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/ KESTA HAPPENING MAGAZINE
/ AUGUST
2012
TABLE OF CONTENTS
August
ISSUE # 17
6 ROCK
Los Enanitos Verdes
7 BACHATA
Festival de Bachata
9 LATIN JAZZ Gato Barbieri
22
10 PERFORMING ARTS
10
Totem
11 PERFORMING ARTS Ballet Folkl贸rico de M茅xico
12 KESTADC.COM GALLERY
Photos of concerts and DC nightlife
7
13 UPCOMING EVENTS
Calendar of upcoming events
17
14 FEATURE
Daddy Yankee
17 FOOD Panache Restaurant 20 LOCAL TALENT
Gustavo And The Universe
11 14
21 STYLE
Cover up artist
22 KESTA GIRL
Taciana Davidson
25 BACKSTAGE KESTA
Cronicas de un Rockero... Mana?
26 VENUE
6
The Howard Theatre
26
9
PUBLISHER: Media644 / DIRECTOR: Juan Luis Gonzalez / EDITOR: Rosario Garcia / DESIGN: Miriam Jave WEB & TECHNOLOGY: Javier Gonzalez / WRITERS: Luis Ayala, Aline Barros, Veronica Brown, Darlene Campos,
Maria Veronica Cevallos, Jorge Cevallos, Ellen Flores, Rosario Garcia, Juan Leon, Manu Mayor, Alicia Yim PHOTOGRAPHERS: Jose Acha, William Espinoza, Harold Reynold SALES: Jose Acha, William Espinoza / CONTACT US: info@kestamag.com, www.kestadc.com, tel: 202 643 0555
27 DJ
DJ Pootie
28 KESTA LIKES
Our top likes of the month
29 KE?
Win tickets to Ballet Folkl贸rico de M茅xico & Los Prisioneros
WWW.KESTADC.COM
/5
6
/ KESTA HAPPENING MAGAZINE
/ AUGUST
2012
ROCK
By: Ellen Flores
“Lamento Boliviano” or “La Muralla Verde” and had a blast singing along. That my friends, is what I call ¡Poder Enano! To talk about all their career milestones would require an entire issue of Kesta Magazine. I think the best way to explain how influential they have been to the Latin Rock sound we know today, is to travel back to a moment in the late 1980s to the golden days of Argentina’s Rock Nacional music scene.
Hailing from the city of Mendoza in Argentina, the Enanitos Verdes have been together since 1979. Marciano Cantero lead singer and bass guitarist, guitarist Felipe Staiti and drummer Daniel Piccolo, got together and joined forces to form one of the most influential Spanish language rock trios in music history. Fundamental to the Rock Latino sound, the Enanitos Verdes have become a rite of passage for every single one of us. It can’t be denied. When you’ve had your heart broken you blasted “Mi Primer Día Sin Tí” and belted out a heartfelt “oh oh o oh oh”. When you fell in love or rekindled a past romance, you hummed every single note of “Luz De Día” with your eyes closed reminiscing that special moment. On one of those late nights of bar hopping from happy hour to happy hour, you got up with a group of friends to karaoke
It was a time when bands like Soda Stereo and Zas (led by the ever poetic Gustavo Cerati and Miguel Mateos, respectively) were in their prime touring to legions of hungry fans. A time where musically, these artists were right at the crest of the Ola Argentina de Rock Latino. The Enanitos Verdes were responsible for contributing timeless classic tracks, their simplicity in writing songs spoke about love, heartache, loss, and struggle. All themes that connected with people to their core. Marciano’s unique voice and Felipe’s riffs made their music sound uncomplicated yet passionate. This connection garnered them massive radio play in a time when there were huge political struggles and turmoil and little room for anything enjoyable. Songs like “La Muralla Verde” from the album Contrareloj and “Extraño Del Pelo Largo” off the Habitaciones Extrañas, both produced by Andrés Calamaro, gave people the chance to just have fun and relax. After a hiatus, the band returned in 1994 with Big Bang, their most solid album to date. “Mejor No Hablemos de Amor”, “Mi Primer Día Sin Tí”, “Piel De Nopal” and “Lamento Boliviano” are just a few of the tracks on this landmark record. If you are in your mid 30s right now
you’ll recognize songs like “Cordillera” and “Tequila” from 1999’s Nectar album. Younger generations will hold “Amores Lejanos” and “Frances Limón” from the Amores album (2002) as part of their soundtrack. Maybe even “Mariposas” from Pescado Original (2006) will have a place near and dear to their heart. The point is this: the Enanitos Verdes have been able to do for Latin Rock what very few bands have, and that is to keep the movement alive and proving that we in fact do need more rock en nuestro idioma! They are still able to connect with audiences on a deep and personal level while still being true to their sound and style that got them first noticed over 30 years ago. Poignant lyrics and addictive melodies combined with their down to earth presence have kept them current, alive and connected with multiple generations of fans. For those of us that live in the DMV, we will have a chance to embrace our Poder Enano on Tuesday, August 22 when the Enanitos Verdes play at The Fillmore in Silver Spring. Tickets are available through Ticketmaster and Live Nation. Grab your friends and join the Kesta Team for a night filled with the sounds of our youth en la voz de nuestro idioma nativo! ¡Arriba el Poder Enano!
█
Los Enanitos Verdes will be performing live @ The Fillmore Silver Spring on Wednesday, August 22nd For tickets and more info: www.filmoresilverspring.com
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BACHATA
By: Aline Barros
he 2012 DC Bachata & International Latino Festival, lovingly called the Bachata Congress, is celebrating its fourth year bringing together renowned instructors, performers, and DJs to the DC area. The world’s most innovated dance festival will take place on Aug 9-12th at the Washington Hilton Hotel in D.C., bringing together five congresses and combining them into one unique “dance your socks off ” experience. “We bring the best of the best instructors…the biggest thing people look forward to is working with these world champions. Professionals who are really top of the line, most recognized dancers,” says Kat “La Gata”. “We have anywhere from local to international performers,” she adds. Produced by Lee “El Gringuito” and Kat “La Gata” the congress will have the Bachata Ballroom, The Stuck On Salsa Salsa/Mambo/Cha Cha Ballroom, Brazilian/Angolian Ballroom Kizomba, Zouk & Brazilian Funk, and the newest addition an Argentine Tango Ballroom & Blues Dancing Ballroom. Although the Bachata Congress is now an annual event, it started when, “Kat joined my bachata meet up, and I was looking for a new dance partner and we connected,” says Lee, the rest as you can imagine is history. Lee “El Gringuito” Smith is from Brooklyn, New York, but came to Virginia to study Government & International
Politics at George Mason University in 1999. It was here in DC that he was introduced to the salsa, merengue and later to bachata in 2001, and fell in love with the Latin moves.
it also includes beginner’s workshops. The international dance affair has more than 75 very distinguished workshops from bachata to salsa.
Kat Aguilar,”La Gata”, grew up dancing, and with her Peruvian & Salvadorean roots dancing became part of her lifestyle, “My passion has always always been dancing,” she says.
“We probably have one of the most diversified dance festivals in world, the most internationally diversified festival in the United States,” says Lee, and organizing takes a lot of work, however, Lee and Kat have help from volunteers who help in exchange for a pass to the festival. “We have a lot of loyalty... and our family members help as well,” says Kat.
Lee’s online Meet-Up group just celebrated their fifth anniversary, promoting events among people with the same dance interests. By joining the group, a member will receive discount admission to events and have special VIP status. “The Bachata Meet Up is a great place. We post our events, and post people’s events,” he adds. The duo has been inseparable since 2009, traveling around the world to participate in dance festivals and teaching in more than 600 cities over the last seven years. They have been touring in the United States, Europe and South America. However, it is Poland that surprised them the most when it came to bachata dance moves, “They are big bachateros,” says Kat. Lee says that in the last 3 years Kat has been his righthand woman, and this year the congress has the mambo, salsa, cumbia, and bachata world Champions. Even though it is called DC Bachata, the festival truly is an international Latin dance celebration that anyone can participate in since
Last year the congress had 5,000 attendees, the organizers are hoping to get no less than 7,000 this year. “The way things are looking we are probably going to get 10,000 people,” shares La Gata. The Bachata Congress also gives back to the community helping charities such as the “Arlington Sister City Association,” and “Casa de Maryland” making the festival a a great family event for a good case. So get your dancing shoes ready for the 4th Annual Bachata Congress! █
Bachata Congress 2012 August 8-13 @ The Washington Hilton Hotel For tickets and more information, please visit www.dcbachata.com.
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/ KESTA HAPPENING MAGAZINE
PERFORMING ARTS
/ AUGUST
2012
WWW.KESTADC.COM
/9
LATIN JAZZ
By: Darlene Campos
hen it comes to Latin Jazz, Gato Barbieri has the ultimate talent. This Argentine tenor saxophonist has been performing for over 50 years and will be presenting his music to hundreds of fans at Washington DC’s very own Howard Theatre on August 24, 2012. Leandro ‘Gato’ Barbieri, born in 1932 in Rosario, Argentina, was greeted by a family of musicians. He began his career as a teenager by playing the clarinet and the alto saxophone in various clubs in Buenos Aires. In the late 1950s, Barbieri started touring with fellow Argentine musician, Lalo Schifrin, best known for composing the theme to the classic television series Mission: Impossible. In the 1960s, Barbieri worked alongside jazz cornet player Don Cherry, who had experience performing with the legendary John Coltrane. It was during this period that Barbieri’s career emerged to worldwide fame. The Free Jazz Movement was an era between the 1950s and 1960s in which jazz musicians changed chords and tempos to create new sounds. As a part of the Free Jazz Movement, Barbieri brought South American rhythms into his jazz performances, producing a unique form of Latin jazz. In 1972, Barbieri composed the score for the notorious film Last Tango in Paris, which earned him the prestigious Grammy Award. Shortly after winning his Grammy Award, Barbieri was offered a record deal with Impulse Records! the same record company which produced the music of John Coltrane. Barbieri also began recording music with A&M Records and soon released his famous album, Caliente! Barbieri continued composing scores for several films in Europe, the United States, and his native South America. Though Barbieri’s music career took off in the 1970s, Barbieri strayed from the public eye in the 1980s. Michelle, Barbieri’s wife, had passed. Barbieri considered his wife to be his best friend and felt he could not keep his career up without her presence. In addition, Barbieri found himself suffering from health conditions which later resulted in a triple bypass surgery. However, despite these difficult times, by the late 1990s, Barbieri was onstage once again.
Barbieri’s 1997 album titled, Qué Pasa, topped the charts as the fourth bestselling jazz album of that year. With such success after years of being on hiatus, Barbieri went on to record an additional three albums, including his latest release New York Meeting. “It’s the melody. The melody is the most important thing, and something I very much love. When I play the saxophone, I play life, I play love, I play anger, I play confusion, I play when people scream; all of these aspects of the world I inhabit become naturally important to me,” said Barbieri. “It’s exciting that people are still moved when I play, and I consider myself blessed to have had fans that have listened to me for such a long time. They still do, and I’m still having fun. When I start recording, I am playing for me, but when I play a concert, I play for me and them. It is not a show, but it is a musical message. They understand where I am coming from.” A documentary on the life of Gato Barbieri is currently under production and will feature interviews from Bernardo Bertolucci, the director of Last Tango in Paris, Lalo Schifrin, and the legendary rock musician, Carlos Santana. Gato Barbieri will perform live at the Howard Theatre on August 24. Tickets are $30 in advance, $35 on the day of the concert. Doors open at 6pm and the performance is set for 8pm. To purchase tickets or for more information on the show, please visit the Howard Theatre’s website at www.thehowardtheatre. com. For more information on Gato Barbieri, please visit www. gatobarbierimusic.com. █
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/ KESTA HAPPENING MAGAZINE
/ AUGUST
2012
PERFORMING ARTS
By Aline Barros
It is the kind of spectacle that travels with more than 1,000 costumes and features dazzling performances that include gymnastics, acrobatics, theater, and music. Yes, we’re talking about Cirque du Soleil and their return to Washington D.C with their new spectacle Totem! The performances are sure to go beyond all expectations, as this is one of Cirque’s most adventurous and magical shows to-date. Totem features 10 acts, and every scene is an individual part of humankind’s evolution from frogs to apes and cave men, to businessmen and beach bums. The opening scene begins with life brought into existence by a Crystal Man, and from that point on the magic begins. We recently sat down with Umi Miya, a 30 year-old acrobatic artist that has been traveling with Cirque Du Soleil since 2009. We talked about Totem, life as a Cirque Du Soleil performer, and how rewarding it truly is to be part of Totem. Miya grew up in Japan with a gymnastics background, and got his coveted spot in the Cirque after sending in a video that prompted a call back a week later from the circus’s producers. KH: So, tell us what is Totem all about? UM: The theme is evolution of the human being. So, how life starts and we celebrate the life in the show and in the end we are going to outer space. KH: From the beginning of the existence until now? UM: Yes, and also higher acrobatics so it is very fun to see the show. I am the frog in the very very beginning. So our number is
celebrating the life. It begins the show and it begins the life. KH: How do you prepare yourself for your scenes in the show? UM: We are pretty much in the air all the time, so before the show I do warm ups, and a couple of tricks to make sure I can do it. It takes about one hour of stretching to warm up. I usually start around 7 o’clock. I also have to wear make-up for the show and that takes about another hour. We do one show every day, sometimes two shows on Fridays, and Saturdays, and we always do two shows on Sundays. KH: How long does it take for a show like Totem to be completely produced and ready for the public? UM: The show does not complete at all, ever. We create for eight months and then we open to the public. But we make little changes and improvements throughout the tour. So, every time you see it, it only gets better, there will be differences from show to show. KH: Do the creators of the show come to you and your colleagues to ask for opinions? Do you have a chance to add ideas or special movements? UM: That is a good thing, we create and we can add new tricks, always new emotions. We have a chance to be part of the show 100%. KH: So, it is teamwork! UM: Yes. We are very lucky. KH: It sounds fun to work for a place like this. UM: Yes, we are 53 artists and 18 different nationalities. And the show has 30
technicians and 20 office staff. We are very international, speak many languages, have different accents, but it is a lot of fun. KH: So you found the balance pretty between being an athlete and acting. UM: Yes. I never get bored, or tired of it. Sometimes I am tired, but I am never bored. I was an active kid. I did many sports, basketball, soccer, and gymnastics. My parents worked during the day, so I had to do something to keep busy all day long. I was always doing sports, and my background is in gymnastics, and when I was an athlete I was focused more in perfection. Clean line. Good skill. So now I am in the entertainment business so good skill is required of course, but also you have to act and have to make faces. In the beginning, it was very hard. KH: How do you know the audience is enjoying Totem? UM: Sometimes it is hard to see each person, but we can hear the applause when we do a trick. Or when I (am able to) see their reaction I can usually tell if they are enjoying it or not. Because it is an opening act some wait until the end to applaud. But I can feel their energy, when they applaud. KH: If the applause brings this great feeling, tell us what is the biggest challenge in working with such a big show? UM: The biggest challenge is that we do not use any words (during the performance), we do not talk or speak. So, to make sense for the storyline it can sometimes be challenging. We have to speak only through movements and acting, and we have to tell the story.
KH: How do you get accepted to the Cirque Du Soleil? UM: There are some ways, but you basically apply online. You have to send a video and a profile of yourself. They check to see if you are good enough for a training session or an audition. If you pass, you can get a contract or be placed on a waiting list and if someone leaves or gets injured you can get on the show that way. KH: Where you excited when you got the call? UM: My case was a little bit special. After sending videos they judge for a couple weeks or months. For me, it happened a week later and they gave me a contract right away. So, I was very excited because I did not expect that. KH: Can you tell us where do you think the public enjoys Cirque Du Soleil the most? UM: I think in most of the places the public enjoys the show, but the reaction is different (in different countries). For example, when we perform in London, the audience holds the applause until the end (they do not applaud as much as USA or Canada). It may appear that they are not enjoying the show but they are really doing it out of respect for the number. But the artists we like applause, I like applause, so I like the North American way! █
Totem will be performing @ The Plateau at National Harbor from August 15 to September 30, 2012 For more info: www.cirquedusoleil.com
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Pictures courtesy of Robert Shomler
PERFORMING ARTS
By: Maria Veronica Cevallos By Aline Barros
elebrating what has been a long and illustrious existence, Ballet Folklórico de México de Amalia Hernandez will bring an act full of color, splendor, and cultural richness to the area this September 30th at George Mason’s Merchant Hall stage at the Hylton Performing Arts Center. Celebrating their 60th Anniversary, the ballet has been one of the most important dance companies representing Mexico’s wide and diverse cultural essence around the world. It is a powerful and joyful celebration not to be missed by those who appreciate basking in the sights and sounds of Mexico’s cultural diversity. A family-friendly performance, this dance company takes the audience into a journey through Mexico’s cultural evolution into the patchwork of traditions that exists in today’s Mexican culture. Stemming from the work of its founder, eminent and innovative Mexican choreographer Amalia Hernandez, the ballet’s performance is a collection of various representations of indigenous dances, most of which were choreographed by Amalia herself. Amalia’s tremendous contribution to Mexican dance was her development of what is known as baile folklorico (“folkloric dance”), the term used to describe dance choreography that emphasize folk culture with ballet characteristics, highly choreographed, exaggerated movements, meant to be performed strictly on a stage. The show brings the finest acts that the ballet performs at their permanent show in the Palacio de Bellas Artes, Mexico
City’s most important cultural center. A voyage through Mexico’s regions, the performance shows the contrasts, distinctiveness, and variety between each. Mexico’s history plays a role in the performance, tracing the evolution of its culture from its pre-Colonial beginnings up until the Mexican Revolution. The show consists of three different types of baile folklorico: Danza, Mestizo, and Bailes Regionales. Danzas emphasize the influence of Mesoamerican culture from the time of the Mayans and Aztecs. Danza acts include the Zapotec “Feather Dance” featuring elaborate headdresses, and the well-known “Danza del Venado” (“Deer Dance”), an interpretation of a ritual performed by the Yanqui Indians of the Sonora region. This act is perhaps one of the best known acts that Amalia Hernandez choreographed. Perhaps most recognizable are the acts like “La Charreada” where we see the dancers’ skills handling a rope while dancing and the famous chinas poblanas, as well as “Tlacotalpan Festivity”, an choreography representing one of the most important events in Eastern Mexico, Veracruz portraying the celebration of the Candelaria Virgin and Mexico’s mixed African inheritance. Salvador Lopez, the company’s general director and manager, and Amalia Hernandez’ grandson, explains how through months of auditions and many other requirements, the ensemble’s dancers and staff of 70 will bring the area one of the best shows in the world when it comes to Mexican folkloric dance. “The show is very varied, contrasting and this makes it very appealing for all kinds of
audiences. The ballet is one of the best and most famous of the world in its genre and it’s a great opportunity to learn about Mexico’s great culture.” Amalia Hernandez’ Ballet Folklórico de México has survived a long yet successful and memorable 60 year journey. From being a small, eight-person group to a now more than 600 member dance company. Including the students, staff, musicians, and singers, this dance company has successfully accomplished being one of the best cultural ambassadors for Mexican culture. Many awards and years later, the Ballet strives to show the world Mexico by way of their music and dancing. As Lopez explains, “Mexico’s culture has great diversity and richness, not only in its colors or joviality, but the diversity and contrast that exists from one region to the next in their music, dance, and song.” Amalia Hernandez’ Ballet Folklórico de México will be touring throughout the United States, Europe and other parts of the world in a 4-month tour, visiting 42 American cities with 56 performances including shows in California, Arizona, New York, and Chicago. Be sure not to miss this wonderful show’s stop in our area on Sept. 30, 2012 at 7 p.m. For more information and tickets, visit hyltoncenter. org. Tickets sales start on August 1st. █
Ballet Folklórico de México @ Hylton Performing Center on Sunday, September 30 For more info: hyltoncenter.org
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/ KESTA HAPPENING MAGAZINE
/ AUGUST
2012
KESTADC.COM GALLERY Nayas 10th Anniversay @ The Fillmore 07.20.12 / Check out nayasmusic.com
4to Festival Peruanisimo de Virginia 2012 @ Prince William County Fairground 07.15.12
LAMC 2012 @ NYC 07.12.12 - 07.14.12
Los Autenticos Decadentes y No Te Va Gustar @ The Howard Theatre 07.11.12
Verano Zol 2012 @ Montgomery Fairgrounds 06.24.12
Joan Sebastian y Pepe Aguilar @ Patriot Center 06.22.12
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KESTA HAPPENING DC FEATURED EVENTS Thur 08.02 Fri 08.03 Fri 08.03 Sat 08.04 Sun 08.05 Sat 08.11 Sun 08.12 Sun 08.12 Fri 08.17 Fri 08.17 Wed 08.22 Thur 08.30 Fri 08.31 Sun 09.09 Thur 09.13 Sun 09.30 Thur 10.11 Sat 10.13
Tracy Morgan @ The Howard Theatre Fico’s Show @ Diamond Lounge Los Redd @ Haydees Sir Speedy @ Plaza Latina Festival centroamericano @ Capital Park PLaza Joe Veras & Bachata Heightz @ Washington Hilton Hotel Festival Latino de Maryland @ Baltimore County Timonium Fairgrounds Daddy Yankee @ Ibiza Tito El Bambino @ El Boqueron II Laura León @ V3 Lounge Los Enanitos Verdes @ The Fillmore Rodriguez @ Sixth & I Zacarias Ferreira @ El Boqueron II Festival Guanaco @ Capital Plaza Los Prisioneros @ The Howard Theatre Ballet Folklórico de México @ Hylton Performing Center Calexico @ 930 Club Jarabadepalo @ The State Theatre
For more information and many more events go to KESTADC.COM
Ballet Folklórico de México
September 30 at 7 p.m.
888-945-2468 • HyltonCenter.org Hylton Presents Season Sponsor
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/ KESTA HAPPENING MAGAZINE
/ AUGUST
2012
FEATURED
By: Juan Leon
rom Gasolina to Lovumba, the musical career of the (likely) most prominent artist in reggaeton, Daddy Yankee (born Ramon Luis Ayala Rodriguez), has mirrored the progression of the genre itself. Though Gasolina is by no means the “first� reggaeton song (assuming its actually possible to pinpoint that occurrence), it is certainly the veil piercer and catalyst for modern reggaeton in the United States. Lovumba is a perfect example of the Latin Urban style that represents the evolution of reggaeton. >>>>>
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As the Daddy Yankee (DY) story (now legend) goes, Ayala went from a baseball career (ended by injury) to the reggaeton (still an unnamed blend of styles at this point) underground emerging in Puerto Rico. His first recording took place in the classic Playero series (number 37 to be exact) alongside Master Joe, Fat Flavor, Baby J and DJ Playero himself. The pop polished production and style of Lovumba is starkly divergent from the old-school underground sound of Yankee on Playero 37. DY’s talent shines through in both and his ability to make a track pop are what the two seemingly incompatible musical stylings have in common.
(with Wisin y Yandel at the top of their game) was a particularly complimentary following act to soften and expand on Gasolina’s bluntness.
The song is another story. A stirring salsa-influenced mix electrifies DY’s introspection (check the “Man in the Mirror” reference).
The video’s editing merged the politics of struggle and desire by highlighting the power of the emerging reggaeton genre: Military police menacing the barrio cut to a revving race car which cuts to a dancer which fades back to the police in batons and black, but this time Yankee also in black and wielding a baseball bat, stands between the military threat and a scattering of barrio children hanging out in the background. Thus desire, speed, and resistance to oppression are merged and represented by the dembow beat, itself a representation of a people’s spirit and desire. The Gasolina video and song seemed to proclaim the arrival of a new cultural force, and suggest the paths it could branch into (sexual, political, energy-driven).
Lovumba (2012, Prestige)- Daddy Yankee at his ecstatic poppiest. The video is a (not particularly well directed by Carlos Martin) neon light storm. Derivative but demonstrative of DY’s pop star status and his ability to connect on a universal level. “Love” and “Rumba” nicely sums up Daddy Yankee’s gift for romantic, dance floor friendly pop in the tradition of the best Latin male artists.
In honor of the arrival ( Washington DC sees Daddy Yankee grace us with his presence on Sunday, August 12th at Ibiza Nightclub) of the iconic reggaeton artist Daddy Yankee --one of the most important in the genre’s foundation along with El General, Vico C and the great early producers Nelson, Blass and Luny Tunes-- a retrospective of notable tracks and music videos will hopefully help to assess DY’s place in el genero.
Llamado de Emergencia (2008, Talento de Barrio)- Notable-- aside from being a great, emotive track-- for the ingenuity accompanying the dembow beat (the accordion and zampoña in “Llamado de Emergencia” anticipate the kuduro and Andean influences in today’s Latin pop). Considering the versatility of the music it becomes understandable why artists like Calle 13 and DY prefer the “Urban” music tag to reggaeton.
>>>>
Gasolina (2004, Barrio Fino)- The track that started it all, at least for us (Latin/Pan) American folks. This song didn’t just drop, it exploded onto the music scene (even the US pop consciousness) and its aftereffects are still felt in nightclubs to this day. Viscerally thrilling to the bone with a music video superior to any of Daddy Yankee’s subsequent efforts. The “Gasolina/No Me Dejes Solo/King Daddy” medley in the video’s original cut was a striking introduction to DY’s dynamic style and range. No Me Dejes Solo
Impacto (2007, El Cartel: The Big Boss)- A slight music video featuring Fergie. The dembow beat is still prominent at this point in DY’s career. Having already tasted success in the states with Gasolina Impacto hinted towards Daddy Yankee’s future (mainstream US) pop ambitions.
La Despedida (2010, Mundial)The music video’s heavy handedness dooms its attempt at emotional connection (the images aren’t powerful enough to transcend the cliche, unlike in Tito El Bambino’s joyous and vibrant “El Amor” video).
Daddy Yankee’s eighth studio album Prestige will be released later this year. Daddy Yankee will perform at Ibiza Nightclub Sunday, August 12th along with DJ Pootie, DJ Joe El Especialista, and DJ KeLinda. Tickets are available at www.tickeri.com! █
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2012
WWW.KESTADC.COM
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FOOD
By Manu Mayor
anache is a centrally located restaurant in the lively Midtown district across from the Mayflower hotel in Washington DC. Its modern look and large number of home-style Italian and Mediterranean dishes make it a DC gem. At the door you might be greeted with a cheerful “Bonna cera” greeting. As you enter, the large bar area greets you first. The bar is long and set against a plush white wall in the back that seems to be made of leather. The rest of the venue is also white with touches of red that serve as a nice contrast. The bar offers plenty of room to sit, with a good number of cocktail tables and high chairs under a row of small but classy chandeliers. To the right you find a decently sized lounge area with booths on the left and tables on the right. This area is designed as an alternative to the main dining area offering a lot more privacy and access to host private parties. The main dining area with its white columns and open kitchen, offer plenty of room to allow for a comfortable dining experience. Large and plush white chairs accompany the white tables. The stage is set for a great dinner. Enter Chef Giovanni Carlo. Chef Giovanni has an assortment of house-made pastas, imported top-quality cheeses, and house-made desserts among many other fine offerings at Panache. Chef Giovanni goes through much trouble to make sure his offerings are very fresh and made of organic products. His goal, to serve authentic southern Italian meals with a professional presentation, is what defines Panache. All of the foods, with the exception of the fine imported Italian cheeses, are made from scratch just like the meals Chef Giovanni watched his grandmother make when he was growing up in Castelvenere, a small town near Naples. His first foray into the kitchen happened at a very early age when he would collect berries from the fields to later turn them into jams and pies. It wasn’t long before he enrolled in Piedimonte Culinary School in Caserta, Italy. By the age of 16, Chef Giovanni was already working at a Michelin rated 3-star restaurant.
Chef Giovanni Carlo is very meticulous when it comes to his craft. From the sourcing of ingredients, to even the butchering of meat products, Chef Giovanni wants to make sure that Italian traditions are the foundation of all his processes and in-turn, of his dishes. This is clearly reflected on Panache’s menu. Maybe you would like to start with the polenta as an appetizer? The polenta is served with caramelized wild mushrooms and a side of balsamic demi-sauce. A silky smooth taste to start off your dinner. Speaking of smooth, how about some creamy risotto? The Risotto Capesante is an excellent risotto dish from Panache. The risotto is a cooked in a delicious broth and accompanied with sun-dried tomatoes, pesto and two very tender seared scallops. Delicioso!
At Panache you will find home-style Italian dishes like these with a professional finish. Home-style Italian food made with an emphasis on the style. Thus, the name suits it well. Chef Giovanni Carlo has a lot of experience in high-end cuisine, but he believes that in order for a dish to be good, it must also be fulfilling. His work at Panache certainly is both. To find out more about Panache visit www.panacherestaurant.com and visit either the Downtown or Tyson’s Corner, VA location soon! █
Of course the house-made pasta is not to be missed if you visit Panache. The Paccheri all’Astice is composed of paccheri pasta, a half-shell presentation of Maine lobster and a lightly spicy cherry tomato sauce. Another option is the Orecchiette, the pasta comes with rock shrimp, spicy Calabrese salami and arugula with white wine sauce. Panache Restaurant 1753 Pinnacle Drive McLean, VA 22102 www.panacherestaurant.com
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DRINK
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LOCAL TALENT
By: Veronica Brown
alsa is fusion music and no band embodies this melting pot of sounds quite like local DC Salsa club stars, Gustavo and the Universe. A melding of Cuban salsa, reggaeton, bachata, and pop latino reveals a funky fresh sound to charm all palates. Kicked off in 2011, the band is composed of singer, director, and song writer for the band Gustavo Monje, and band members Lelis Cueto, Randell Piragua, Jeremy Wall, Daphne Cashion, Rosshan Monroe, Pablo Cabrera, Felipe Bohorquez, Erik Flores, and Ricardo Santy. Immensely popular in the DC salsa scene they have appeared on DC Contigo on Univision, The Washington City Paper, DemocracyNow.org, and opened for Juanes as the winners of the Kesta Happening contest offering the slot to the most voted local band. They recently released their debut album Salsa Club Stars with eight tracks that narrate a story of love, spirituality, politics, and mucha sazon. We sat down with Gustavo Monje recently to talk about his salsa universe. KH: Where does the name Gustavo and the Universe come from? G: The name comes from our spiritual connection, it’s about being connected to the world and representing a collective effort as a band. KH: What led the creation of Gustavo and The Universe? G: Music has always been a part of me, in fact there are pictures of me as a child running around with a yellow
microphone in my hand. I started playing the guitar when I was 11 and started writing songs immediately after that. In my early 20’s I discovered the DC salsa scene and after many dance filled nights at Havana Village, I realized that I could try writing and performing salsa. I was embraced by the community and met many Cuban musicians after which I decided to give it a shot and that is what carved out the path to Gustavo and the Universe. KH: Gustavo and the Universe carries a political punch, what is the message behind your music? G: We’re not an exclusively political band but it is definitely a theme that we explore. One of our first songs “La Libelula” talks about various issues that affect us as a society today, privatization, the wars, capitalism, immigration, and we strive to put forth the belief that the world can change through universal access to basic needs. I’m very open to expressing political themes through our music and will continue to do that in the future but in the end it will always be about the music. KH: Who are the artists that inspire the unique sound of your band? G: Bob Marley, Silvio Rodriguez, The Beatles, Michael Jackson, and our fellow salsa band Havana D’ Primera have all had a hand in inspiring our music. KH: Which one of your lyrics means the most to you? G: It’s hard to pick just one as they all carry a story behind them, for example in the song “Solecito” from our new album there is a part that ties into memories I hold of visiting my Grandmother in Bolivia, she would get very sad when it was times for us to return to the US, so I would explain to her that we were just like migrating birds and we would be back, that’s where the inspiration for the
chorus “Sabes como vuelan las aves? Como el sol y la luna regresan mama.” KH: Where do you see your band going in five years? G: I daydream about touring Europe, Japan, and selling out big venues. I am a believer in thinking big and I would love to see us perform at La Plaza De La Revolucion in La Habana, and to be one of the first salsa bands to appear on the David Letterman Show and Saturday Night Live. Ultimately, I hope to be seen as a respected international act. You can find out more about us and listen to our new album at www. gustavouniverse.com. █
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STYLE
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2 7 By Alicia Yim
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ou may not be able to beat the heat this summer, but you can definitely look good trying! Think beyond the standard sea of denim shorts and tank tops that everyone else is wearing and don more unique looks that suit your mood, body-type, and personal style. Achieve a comfortable, carefree look in a maxi dress paired with wedges. Look cute in a billowy patterned romper. Show some skin in a crocheted mini dress. Or look like beachfront royalty in a caftan with metallic or neon accents. Pair each look with flats, sandals, or wedges in neutral colors or animal prints like snakeskin. Play it smart this summer and choose light, airy garments that are cool enough to take you from breakfast to the beach and back! █
L A C A S I TA P U P U S A . C O M
1.Ashbury Crochet Dress – $138 www. nastygal.com 2. Presley Skye ‘June’ Surplice Silk Romper, $138 www.nordstrom.com 3. Aldo Tinger Flat, $55 www.aldoshoes.com 4. Ontime – Natural Snake, $129.95 www.stevemadden.com 5. Jessica Simpson Floral Halter Maxi Dress, $148 – www.6pm.com 6. The Caftan Dress, $69.50 www.victoriassecret.com 7. Michael Kors Hamilton PythonEmbossed Leather Thong Sandal, $110 www.michaelkors.com
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KESTA GIRL OF THE MONTH
2012
WWW.KESTADC.COM
Background / Hometown: I was born in Belo Horizonte, Brazil, and currently Live in Miami Florida. Hobbies: I love to travel and to write, to do Pilates, swim, play volleyball, and go horsebackridding. I have to be close to the ocean, it makes me inspired. I enjoy reading mysteries and to drink a great bottle of wine with a nice meal accompanied with friends. Projects: My most recent work is as an actress in an the movie “La Esfera de Marfil” currently being directed by Cesar Torero and produced by Luz Rojas. The movie has an inspirational story that raises awareness to human trafficking and the exploitation of women. Since I’m from South America, where such crimes are recurrent, the cause is certainly close to my heart. Therefore I decided to play an even bigger role in this production. I joint forces with a very well known developer and investor in South Florida Moses Bensusan, as well as his Daughter Myriam Bensusan a fashion Designer, and Anfrirley Bandeira a well connected Brazilian interpreter and formed what today is know as Bensusan Productions. We formed a joint venture with Tumi Films acquiring the majority shares, so now I am also the Executive Producer of Tumi FIlms thus “La Esfera de Marfil”. With my previous experience in the business world and passion for the entertainment world as well as the cause I’am eager to show my aptitude as a performer. Favorite Quote: “There is no chance, no destiny, no fate, that can circumvent or hinder or control the firm resolve of a determined soul” Favorite Food: Miso Sea Bass
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BACKSTAGE KESTA
By Luis Ayala
o you ever wonder what happens behind the scenes at the many Latin rock shows in our area? Wish you could be a fly on the wall and find out what your favorite rockero artists are really like behind the scenes? Well you are about to get a sneak peek into the backstage, VIP area, front row and center, because Kesta brings you “Cronicas de un rockero” a column where we will spill the beans on all the noteworthy, hilarious, “you should have been there” stories, that may be crazy and hard to believe but are all true! We’ll start with an oldie but goodie that will take you back to the mid-90’s to the first time mega Mexican rock band, Maná came to DC. If you’re a “rockstar”, you often get recognized everywhere you visit, especially if your videos are being heavily rotated on TV and your music is being constantly played on the radio. Your songs may have become popular hits beyond the genre that you represent, and people are literally dying to go to your concerts. This was the case for Maná, when they first visited DC, they were HUGE, and were in the middle of promoting their 3rd studio album, “Cuando Los Angeles Lloran,” having successfully become an arena rock band (an impossible feat for Latin-Rock artists back in the day). I guess they were getting used to the crowds waiting for them everywhere with signs and screaming fans in every city they visited, however, their first visit to the nation’s capital was something that I’m sure they will never forget. I’m sure it became one of Maná’s first “rockstar” moment in their history of concerts in United States. The story begins with the promoters sending a limo driver to pick them up at the airport, it sounds normal and innocent enough, however, that driver had never seem
phones where not that popular) it took them a couple of hours to reach anybody that could help them, things were not looking good since nobody was expecting this to happen. At the time, I was working to help promote the event and when I finally got the call, I was asked to stop working on the production of the concert and to take the first available taxi and get to the airport to try to help with this little “detail”. For some reason it looked like I was the only one that could recognize these guys! When I finally made it to the airport and walked through the empty lounge, to my own surprise the band was just sitting there, by themselves, looking confused and kind of wandering around (Alex, the drummer was buying a tie!) and the first question I got from Fer, the singer was, “Are there any Latinos in DC?” My answer was a simply “yes”, followed by, “but everybody is either at work or did not know what time you guys were coming in.” The band was somewhat in shock. them before, and he was only equipped with a white piece of paper that said: MANÁ. When he arrived at the designated airport, he pulled up and right away saw a group of long-haired “rockeros” carrying instruments. He stopped and asked, “Are you Maná?”, and the long-haired guys answered: “Yes we are!” The limo driver picked them up and drove them to their hotel, all was well. But was it? The long-haired rockero guys were indeed from Maná, however, they were part of the technical crew, and there was one small problem, the band and their management team were all still at the airport! When the promoters got the call from Maná’s management it was pure mayhem (this is 1995 and cell
While we were waiting for the limo driver to come back to the airport, I decided to call a friend of mine that worked for the local Univision news station to arrange for an interview. When she got there with the cameraperson, I think they were also expecting a group of fans getting autographs and taking pictures with the band and what they found was just the four lonely Maná members and their management wondering where all the Latinos in DC had gone. This is a far stretch from the rockstar treatment the band now gets when they visit our area to play large arenas like Patriot Center! Definitely one crazy story we will never forget! Stay tuned for more Cronicas de un rockero in the next edition of Kesta Mag! █
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2012
VENUE
By: Rosario Garcia
ou may have seen a few flyers around town lately announcing an upcoming concert “at the new Howard Theatre”. While the Howard Theatre is the newest concert venue to open in our area, its history is anything but new. Built in 1910, the theatre quickly became known as “the Theatre of the People”. Nestled in the U Street corridor, the venue catered predominantly to an African-American clientele featuring artists such as, Duke Ellington, Marvin Gaye, The Supremes, and serving as a launching pad for Ella Fitzgerald’s career. Over the last century, the venue has been endangered and repurposed many times to suit the needs of its clientele, even serving as a church during the Great Depression. It also sustained alot of damage during the DC riots spurred by Martin Luther King Jr’s assassination in 1968. The riots coupled with desegregation forced the venue to close it’s doors in 1970, however it re-opened a few years later and received it’s historic landmark status in 1974. Although its had its share of hardships throughout the years, the Howard Theatre has remained a DC landmark that many people remember with much love and affection. One such individual is Gladys Reed, my ex-boss and close friend, who exclaimed when she heard I was doing a piece on the Howard Theatre, “I used to go there as a teenager, those were the good ‘ol days!”. When asked what she remembers most, “It was just the place to be, all my favorite artists would play there and it was out of sight.” The Howard turned into a house for rock ‘n’ roll and rhythm and blues during the 1950s and 1960s, and many important acts from both genres played there. Among the acts were Buddy Holly, Sarah Vaughn, Dinah Washington,
Sammy Davis, Jr., James Brown and The Famous Flames, Otis Redding, All Motown & Stax Recording Stars, Lena Horne and Lionel Hampton. Later in the 1970s, numerous go-go bands played the venue including the late Chuck Brown and the Soul Searchers who made the place their home throughout the decade. When the theatre closed again in 1980 it was the oldest venue in the country that featured black artists. The Howard Theatre has been home to many music genres, most recently it has become the home of Latin Alternative rock! Since it re-opened in April 2012, the Howard Theatre has welcomed such Latin rock acts as Babasonicos, Autenticos Decadentes, No Te Va Gustar, Panteon Rococo, Gran Silencio, and Bomba Estereo. It’s truly incredible to know that our latino heritage will join the ranks of those already embedded in the Howard Theatre’s rich history. The venue has been welcoming to all types of local and international artists. A look at their August schedule demonstrates how diverse their offerings truly are, catering to Germany’s most influential Thrash Metal band, Kreator, one day, and R&B’s most recognizable name, Boyz II Men, the next. The Howard Theatre Restoration (HTR) non-profit group founded in 2006 is responsible for the theatres amazing rebirth. This group was tasked with raising the considerable funds required, a job that was boosted with a generous grant of $12 million from the District. The results speak for themselves. The venues gorgeous front is decorated only with bright lights that shine against the light colored walls, and a distinct horizontal neon sign that reads, “The Howard”. The velvet ropes, valet parking, and Duke Ellington statue outside complete the look and feel of the venue making it an instant DC hotspot. Although the
theatre is coming into it’s own having been open for several months now, the drivers and pedestrians on the nearby Florida Ave in NW continue to rubberneck to get a glimpse at this beautiful landmark as they go by. Inside the tall glass doors, the Howard Theatre is even more beautiful. As you enter a large marble foyer the large LED screens displaying upcoming acts, billboards of historical figures grace the walls, and long velvet curtains draw you in. Impeccably dressed ushers guide you inside offering you access to the first-come first-serve seating area which features a full soul-food inspired menu designed by celebrity chef Marcus Samuelsson. The theater’s main floor accomodates up to 500 guests, while the mezzanine balcony holds up to 300 guests. The decor can be described as modern yet classic, you get the feeling that you are in a grand cabaret inspired theater, yet on the wall the large HD projector screens and sound & lighting let you know this place is state of the art. Two large bar areas adorn the back walls on both levels. Some of the signature cocktails offered are named after some of the Howard Theatres favorite acts such as the “Ray” a sweet tea vodka, fresh lemonade, dash of Orange Bitters and a float of Pama Pomegranate liqueur served tall, garnished with a mint leaf, or the “Ella Fitz”, beefeater gin, pink grapefruit liqueur and hibiscus flower syrup topped with champagne straight up, garnished with a fresh edible flower. The newly renovated Howard Theatre is a beautiful venue sure to become a go-to place for concerts and shows for decades to come. It’s legacy is one that permeates through every new piece of furniture, and it’s light continues to shine brighter than a century ago. To become a part of its history, visit the full schedule of events at: www. thehowardtheatre.com! █
The Howard Theatre 620 T St. NW Washington DC, 20001 For upcoming events & more info: www.thehowardtheatre.com
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NIGHTLIFE
By Jorge Cevallos
ery few lucky people actually do what they love as an occupation. DJ Pootie is one of the lucky few. His joy and passion for what he does easily shows when you meet him and when you see him “at work” at the clubs. He first got hooked on DJing when he hosted a high school party, and he has been able to very quickly become one of the key DJs in the DMV area ever since. You can’t find a flyer of a big urban concert or a popular nightlife party without finding his picture and name alongside it. We were able to chat with DJ Pootie about his beginnings and future goals. KH: How did you get the name DJ Pootie? DJ: The name came from AIM, AOL instant messenger. Back then I had to make my screen name and I saw the trailer for Pottie Tang and saw he got all the ladies. So I put KilaPootie as my screen name and everyone started calling me that.
KH: How did you start DJing? DJ: It started when I moved from Silver Spring to Rockville. I had to switch high schools and didn’t know anyone in the area so I decided to throw a party myself. My friend figured out how to connect all the stuff for the music, and noticed I had all the same stuff he had, mixer, dvd player..etc.. When I threw that party he had to use the bathroom for a little bit so I mixed 3 songs and that was it. I got hooked. KH: How did that turn into the nightlife scene? DJ: It evolved. It really took off. Once I started doing that, I was at house parties every weekend. Got known for that. Then started doing events at restaurants like quinceaneras and other events. Then I started DJing at a restaurant in Rockville and met a friend there that hooked it up with a gig at Ibiza for one night. It was a very good turnout on my behalf. Met some key players there like Migo, DC Ritmo, Sabroso, Fez, met many people there. From there it just started going. KH: Was music a big part of growing up? DJ: Yes, even at age 1 or 2 my parents told me I would be breaking records. My parents always had a thing for music, my
dad loves Salsa, Cumbia, Bachata, my mom likes the same things plus some of the Ricky Martin, Menudo stuff. Growing up I always asked for tapes, projecto uno “ el tiburon”, I actually had el baile del perrito as my alarm clock.
DJ: Graduate, get my masters in Marketing. That’s my main thing right now. As far as DJing just keep moving up, I don’t see doors closing anytime soon. Do my taxes as a DJ, make enough money to support myself with what I love to do.
KH: How do you put together your sets? DJ: I play roulette when I’m on there. I try to download all the hot and new stuff. But once I’m there I’ll try to remember what I have, I don’t plan it out...For the most part I just go up there...and just do it.
HK: Where can we find you Djing at? DJ: I DJ Fridays at Galaxy with Esko and Xtasy Ent and Saturdays at Love with Migo Productions.
KH: What DJs do you look up to? DJ: DJs, I give respect to people like DJ Camilo, you look at what he is doing and you are like there is a possibility of something greater out there. DJ Travieso here, respect to him, he is always busy. KH: Whats the best thing about being a DJ? DJ: I guess it would be the respect that I’ve gotten. There is respect out there that you can get and I feel that I’ve done a pretty good job. The respect that I’ve gotten from some of the greats out here makes me feel very good. KH: What are some of your goals?
Visit kestadc.com to watch the video interview. You can also find more information about DJ Pootie on his facebook: www.facebook.com/DJPOOTIE1 █
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KE? GIVEAWAYS:
KESTA HOROSCOPE Aries: Los Prisioneros says: Abre los
ojos, ponte de pie, escucha el latido, sitoniza el sonido, agudiza tus sentidos. Date cuenta que estás vivo”
Libra: Los Redd says: ”Lindas curvas sexy piel, eres un bombón de miel ” -“Bombon de Miel”, Los Redd
-“La voz de los 80”, Los Prisioneros
Taurus: Zacarias Ferreira says: “No hay mal que por bien no venga” -“No hay mal que por bien no venga”, Zacarias Ferreira
Scorpio: Enanitos Verdes says: ”Tu
vanidad no te deja entender que en la pobreza se sabe querer. ”
-“Tu Cárcel”, Enanitos Verdes
Gemini: Tracy Morgan says: “You can do one of two things: You can be the artist that paints the picture, or you can be in the picture. Once you’re in the picture, it’s not funny.l” -Tracy Morgan
Sagitarius: Tito El Bambino says: “El amor es como una luz que se esparce por el alma y recorre como el agua hasta que llena el corazón...”
Cancer: Laura León says: “Cuando un
Capricorn: Jarabedepalo says: “Llora
Leo: Alexis y Fido says: ”Me gusta como convina el color de tus ojos,con esa bonita diadema”
Aquarius: Los Prisioneros says: ”Unete
Virgo: Jarabedepalo says: ”Agustito con el cuerpo, con la vida, con el alma. Agusto con uno mismo pocas cosas hacen falta.”-“Agustito- Jarabedepalo
Pisces: Daddy Yankee says: ”Si vuelve ese amor es tuyo y si no vuelve nunca fue tuyo.”
amor se va asi tan fácil deja un vacio en el corazon que no se llena con otro amor” -”Cuando un amor se va” - Laura León
-”El amor”, Tito El Bambino
ahora y ríe luego” -“Grita”, Jarabedepalo
al baile de los que sobran ”
-“El baile de los que sobran”, Los prisioneros
-“Me gustas tu”, Alexis y Fido
-“La Despedida”, Daddy Yankee
Download and install a free QR code reader for your phone 1. Open the QR code reader application 2. Take picture / scan the QR code with your mobile device 3. The code willl take you to the Win Tickets Page for a chance to win 4. THE FIRST PEOPLE TO ANSWER THE QUESTION CORRECTLY ON THE WIN TICKETS PAGE WINS TICKETS TO CONCERT. Good Luck!
GET YOUR COPY! A G VE
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kesta deals
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