Kansas City Ballet a few weeks ago and he brought up a few valid points concerning retirement. Would you rather go out with a bang, at the height of your career? Or be caught “falling off pointe” at 40?

When he said the “falling off pointe” I completely lost it in laughter. How many of us have seen this exact thing. A dancer hanging on to her career by a thread (or toenail), all the while doing the audience a huge disservice. How does an Artistic Director go about telling this once magnificent dancer that it’s time to hang it up?

Is your company’s principal dancer holding the rest of the company back? There is a company here in Southern California that has a dancer like this, and I could name about ten other companies with the same problem. While this forty-something Principal Dancer may have artistic qualities to add to roles, she needs to channel her passion in another way…perhaps through coaching.

Although dance is an illusion, when ticket sales start to plummet, you know that your loyal ballet-goers have seen through the illusion. Does anyone even realize that Darci Kistler is still dancing, for example? (I’m not knocking Darci in any way, just stating a fact)

On the flip side of the coin, dancers are retiring a lot younger than they used to. For many, the economy has made it so that ballet companies are having to make cutbacks. This is making the job search hard for young dancers and even for dancers who are experienced. Principal and soloist caliber dancers are being turned down by companies because they can use young, inexperienced dancers for free.

I don’t really know where I’m going with this post other than asking one question;

Do you want to be caught on stage falling off pointe?

Happy Dancing,

Nikol Klein, Professional Ballet Dancer/ Certified Personal Trainer

Author of The Ballet Audition Preparation Guide

Before I graduated from high school, I was spending minimum five hours a week dressed in a leotard, tights, and either a ballet skirt or cotton gym shorts. Most of those five hours were spent moving on the balls of my feet or on my toes, limbs flailing this way and that, trying to keep an eye on where I was going and not whacking the person next to me with an out of place arm or foot, hoping I at least looked like I knew what I was doing.

And sweating.

Sweating a lot.

The studio did not generally smell like a bed of roses when we were finished, though you never noticed the smell until you left the room and re-entered. Then it would hit you like a ton of bricks.

During five minute shoe changes, when I would pull off soft ballet shoes and buckle on tap shoes, I’d gulp water and chat with my fellow dancers, before heading back into the studio to become yet more exhausted. During peppy and/or happy songs, when we were performing, I and my twenty-odd cohorts kept smiles plastered on our faces, as though to communicate, “I am enjoying this! Really, I am!”

The funny thing?

Really. I was.

I was enjoying myself. I loved dance. And I think I was pretty good at it. True, I occasionally started on beat 1 instead of beat 8 when we did crazy syncopations in tap, and okay, my triple pirouette was dreadful. But my double was pretty good, and I was almost always clear and on my toes in tap. My heel stretch (taking my right foot in my right hand and then straightening the leg) maybe didn’t go all the way up to my head, but it was straight, and it went pretty well. Maybe my center split wasn’t there, but my right and left were.

That was May of 2007. It is now – in case you are unaware – October of 2009. Until last Monday, it had been close to two and a half years since I have set foot in a dance studio. Then I hatched a completely crazy plan that I may well come to regret – we’ll find out.

See, a few weeks ago I found my dance clothes in a bag I had unceremoniously thrown in a spare corner of my closet. I pulled out my ballet shoes, and my feet, now permanently misshapen by years of being forced into unrealistic shapes, practically jumped into them. I went into relevé, onto my toes, and grinned.

I had missed wearing these shoes, and as my feet automatically went into first position (feet pointed outward, with the heels touching) and my legs went into a grand plié (basically a deep knee bend) practically of their own accord, I resolved to find a dance studio. Now.

Stephens offers classes that Mizzou students can take for credit – I knew that much from some friends in theatre, but there weren’t any classes at a time I could make. So I did some research, poking around on the internet and asking around, and landed on a studio – Dance Arts of Columbia.

I’d start small, I decided. I don’t really have five (or really more accurately six, seven, eight) hours of time a week to devote to this, like I did in high school. Instead, I went over to the school, chatted with the woman at the front desk about my abilities and the classes, and before I knew it, I was signed up to take Ken Braso’s ballet technique class from 6:30-8:00 on Monday nights. It’s their most advanced ballet technique class, but the kind woman at the desk assured me I’d be fine, and if I wasn’t, Ken would help me out.

Right. First class was last Monday. It went…

Well, I’m going back next week, at any rate.

Here’s the plan for this blog: I’m going to talk about class, the struggles and (hopefully) successes I work through, tips about ballet, particularly interesting choreography/combinations, and so on.

Should be fun – or, at the very least, an interesting adventure. I hope you’ll join me.

This is a picture from a shoot I did with a Ballet dancer.  I think the lines in it are beautiful, she was so graceful. Absolutely the perfect model to work with. She completely knew how her body moved, and what she was looking for. I don’t know anything about ballet, so I had to rely on her to know how things should look. It was an interesting learning opportunity to see that sometimes proper technique does not make good art, and vice-versa.  When the two compliment each other,the result is something else completely. I love this shot!

I’m so glad I went to ballet class on Friday! I was in great form and had a lot of fun~

Ich glaub ich bin witzbehindert. Weil witzig ist ja einfach nur das was man nicht erwartet – oder was ein bißchen anders kommt als man denkt. Aber gerade alles Unbekannte, Unerwartete verstehe ich besonders schlecht. Außerdem bringen die Leute die Pointe fast immer schneller, manchmal auch leiser, gebrüllt oder in komischem Dialekt. Stand-up und andere Comedy-Vorstellungen waren noch nie wirklich was für mich.

Schade. Das hier z.B. fand ich vor Jahrzehnten zum Schießen! Jaja, ich weiß schon…..

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Interested? Shop up to 75% off at Dancewear Solutions, with prices as low as $11.50 for a sleek turtleneck leotard. Don’t forget to take a look at Discount Dance’s Gaynor Miden pointe shoe supplies sale, with the 20% off leaving elastic at $1.40 and ribbons at $2.80.

Hope these great deals help you save a ton, and God bless!