2016-07-14 - Las Vegas Weekly by Greenspun Media Group

E NTE R TA I NME NT

J U LY – DE C E M B E R

BRINGING THE BE ST LIVE EN TERTAINMEN T TO A STATION CASINO NEA R YOU

AN EVENING WITH JUDY COLLINS SANTA FE ★ JULY 15

AMANDA MIGUEL & DIEGO VERDAGUER TEXAS ★ JULY 23

THE MUSIC OF MANILOW STARRING MARK O’TOOLE GREEN VALLEY ★ AUGUST 5

NASHVILLE UNPLUGGED – HALL OF FAME WITH LILA MCCANN SUNSET ★ AUGUST 5

STARSHIP FEATURING MICKEY THOMAS BOULDER ★ AUGUST 12

DENNIS WISE KING FOR A NIGHT SANTA FE ★ AUGUST 13

LOS LONELY BOYS BOULDER ★ SEPTEMBER 3

38 SPECIAL & MARSHALL TUCKER BAND SUNSET ★ SEPTEMBER 9

PETER CETERA SUNSET ★ SEPTEMBER 16

SAMMY KERSHAW BOULDER ★ SEPTEMBER 17

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BOULDER BLUES

SHANA MORRISON

COMMANDER CODY

BOULDER ★ JULY 14

BOULDER ★ AUGUST 18

in the railhead

ZAC HARMON

TINSLEY ELLIS

BOULDER ★ NOVEMBER 3

BOULDER ★ DECEMBER 8

Tickets can be purchased at any Station Casino Boarding Pass Rewards Center, the Fiestas, by logging on to SCLV.com /concerts or by calling 1-800-745-3000. Digital photography/video is strictly prohibited at all venues. Management reserves all rights. © 2016 STATION CASINOS, LLC.

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Group Publisher GORDON PROUTY (gordon.prouty@gmgvegas.com) Associate Publisher MARK DE POOTER (mark.depooter@gmgvegas.com)

EDITORIAL Editor SPENCER PATTERSON (spencer.patterson@gmgvegas.com) Managing Editor BROCK RADKE (brock.radke@gmgvegas.com) Associate Editor MIKE PREVATT (mike.prevatt@gmgvegas.com) Web Editor MARK ADAMS (mark.adams@gmgvegas.com) Film Editor JOSH BELL Staff Writer KRISTEN PETERSON (kristen.peterson@gmgvegas.com) Staff Writer LESLIE VENTURA (leslie.ventura@gmgvegas.com) Calendar Editor ROSALIE SPEAR (rosalie.spear@gmgvegas.com) Editorial Intern BRUCE GIL (bruce.gil@gmgvegas.com) Contributing Editors JOHN KATSILOMETES, KEN MILLER, ERIN RYAN Contributing Writers DAWN-MICHELLE BAUDE, JIM BEGLEY, JASON BRACELIN, JACOB COAKLEY, MIKE D’ANGELO, SARAH FELDBERG, SMITH GALTNEY, JASON HARRIS, JASON SCAVONE, CHUCK TWARDY, ANDY WANG, STACY WILLIS, ANNIE ZALESKI Library Services Specialist/Permissions REBECCA CLIFFORD-CRUZ Office Coordinator NADINE GUY

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ON THE COVER Francesco Lafranconi. Photograph by Anthony Mair.

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06 las vegas weekly 0 7. 14 . 1 6

Trust Us everything you absolutely, positively must get out and do this week

20 & July 21

Saturday at 7 p.m.

Dixie Chicks at T-Mobile Arena It’s been 10 years since the Dixie Chicks released their last album and headlined a North American tour, and although the country trio doesn’t have any new music, it’s as relevant as ever. As mainstream country music has become increasingly pop-oriented and homogenized, the Chicks’ mix of country sounds and social commentary remains unique among superstar acts, and they haven’t shied away from taking on current events. In addition to hits like “Goodbye Earl,” “The Long Way Around” and “Long Time Gone,” setlists on this tour have included covers of Prince, Beyoncé and Lana Del Rey. Even without any new songs of their own, the Chicks haven’t lost their passion for experimentation. $54-$154. –Josh Bell

The Princess and the Pea at Historic Fifth Street School Professional puppeteers control the unique and vibrant 5-foot-tall dolls bunraku-style, or in full view of the audience. Don’t expect some cardboardbox-and-rumpledsocks show. Wednesday, 7 p.m.; Thursday, 10:30 a.m.; $3. –Rosalie Spear

Sunday at 8 a.m.

EVO World Finals at Mandalay Bay Events Center The world’s largest fighting video-game tournament returns to Las Vegas this weekend. Join and cheer on an international showing of top players as they face off for the highest score while playing Street Fighter V, Super Smash Bros. and other games. $48-$97. –Bruce Gil

Saturday at 7 p.m.

We Are Love at the Bunkhouse The sheer number of those affected by last month’s mass shooting at Orlando’s Pulse nightclub warrants a continued, full-hearted campaign for help, especially with Equality Florida’s crowdfunding goal of $3 million more in contributions. Eight of the local scene’s best performers—including singer-songwriters Brendan Scholz and Sonia Seelinger, MC Hassan and indie act Hidden Levels—are doing their part at this donation-only show, as is host venue Bunkhouse, which will funnel door/bar proceeds to the Pulse Victims Fund. $10 suggested donation. –Mike Prevatt

07 las vegas weekly 0 7. 14 . 1 6

through Sunday, July 17 Idaho! The Comedy Musical at the Smith Center

Illustration by Craig Winzer

Musicals named after places aren’t usually a laugh a minute—think Sunset Boulevard, Miss Saigon, West Side Story, Oklahoma! But that latter production—and the others, given how ensconced they are in the conventions of Broadway—provided some obvious inspiration for Idaho!, a musical that’s not only very funny within the context of its story, but frequently sends up the Great White Way without throwing it under the bus. Not unlike Oklahoma!, Idaho! follows multiple romantic storylines, the central one involving everyman Whip (Nathaniel Hackmann) and Ohio ex-pat Cassie (Jessica Fontana), who’s reluctantly offered herself as a mail-order bride to the rich farmgobbler, Jed (Paul Vogt, who spent time on the Luxor stage in 2006 for Hairspray). Meanwhile, Slim (Matt Loehr), eager to settle down, vies for the affections of someone who decidedly isn’t, Ida (Alex Ellis), named after the play for good reason. And local justice of the peace Uncle Fate (Jay Rogers) can’t seem to avoid emasculation, especially by the strong-willed Auntie Pearlie (Jen Perry, formerly of Mandalay Bay’s Mamma Mia!). Interwoven in that trifecta are small-town politics, the struggle to literally not lose the farm, a potato festival and, naturally, lots of songs and dancing. If those disinclined toward musicals remained unwooed, consider the production’s knack for double entendres and sexual innuendo, un-PC flippancy and generally zinging witticism. Catch this homegrown romp before it ends its first-ever run, and just as it begins the long, arduous march to Broadway. Thursday-Sunday, 7:30 p.m.; Saturday & Sunday, 2 p.m.; $19-$89. –Mike Prevatt

08 LAS VEGAS WEEKLY 0 7. 14 . 1 6

PUT IT WHERE?

the inter W H E R E

I D E A S

Nine locations are in the mix for our potential NFL-sized stadium BY J.D. MORRIS

ne of nine sites in Southern Nevada may eventually house a 65,000-seat stadium that could bring an NFL team to the area. Project backers this week presented the Southern Nevada Tourism Infrastructure Committee with the options: UNLV’s 42 acres on Tropicana Avenue near Koval Lane; Station Casinos’ 100-acre site at Tropicana and Interstate 15; MGM Resorts’ festival grounds across from SLS; UNLV land by the Thomas & Mack Center; the site of the former Riviera; the Cashman Center; 62 acres on Russell Road just west of I-15; the former Wet ‘n’ Wild water park site on the Strip; and the golf course behind Wynn and Encore. For the UNLV sites, the major obstacle is their proximity to McCarran International Airport. Executives from Southwest Airlines recently sent a letter to Steve Sisolak, chairman of the Clark County Commission and a member of the infrastructure committee, noting a stadium so close to runways would restrict operations and “erode safety, security and capacity at the airport.” The Riviera location is where the Las Vegas Convention and Visitors Authority plans to expand its convention center, and Sisolak said it was “pretty clear” that site was not a viable option. He was more receptive to the Station site on Tropicana that includes the Wild Wild West casino. A Station executive has said the company is open to discussing a deal for part of that site. Similarly, Sisolak liked the idea of the stadium at MGM’s site, where the Rock in Rio music festival was held in 2015. The stadium could also end up being built on Wynn Resorts’ golf course, the same spot Steve Wynn has proposed building his Paradise Park development. Wynn spokesman Michael Weaver said the company has discussed the site, more than 130 acres, with the stadium development group. “There is ample land for both the Paradise Park development and a stadium,” Weaver said.

BEVVIES AT THE MOVIES Three years ago, there were only two places you could buy both a movie ticket and a beer: the Town Square 18, then newly acquired by AMC, and the just-opened Galaxy Green Valley Luxury+ Theatre, each a six-mile drive on Sunset Road from the other. Now, 12 cineplexes throughout the Valley allow patrons to imbibe during screenings, with seven quietly joining the fray this year alone: Fiesta Henderson Stadium 12, Brenden Theaters and IMAX 14

at the Palms, Aliante Stadium 16 & IMAX, Green Valley Ranch Stadium 10, Texas Station Stadium 18, Century Orleans 18 and Regal Sunset Station Stadium 13 & IMAX. The last two locations are part of a bigger bar/reclining-seat upgrade slowly platforming throughout their respective chains. Though almost half of the Valley’s movie spots will remain dry by the end of the year, it’s high time this no-brainer amenity becomes increasingly available to grown adults who might otherwise Netflix and Miller Chill. –Mike Prevatt

rsection

LAS VEGAS WEEKLY 0 7. 14 . 1 6

THE FLUIDITY OF FREMONT EAST

A ND L IF E M E ET

Some perspective to keep the Downtown glass half-full BY MIKE PREVATT

(Illustration by Corlene Byrd/Staff)

TRADING SPACES Mark Shunock is ready for the next phase of Mondays Dark, at least in terms of the where of it. He has secured a place he’ll call The Space, a 9,000-square-foot events center off Polaris and Harmon avenues. It will house a 300- to 400-seat main room, a black-box theater, a recording studio and a pair of rehearsal spaces. Among the partnerships he is offering is a $1,000 membership in which the donor receives a permanent seat along with use of The Space for a night, so if a performer in a Strip show wants to host a one-off showcase there, a $1,000 donation makes it happen. An open house is set for 7 p.m. on July 15. Mondays Dark won’t debut there until January; the next show at the Hard Rock’s Vinyl room—themed “Made in America,” with proceeds benefitting the USO—is happening July 18 at 8:30 p.m. –John Katsilometes

News of the Beat Coffeehouse and the first floor of Emergency Arts closing to make way for the 2017 opening of millennial-geared chain restaurant Eureka! caused an initial shock, given the cultural and clubhouse dynamic they gave the general Fremont East area. But it also warrants some perspective. For one, the sector has enjoyed more than a decade of local-entrepreneur dominance, thus far avoiding the franchise glut of the Strip and suburbs. Also worth remembering: Its very first revitalization-era business was Beauty Bar, so well-known a national brand in 2005 that the Village Voice called it a McDive. For Vegas, it was Hipster Central. But for Fremont East to survive the 2008 recession, much less grow, it needed to draw beyond the same group of scenesters, which meant diversifying its offerings while still refreshing its cool factor. Nowadays, places like Container Park and Gold Spike draw folks Beauty Bar wouldn’t have at its peak—and for those it would have, there’s Oddfellows and the new Bunkhouse. While Fremont East has struggled with retail, it gained much-needed restaurants. Carson Kitchen would still stand out in foodie enclaves elsewhere in the Valley; Therapy and Glutton are legit casual dinner spots; and Eat and Le Thai replaced the Beat as official lunch spots. A downsized Emergency Arts is certainly a hit to the creative community—as is a vanished Beat—but with regard to small-rent gallery and boutique plots, Downtown Spaces in the Arts District remains a reliable alternative. As for the coffeehouse, it paved the way for PublicUs and Bronze Cafe just a few blocks east, and the equally revered Makers & Finders, a five-minute drive away on Main Street. Speaking of: Whatever one wishes Fremont East would remain or become, chances are it’s happening either on the Arts District’s main drag, on fire with new places to eat, drink and buy vintage duds—or east of Ninth Street, with the aforementioned PublicUs and Bunkhouse, shops of both the musical (11th Street Records) and literary (Writer’s Block) variety, another standout eatery (Chow) and the inimitable Atomic Liquors, which will soon debut Atomic Kitchen. A lot has happened on Fremont East and in Downtown in the past 10 years or so—much more having come than gone.

THE INTERSECTION

LAS VEGAS WEEKLY 0 7. 14 . 1 6

A LONG WALK RUINED Politics and golf aren’t good for each other he last time I took my 1989 golf clubs—vintage!—to the driving range, I was looking for relaxation. I went to Angel Park, a public course, paid $6 for a bucket of balls, and hooked, shanked and all-out-missed my way through about an hour of swinging. I’d been seeking fresh air and a teensy bit of exercise, and by the end of my bucket, I was satisfied. That’s about all I want from a golf experience anymore—not 18 holes of back breaking, sunscreen-reapplying, tiny white PYRAMID OF ball chasing. BISCUITS For me, it’s not BY STACY J. just my old clubs WILLIS that feel retro. Almost everything about golf feels a little throwback, including its propensity to throw out my back: It’s a very slow game in an instant-gratification era; the luscious green courses feel environmentally ill-considered in western droughts; and worst of all, I still suck at it. But I’m not alone in having misgivings about the sport lately, thanks to our highbrow presidential election discourse. Plenty of U.S. presidents have had their photos taken on golf courses; but it takes a special candidate who owns more than a dozen courses to reignite golf’s image problems. Is it still

(Corlene Byrd/Staff)

the elitist old-white-guy sport of yore? Just as golf was having some success luring disinterested millennials—many of whom have said in study after study that they think the game is a time suck and they don’t like its non-inclusive, non-diversified image—here comes Donald Trump, standing on the fairway at Turnberry in Scotland last month, on the very day Britain voted to exit the EU, wearing his Make America Great Again hat, implicit in which are all of his racist, sexist, isolationist assertions. He rambled on about par 3s and his Scottish mother and completely misunderstood Scotland’s stance on the EU. I almost felt a little bad for golf. Maybe that’s why I decided to go hit some balls, as if to say to the sport, It’s okay, this too shall pass. To be sure, golf as a money-making industry is doing fine—players will vie for a $9.3 million purse at the PGA’s Open Championship July 14-17 in Scotland, to be broadcast on NBC and ESPN. And it has long been a big lure in Las Vegas, where we can be proud of charity tournaments hosted by

Michael Jordan, Derek Jeter, Justin Timberlake and others. Golf had made some progress with its diversity problem over the years—Augusta National Golf Club in Georgia, which hosts the Masters, allowed blacks to play in 1975, and then a mere 37 years of thinking about it later, decided to let women join the club. In 2012. So things were looking up. But last week, Martha Burk, National Council of Women’s Organizations’ corporate accountability director, began calling for golf pros to boycott Trump’s golf courses. Burk was the lead advocate for asking Augusta to open its doors to women (in 2002). Now she is joined by a cadre of African American golfers and golf historians in asking the U.S. Women’s Open to move from Trump National course in New Jersey next March to some nonTrump property. Burk said the ruling bodies of golf such as the USGA were “kowtowing to Trump’s overtly racist and sexist views.” Moreover, the Mexican American Golf Association objects to tournaments being held at Trump courses, and for the first time in 55

years, the PGA’s World Golf Championship will not be held in Miami at the Doral course, which is now owned by Trump. Instead, it has been moved to Mexico City next March. Trump’s response? “By the way, I hope they have kidnapping insurance.” Maybe it doesn’t matter. Maybe the next generations were going to usher in some changes to golf regardless of its politics. Take the new experience Topgolf Las Vegas, which recently opened behind MGM Grand. It melds a four-story driving range with followyour-ball microchip technology and a nightclub/bar atmosphere: food, drinks, pools, lounge areas, live music. And then, for us lucky Las Vegans, there’s always KISS by Monster Mini Golf at the Rio. Looking for something better suited to my skill set, I strolled through this blacklight hair-band mini-course the other day. While watching a playful Hispanic family knocking golfballs up a giant Gene Simmons tongue into his mouth, sometimes missing and popping a cheek or an eye, I had a vision for Trump’s next golf course.

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Kane Churko (left) in the studio with London-based rock band As Lions at The Hideout. (Steve Marcus/Staff)

BEHIND CRUNCH

LAS VEGAS WEEKLY 0 7. 14 . 1 6

Composer, producer and engineer Kane Churko keeps the hard-rock flag aloft BY JASON BRACELIN

th e

ane Churko prefers the small room, one of the least spacious in this Xanadu of rock-and-roll dream weaving. ¶ For starters, everything’s within arm’s reach here: the synth, the computer mouse, the Ace Frehley action figure eyeing intruders from atop a nearby speaker. Also, it reminds him of a certain Swiss bomb shelter. ¶ Dressed in the shade of a solar eclipse, his shoes, shirt and jeans as black as the sunglasses tucked into his V-neck, Churko

begins a tour of sprawling Henderson recording complex The Hideout in the compound’s not-so-sprawling Studio C.

The digs are relatively new for Churko, 30, and his dad Kevin, hard rock’s leading father-son production duo. They own and operate The Hideout, relocating here in January from the south end of Las Vegas Boulevard, upsizing from 1,400 square feet to 13,000. It’s a fantasia for both recording geeks and the big-selling artists whose gold and platinum records deck the walls, with four tricked-out studios for the former, posh lounges outfitted with stripper poles and Guns N’ Roses pinball machines for the latter. Despite the presence of two massive recording suites, one of which Vegas hard rockers Five Finger Death Punch are using to track their latest album, Churko prefers to work in a much cozier spot in the front of the building. Its tight dimensions mirror that of a bunker built beneath Churko’s teenage house in Switzerland, where his family relocated from their native Canada in 2000 while the elder Churko worked with British super-producer Mutt Lange. It was there, in a small home studio, that Kane mastered Pro Tools, the now-ubiquitous recording software that ushered in a digital revolution in music making. “I’ve always loved technology, in every capacity. I’m an early adopter of everything,” he says. Churko’s skill with Pro Tools gained him early entrance into the music business. While still in his teens, he was earning credits on Smash Mouth and Maroon 5 songs and providing engineering assistance on Bob Dylan’s well-received Modern Times album. Shortly thereafter, he was co-writing Ozzy Osbourne tunes as well as helping to pen hits for the aforementioned Death Punch, whom his father helped shepherd into one of contemporary metal’s biggest acts. Both Churkos have proven themselves adept at getting heavy bands heavy airplay, earning them clients like Disturbed, Rob Zombie, Slash and Hellyeah. Basically, if you’re a hard-rock band trying to get a song on the radio, these are the dudes you come to see. Kane has increasingly made a name for himself, beginning with his work on Blood, the 2012 breakout from female-fronted In This Moment. The band’s previous three releases had sold around 60,000 copies each; Blood did close to 300,000. The album was powered by several Kane Churko trademarks: He’s big on hummable riffs combined with ample programming, a mix of tunefulness and technology. His songs tend to rage and pulse. “It kind of became my calling card, soundwise,” he says of Blood. “It gave me an identity.” It also gave him a Juno award, the Canadian equivalent

of a Grammy, and helped him land gigs like writing and producing the majority of the tracks on Papa Roach’s 2015 album F.E.A.R. and collaborating with acts from metalcore favorites Falling In Reverse to Japanese superstars One OK Rock. Though he tends to get hired by harder-edged bands, the clean-cut, baby-faced Churko is the furthest thing from a metal dude in both appearance and taste. “I’ve only bought like two hard rock records in my life,” he acknowledges, approaching his work more like a dance or pop producer might. “I like contrast and I like fusion. I love making rock music that incorporates all these things that aren’t supposed to be in rock music. I like making pop music that’s maybe heavier than pop music is supposed to be.” Churko’s a conscientious populist, a curator of what he likes to call “competitive art,” always striving to help a band build a bigger audience while being mindful of the need to cultivate an authentic voice to generate lasting success. This is the age-old bugaboo for just about anyone seeking to pay the rent with their art, balancing commerce and creativity. “I think there’s still ways to be yourself and say what you want to say within the framework of trying to reach more people,” he says. “I just don’t believe that you have to turn that part of your brain off to be artistic. It’s so easy to make art. It’s so hard to make art that sells.” The difficulty of the latter gets magnified when working within a genre where sales have been seriously receding. According to Billboard, none of the top 10 albums of 2015 were released by rock bands. In the past five years, only two rock groups, Imagine Dragons and Mumford & Sons, have dropped new albums that have sold a million copies, and they are about as hard as a Nerf machete. Churko wants to write hits, but he also wants to write off what he sees as outmoded ideas of hard rock. “You’re not going to get people who already don’t like the current version of rock music to like it by maintaining purist ideologies,” he says. “The purists in rock are going to turn it into a niche. The only people I don’t get along with are purists, because I’m an anti-purist.” By this point in the conversation, he has wandered into Studio A, its control room dominated by a massive mixing board whose thousands of knobs are like little tombstones to Churko. He chuckles. “The only knob I’m using is the volume knob.”

(Photograph by Anthony Mair/Special to Weekly)

Like so many other pieces of Las Vegas, our cocktails have come a long way in a short time. Welltrained, innovative professionCOVER STORY | 07.14.16 alsWEEKLY have changed the perception of drinking on the Strip (and beyond) from watered-down mediocrity to fun, fresh and flavorful methodology that sets the standard for the beverage industry. Not only that, theyâ&#x20AC;&#x2122;ve paved the way for deliciously exponential growth in the Vegas bartending world. Itâ&#x20AC;&#x2122;s time to recognize the legends of our libation landscape.

bartenders who MODERNIZED Vegas

BY BROCK RADKE

TONY ABOU-GANIM

COVER STORY WEEKLY | 07.14.16

THEN The Michigan native known as “The Modern Mixologist” made his name fashioning cocktail classics in San Francisco and New York City until Steve Wynn brought him to the Strip to steer the beverage program at the resort that changed everything, Bellagio. “We had 200 bartenders, and they were all going, ‘What? We’re going to squeeze fresh juice?’” Abou-Ganim recalls. “But everyone was so excited. One guy said he had been bartending 25 years and he felt like a professional that first day.” NOW Abou-Ganim already handled the opening of T-Mobile Arena this year, and he’s just getting started. He’s teaming with Sage chef Shawn McClain to create Libertine Social, a gastropub opening at Mandalay Bay in August. Sophisticated and social, Libertine will have a communal center bar and a second, cozier spot, the Scratch Bar. BAR PHILOSOPHY “It all comes down to one word, and that’s hospitality. The minute the bartender opens his mouth or gives me a look or a smile, I know what type of experience I’m going to have. It’s personality. The making of the drink? That’s the easy part. It’s the art of hospitality that makes you a great bartender.” SIGNATURE SIP “The Cable Car [created in 1996 for the Starlight Room on the top floor of the Sir Francis Drake Hotel in San Francisco] is still the one, although these days I focus a lot on the Negroni. I discovered the Negroni in ’91 and fell in love with it, but nobody could make it. I had to teach people to make this thing so I could drink it!”

MORE WHO MADE VEGAS TASTE WAY BETTER Drew Levinson replaced Abou-Ganim as Bellagio’s booze czar before becoming vice president of business development at Breakthru Beverage Group (formerly Wirtz) ... Andrew Pollard, Mariena Mercer and Kristen Schaefer enlivened the Strip cocktail scene when they developed the stunning drink program at the Cosmopolitan’s beloved bars ... Ray Srp is a longtime bartender’s favorite, from Bellagio to Hakkasan ... Max Solano engineered one of the Strip’s top whiskey bars at Delmonico Steakhouse before becoming an educator at Southern Wine & Spirits ... Jeremy Merritt managed the stellar bar at Downtown Cocktail Room before joining the Breakthru team ... J.R. Starkus has been a fixture at top Strip restaurants and bars and is now a member of the Southern mixology team.

PATRICIA RICHARDS THEN She started at Fiamma at MGM Grand in 2003 before moving two years later to whimsical favorite Parasol Up/Parasol Down at then-just-opened Wynn Las Vegas. After joining the U.S. Bartenders’ Guild, getting into competitions and taking some classes, Richards became the first female resort mixologist on the Strip at Wynn, a position she held for six years.

NOW After spending some time with Bacardi and opening Drai’s Beachclub, Richards went back to school full-time to pursue her other love—health and nutritional education. “The long-term goal is to have my own health and wellness practice,” she says. “One thing this planet needs is more healers.” She’s still tending bar on the Strip on the side.

(Photograph by Anthony Mair/Special to Weekly)

SIGNATURE SIP “If you go to Wynn, they still have a lot of my recipes on the menu, even though I’ve been gone three years. I guess if I were a musician or artist, I’d be making royalties,” she jokes. “The Sinatra Smash— that would be the signature.”

16 COVER STORY WEEKLY | 07.14.16

RISING BAR STARS TO KEEP AN EYE ON

Chris Gutierrez runs the show at Oak & Ivy, the favorite craft cocktail spot of many great local barmen and women ... Damian Cross is the new property mixologist at Wynn ... Juyoung Kang inherited Solano’s Delmonico bar and is pushing forward while winning some pretty considerable competitions and awards ... SeongHa Lee put Downtown’s secret 365 Tokyo on the map and now resides at Mandarin Oriental ... Isaiah Thorton is helping reinvigorate the cocktail program at Fremont East’s Vanguard Lounge ... And look for big things from Bryant Jane and Lyle Cervenka at the upcoming King Hippo on Main Street.

NECTALY MENDOZA

FRANCESCO LAFRANCONI

Then After getting fired as a busboy at

a local Mexican restaurant, a 17-year-old Mendoza got a gig as a glass polisher at Bellagio and met the industry vet who would become his mentor, Michael MacDonnell. After three years at the resort, he slid over to help run bar programs for the Light Group, eventually striking out on his own to open Herbs & Rye, a classic cocktail bar in the location formerly occupied by Larry Ruvo’s family’s restaurant, the Venetian. Now Mendoza was named Bartender of the Year at 2016’s Nightclub & Bar Convention, and Herbs & Rye—along with the Downtown Cocktail Room—emerged as the true cutting edge of off-Strip cocktailing. Local Evolution “One thing we’re very proud of is that in other cities, [you] have flair [bartenders], you have nightclub [bartenders], you have bar bartenders, but in Vegas you don’t do that. It’s all the same platform. You’re a bartender, and it’s all family and all love. I have friends in flair, friends who are geeky mixologists, friends who work at dive bars. We’re all at USBG meetings, all in the same community. The state of bartending here is booming and it’s going to keep growing.”

Then Dashing and distinguished, Lafranconi has set the pace at bars in the world’s best hotels— Scotland, Switzerland, Germany, Italy—and triumphed at the most prestigious cocktail competitions. He met Larry Ruvo while working in a five-star hotel in Venice and a year later came to Las Vegas to work at Southern Wine & Spirits in 2000.

Now After some initial Strip shock (“One thing that struck me was working with the bar gun. All the juices coming out of it were mediocre and very high in sugar, so the drinks were very sweet.”), he helped set a new standard by educating bartenders and booze buyers on understanding spirits and the merits of craftsmanship.

(Photograph by Christopher DeVargas/Staff) (Photograph by Anthony Mair/Special to Weekly)

Local Evolution “Between 2003 and 2005, we were really able to build on the reputation that started [at Bellagio]. There was a bit of a shift in flavor profiles. People started to understand the balance of fresh ingredients, better garnishing, and how to treat your [ingredients] and condiment tray better. ... And then Cosmopolitan came along in 2010 with more innovation on top of that infrastructure we had set up.”

Signature Sip “Well, I can make some of the best Caipirinhas and Pisco Sours around. But I have a very successful drink at the Eiffel Tower Restaurant called the Eiffel Affair I developed seven years ago: fresh berries, Cointreau, Stoli berry flavor with sparkling wine. I think they sell 80 a day, roughly 29,000 to 30,000 drinks a year.”

C O M I N G U P AT B R O O K L Y N B O W L L A S V E G A S JUL 16

J U S T

JUL 17

STEPHEN RAGGA MARLEY THE FRUIT OF LIFE SUMMER TOUR A N N O U N C E D

DWEEZIL ZAPPA

SUN 10/2 PLAYS WHATEVER THE F@%K HE WANTS THE CEASE + DESIST TOUR

THU 7/14 FRI 7/15 FRI 7/15

BIG FREEDIA CRAIG ROBINSON + THE NASTY DELICIOUS (OF THE OFFICE + HOT TUB TIME MACHINE ) EMO NIGHT BROOKLYN LATE SHOW

SUN 7/24

THE OFFSPRING

FRI 7/29

COWBOY MOUTH

SAT 7/30

PROTOJE + THE INDIGGNATION

SUN 7/31

FRI 8/5

THE CLAYPOOL LENNON DELIRIUM ANDRE NICKATINA

FRI 8/12

40oz. TO FREEDOM - SUBLIME TRIBUTE BAND

SAT 8/13

LION BABE KURT VILE + THE VIOLATORS RIFF RAFF: THE PEACH PANTHER TOUR THE FIXX DIGABLE PLANETS SILVERSUN PICKUPS MICHAEL FRANTI + SPEARHEAD

MON 8/15 WED 8/17 THU 8/18 FRI 8/19 SAT 8/20 FRI 8/26 SUN 8/28 SAT 9/3 MON 9/5 WED 9/7 FRI 9/9 FRI 9/16 SAT 9/17 SUN 9/18 TUE 9/20 WED 9/28 THU 9/29 WED 10/5 FRI 10/7 SAT 10/8 FRI 10/14 SAT 10/15 TUE 10/18 FRI 10/21 SAT 10/22

EXPLOSIONS IN THE SKY KILLSWITCH ENGAGE JULIETTE LEWIS ANDY FRASCO AND THE U.N. B A Y S I D E WITH THE MENZINGERS O . A . R . ST. PAUL + THE BROKEN BONES CHANCE THE RAPPER THE AVETT BROTHERS THE SOUL REBELS SOUND SYSTEM FT. TALIB KWELI

THE PSYCHEDELIC FURS WITH THE CHURCH

ON SALE 7/15

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TI C K ET S

VIP

R E S E R VAT I O N S

OMNIANIGHTCLUB. CO M

702. 785. 6200

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about us

g r e e n s p u n m e d i a

g r o u p

Associate Publisher Mark De Pooter (mark.depooter@gmgvegas.com) Industry Weekly Editor Brock Radke (brock.radke@gmgvegas.com) Industry Weekly Writer Leslie Ventura (leslie.ventura@gmgvegas.com) Contributors Mark Adams, Sarah Feldberg, Rosalie Spear Associate Creative Director Liz Brown (liz.brown@gmgvegas.com) Designers Corlene Byrd, Jon Estrada Circulation Director Ron Gannon Art Director of Advertising and Marketing Services Sean Rademacher CEO, Publisher & Editor Brian Greenspun Chief Operating Officer Robert Cauthorn Group Publisher Gordon Prouty Managing Editor Ric Anderson Las Vegas Weekly Editor Spencer Patterson 2275 Corporate Circle, Suite 300 Henderson, NV 89074

lasvegasweekly.com/industry lasvegasweekly.com /lasvegasweekly /lasvegasweekly /lasvegasweekly

on the cover

Jewel. Photo by Al Powers

T o

a d v e r t i s e

Call 702-990-2550 or email advertising@gmgvegas.com For customer service questions, call 702-990-8993.

ADVANCED REFERRAL PROGRAM Earn FREE FLIGHTS and up to 5% COMMISSION when your clients fly privately with us. Restrictions apply. Call for details.

Book your flight by calling (702) 660.6546 or for more information visit www.cirrusav.com

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big this week

CALVI N HAR R I S

15 OMNIA

If you miss Harris’ alwayspacked show at Omnia Friday night, don’t despair. Just catch him at Wet Republic on Saturday.

14 thu

BE BE R E X H A

15 fri

TAO

Catch a special edition of Worship Thursdays when the Atlanta music mogul brings some Southern flavor to Tao.

INTRIGUE

There will definitely be no broken hearts in the club when this singer -songwriter makes her debut at Intrigue.

THE CH AINS MO K ER S

fri

JER MAI NE D UPR I

HAKKASAN

The hottest American DJ duo on the scene doubles up this week, at Hakkasan Friday and at Omnia on Tuesday.

Calvin Harris and tiËsto by Aaron Garcia; Jermaine Dupri by Denise Truscello; B e b e R e x h a b y O l i v i a M a l o n e ; Th e C h a i n s m o k e r s b y A l P o w e r s I m a g e r y ; A m b e r R o s e b y B r y a n S t e f f y

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big this week

t ië sto

1 OAK

No surprises: The first episode of Rose’s talk show focused on celebs and sex. She hosts while DJ Gusto plays at 1 OAK this weekend.

C A P TA I NS O F I NDU STRY

fri

drai’s

hyde

J OE MA Z

17 sun

16 sat

daylight

50 C E N T

sun

sat

A M BE R ROS E

ebc at night

jewel

liquid

hakkasan

R UCKU S omnia

NE RVO

t ië sto

daylight

The day before his rare appearance at the intimate Jewel at Aria to launch Flawless Mondays, Tiësto pumps it up at Wet Republic.

ST E VE ANG ELLO

Z E DD

N G H T MRE

WET REPUBLIC

marquee dayclub

CAR NAGE

encore beach club

M E T RO B OO MI N

MAR SH ME LLO

S K R ILLE X

foxtail pool club

DJ IKON

drai’s

NELLY

evolution

L E T â&#x20AC;&#x2122; S

G E T

F L A W L

W E L C O M E

T O

T H E

evolution

M U L T I - V E N U E I N D U S T R Y N I G H T

C E N T E R E D A T

J E W E L

s if catching megastar DJ Tiësto in the intimate environs of Jewel Nightclub at Aria wasn’t enough of a special occasion, July 18 also marks the debut of the shimmering new club’s industry night concept, Flawless Mondays. Monday is a big party night on the Strip for locals and professionals, but Jewel has much more up its sleeve than starstudded entertainment. In fact, Aria and Hakkasan Group are taking Flawless Mondays far beyond the club: Partiers will be able to bounce between Alibi Ultra Lounge and Herringbone restaurant to take advantage of special offers.

PHOTOGRAPHS COURTESY

L E S S

Herringbone simultaneously launches its new Hooked on Mondays menu, featuring half-priced bottles of bubbly, $3 oysters and “buildyour-own buckets” from the raw bar menu. Meanwhile, downstairs at the swanky, cocktail-centric Alibi, ladies receive complimentary Champagne from 9:30 to 11:30 p.m. as the party heats up. Once you land inside Jewel, take in the high-tech surroundings and the electrifying headlining talent, which will include Lil Jon on July 25 and GTA, Borgeous, Jauz and Nervo in August. Since opening in May, Jewel has quickly captivated the attention of Vegas clubgoers. Now with Flawless Mondays, Aria’s new treasure will undoubtedly do the same with the Strip’s party-ready industry crowd. Flawless Mondays with Tiësto at Jewel at Aria, July 18. –Brock Radke

CONRAD SEWELL THURSDAY, JULY 14

DJ SET BY JUSTIN CREDIBLE

BEBE REXHA

FRIDAY, JULY 15

N I G H T C L U B

A T

E B C AT N I G H T

THURSDAY, JULY 14

FRIDAY, JULY 15

R E S E R V A T I O N S

NGHTMRE

7 0 2 . 7 7 0 . 7 3 0 0

SATURDAY, JULY 16

E N C O R E

E B C AT N I G H T

MARSHMELLO

JESSE MARCO

FLOSSTRADAMUS SATURDAY, JULY 16

W Y N N L A S V E G A S . C O M

ZEDD

KASKADE

FRIDAY, JULY 15

NIGHTSWIM

RL GRIME

FRIDAY, JULY 15

F O R

T I C K E T S

SATURDAY, JULY 16

ZEDD

SATURDAY, JULY 16

A N D

MARSHMELLO

M O R E

SUNDAY, JULY 17

SKRILLEX

SUNDAY, JULY 17

I N F O R M A T I O N

V I S I T

FLOSSTRADAMUS MONDAY, JULY 18

I N D U S T R Y

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in the moment

e n co re b e ac h club at n igh t RL G RIME

july 7 Photographs Courtesy

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the setup

A b o v I T

A L

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the setup

L U X U R I O U S

A V I A T I O N P R I V A T E

P R O V I D E S J E T

Founded in 2005 in Scottsdale and purchased by president Greg Woods in 2009, Cirrus Aviation relocated to Las Vegas, where it’s been thriving ever since. “There’s a lot of high-net-worth traffic in and out of here … [so] It was kind of an easy place to start,” Woods says.

O F

T H E

C H O I C E

hen it comes to luxury transportation, Cirrus Aviation is Las Vegas’ premiere limousine in the sky.

The private jet charter company stationed near McCarran Airport is a frequent traveler’s dream and the go-to mode of transportation for the world’s top-billed DJs and musicians.

C I R R U S

Providing his clients with serious flexibility and privacy, Woods can help book and plan an unforgettable trip with all the bells and whistles, or simply offer guests comfortable, peaceful transportation at their leisure. You might expect globe-trotting DJs to have the most outlandish requests, but Woods says it’s the opposite. “They just want to hydrate and sleep, or just relax,” he says, adding that coconut water, fresh juices and fruit are high on the list. “It’s just a really quick and convenient way to get from one place to another,” including just about anywhere in the Americas and

Bahamas. “You can call us up and within about an hour we can have you airborne.” With a fl eet of fi ve jets, customers can pick which one suits their travel needs, including a Beechjet, two Learjets and a mighty Challenger—each one decked out with plush leather seating and wood accents. Within the last seven years, Cirrus has become the favorite of Vegas’ best-known superstar DJs, from David Guetta and Zedd to Above & Beyond and more. Whether Woods’ clients have an extensive in-fl ight rider or just want a stellar nightlife adventure or specifi c hotel accommodations, Cirrus can make the wildest dreams happen. “When we bring our clients in, we can give them experiences other people can’t.” Cirrus Aviation, 702-660-6546, cirrusav.com. –Leslie Ventura

PHOTOGRAPH BY MONA SHIELD PAYNE

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D A W N C O M I N G I S

D a y l i g h t ’ s E c l i p s e p a r t y

g e t s

a g g r e s s i v e w i t h P u s h a

aylight’s night-time party Eclipse returns to the Mandalay Bay pool club this week and the star of the show is Terrence Thornton, aka Pusha T, aka the president of Kanye West’s GOOD Music record label. Hot off the January release of his sophomore solo album King Push—Darkest Before Dawn: The Prelude, Pusha is the rare veteran rapper—he began as one half of the highly underrated duo Clipse in the early ’90s—who has never fallen off, and in fact has only created more and more highly acclaimed music as his career continues. Known just as much for precise

rhymes as for the dark, intense atmospherics on his work, Pusha brings a barrage of aggressive, highly crafted songs into any live performance. His latest record features production from Daylight residents Metro Boomin and Baauer as well as hip-hop megastars West (of course), Timbaland, Q-Tip and Puff Daddy. As Daylight continues to push the envelope with its artists, Pusha’s arrival here makes sense. He takes his art seriously, he’s competitive and you can hear and feel it in every track. “When I was coming up, rappers were my heroes ... I thought they were great artists; they were great fashion icons;

they were everything all in one,” he told Rolling Stone right before the album dropped. “Now I look at rappers today, and ... all you see is guys who don’t have any real particular base ... There’s not too many rappers you want to be like these days.” Eclipse with Pusha T at Daylight, July 14. –Brock Radke

J o h n D av i s s o n / I n v i s i o n

soundscape

I N D U S T R Y

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in the moment

OMNIA St e ve An g ello

Photographs by Aaron Garcia

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PLEASE JOIN US FOR OUR 1 YEAR ANNIVERSARY CELEBRATION

THURSDAY, JULY 28TH, 2016 6PM â&#x20AC;&#x201C; 8:30PM PRIVATE DINNER WITH CHEF STEVE YOUNG 5-Course Tasting Menu with Wine Pairing

$125 per person Space is limited, reserve now by emailing tachelle_lawson@wgresorts.com (call 702.732.5775) or www.opentable.com Signature cocktails and dinner specials all evening

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D R I N K A N D

L o o k a n d

h o t p a r t y

h a r d t h a n k s t o L a s

D r y b a r V e g a s

D R Y

here’s no doubt that your hair always looks its best the moment after you leave the salon. What if you could get that flawless look at anytime? And what if you could party while doing it? That was the vision of Drybar founder Alli Webb—to create a premier blowdry lounge in a playful environment where stylists dry, sculpt and twirl tresses into perfection. Inside, the blowout bar’s sophisticated yet fun design blends marble countertops with Drybar’s signature gray, white and yellow color palette, creating an energizing vibe you’re unlikely to find at your neighborhood salon. Using

only Drybar’s line of products and a blowdryer named Buttercup, stylists can provide customers with their desired party look in under an hour, wash included. Whether you’re attending a Vegas wedding, want to look smokin’ on the Strip or have plans to turn up Downtown, Drybar covers you with its blowout menu. Choose from the perfectly curled Cosmo or the beachy Mai Tai, or blend the two with the Cosmo-Tai. Or, go for the Straight Up, a polished ’do that’s picture-perfect no matter the occasion. Conveniently located inside the Miracle Mile shops, the brand new

Vegas Drybar boasts a luxurious cocktail bar so you can drink and dry at the same time. Order one of the signature drinks—each is named after a blowout style—like the Southern Comfort, made with Deep Eddy peach vodka, mango, passion fruit and orange and topped with sparkling wine. When your hair looks this good, there’s no such thing as starting too early. Drybar Las Vegas at the Miracle Mile Shops at Planet Hollywood, 702-560-5243; Sunday-Thursday 8 a.m.-11 p.m., Friday & Saturday 8 a.m.-midnight. –Leslie Ventura

Photograph by Jeff Green/Courtesy

outf itted

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hot plate

S o u t h e r n t w i s t s C r o s s r o a d s ’ i n s p i r e d h i t s

Photograph by Jon Estrada

all it a summer switch. Crossroads, the southern-inspired restaurant at the House of Blues at Mandalay Bay, has just unleashed an all-new menu full of fresh flavor, starting with appetizers like the roasted vegetable Mediterranean cheese dip—a smoky, creamy concoction topped with savory peppers and deepfried pita chips serving as the perfect vessel. Visit Crossroads this month and pair your starters with the featured cocktail for July, a refreshing and light blend of coconut rum, raspberries and ginger beer. The musically themed eatery stays true to its roots with entrée additions like the jambalaya bayou bowl, with marinated chicken and Andouille sausage, and the cast iron clucker, a perfectly blackened chicken sandwich. This bird bursts with Cajun flavor, topped with creamy garlic aioli, tomato and lettuce, a satisfying bite that pairs perfectly with a side of sweet potato waffle fries. Pro tip: Throw a couple spicy-sweet pickles somewhere in

n e w t h e

m e n u s p o t

between the brioche-bookended goodness. The best part of the menu makeover is that you can keep it light or completely indulge, making Crossroads a great main event or fantastic pre-game option before a night out; after all, Crossroads diners score complimentary entry to HOB’s top-of-the-tower Foundation Room. Whether you’re just beginning your night or wrapping the evening up, the whimsical root beer float is a solid dessert decision, one you can upgrade to an adult version with Coney Island’s alcoholic root beer. It creates the perfect summery buzz. Crossroads at House of Blues at Mandalay Bay, 702-632-7600; daily 7 a.m.midnight. –Mark Adams

DUCK DUCK BOOZE PARTY THU / JUL / 28

L I Q U I D P O O L LV . C O M / 7 0 2 5 9 0 9 9 7 9 / # L I Q U I D LV

I N D U S T R Y

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in the moment

hy d e Bel l ag i o DJ C r o o k e d

Photographs Courtesy

july 9

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in the moment

XS N i g h tsw i m mars h mello

Photographs by Tony Tran

july 10

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W I N T ICK E T S FOR YOU AND A GU E ST TO ATTE ND TH E PR E M I E R E OF

MONDAY, JULY 18 â&#x20AC;¢ 7:30 PM Please go to www.lasvegasweekly.com/giveaways for your chance to win a ticket (admits 2) to the U.S. Premiere All entries must be received by 9:00 AM on Friday, July 15. Winners will be notified on Friday, July 15 by 3:00 PM. Each winner may attend with one guest. Winner must show I.D. Invitation is non-transferable. JASON BOURNE has been rated PG-13 for intense sequences of violence and action, and brief strong language. NO PURCHASE NECESSARY.

IN THEATERS JULY 29

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#industry weekly

With DJ Politik providing the soundtrack, XS server Meagan Borkman celebrated her birthday inside Intrigue on July 7, and Industry Weekly provided a bit of a present, too. She was the star of last weekâ&#x20AC;&#x2122;s Outfitted feature showing the offerings of the Wynn Collection boutique.

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BAN K

7/14 Kid Conrad. 7/15-7/16 DJ C-L.A. 7/17 DJ Karma. 7/21 Kid Conrad. Bellagio, Thu-Sun, 702-693-8300. FOUN DAT ION

JEWE L

OAK

7/15 Kid Conrad. 7/16 Amber Rose. 7/20 DJ Dash. 7/22 DJ Fashen. 7/23 DJ Gusto. 7/27 ASAP Ferg. 7/29 Scott Disick. 7/30 DJ Gusto. Mirage, Wed, Fri-Sat, 702-6938300. T HE

ROOM

7/15 DJ Metro. 7/16 DJ Tony Martinez. 7/22 DJ Crooked. 7/23 Tyson Beckford. Mandalay Bay, nightly, 702-632-7631. GHOST BAR Thu Benny Black. Fri-Sat DJs Mark Stylz & Exodus. Sun DJ Exodus. Mon-Tue DJ Seany Mac. Wed DJ Presto One. Palms, nightly, 702-942-6832.

7/15 GTA. 7/16 Steve Angello. 7/18 Tiësto. 7/22 Jason Derulo. 7/23 Iggy Azalea. 7/25 Lil Jon. 7/29 The Chainsmokers. 7/30 Steve Aoki. Aria, Mon, Thu-Sat, 702-590-8000. LAX 7/14 DJ R.O.B. 7/15 DJs Cyberkid & J-Nice. 7/16 DJs Cass & Bozak. 7/17 EVO Games Afterparty. 7/21 DJ R.O.B. 7/22 Eric Forbes. 7/23 Letty B & DJ Neva. 7/28 DJ R.O.B. 7/29 Eric Forbes. 7/30 DJs Aybsynt Mynded & J-Nice. Luxor, Thu-Sat, 702-262-4529.

L I GH T 7/15 DJ Cobra. 7/16 Metro Boomin. 7/20 Metro Boomin. 7/22 Clinton Sparks. 7/23 Craig Anthony. 7/27 DJ Five. 7/29 Tony Arzadon. 7/30 DJ E-Rock. Mandalay Bay, Wed, Fri-Sat, 702-632-4700.

OM N I A HAK KASAN 7/14 Lil Jon. 7/15 The Chainsmokers. 7/16 Tiësto. 7/17 Dzeko & Torres. 7/21 Chuckie. 7/22 Kim Kardashian West. 7/23 Tiësto. 7/24 3LAU. 7/28 Tiësto. 7/29 Hardwell. 7/30 Tiësto. 7/31 W&W. MGM Grand, WedSun, 702-891-3838.

7/15 Calvin Harris. 7/16 Nervo. 7/19 The Chainsmokers. 7/22 Calvin Harris. 7/23 Chuckie. 7/26 Jauz. 7/29 Calvin Harris. 7/30 Martin Garrix. Caesars Palace, Tue, Thu-Sun, 702-785-6200.

S U R R EN D ER HYDE

ENJOY UNPARALLELED VIEWS OF THE LAS VEGAS STRIP, WHILE EXPLORING, DISCOVERING AND SAVORING THE BEST PREMIUM CIGARS AND SPIRITS.

7/15 Joe Maz. 7/16 DJ D-Sharp. 7/19 DJ Ikon. 7/20 DJ D-Miles. 7/22 DJ Ikon. 7/23 Joe Jonas. 7/26-7/27 DJ D-Miles. 7/29 DJ Konflikt. 7/30 DJ Karma. Bellagio, nightly, 702-693-8700. IN T RIGUE 7/14 Conrad Sewell. 7/15 Bebe Rexha & Justin Credible. 7/16 Jesse Marco. 7/21 Rozes & Politik. 7/22 Daya & DJ Excel. 7/23 Kesha. 7/28 Eric DLux. 7/29 AlunaGeorge. 7/30 DJ Konflikt. Wynn, Thu-Sat, 702770-7300.

DAVIDOFF CIGAR BAR AND LOUNGE DA 702.473.5001 | 3200 Las Vegas Blvd., South, Suite 1245, Las Vegas, NV 89109

7/13 A-Trak. 7/14 Marshmello. 7/15 Nghtmre. 7/16 Flosstradamus. 7/20 RL Grime. 7/21 Audien. 7/23 RL Grime. 7/27 Flosstradamus. 7/28 Skrillex. 7/29 A-Trak. 7/30 RL Grime. Encore, Wed, Fri-Sat, 702-770-7300.

XS 7/15 RL Grime. 7/16 Zedd. 7/17 Skrillex. 7/18 Flosstradamus. 7/22 Skrillex. 7/23 Dillon Francis. 7/247/25 Major Lazer. 7/29 Skrillex. 7/30 Zedd. 7/31 Diplo. Encore, Fri-Mon, 702-770-0097.

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MARQUEE

BARE 7/14 Greg Lopez. 7/15 DJ Que. 7/16 Sean Perry. 7/17 Zsuzsanna. 7/18 DJ Wellman. 7/21 Greg Lopez. 7/22 DJ Que. 7/23 DJ Nova. 7/24 Zsuzsanna. 7/25 DJ Neva. 7/28 Greg Lopez. 7/29 DJ Que. 7/30 OB-One. Mirage, Thu-Mon, 702-693-8300.

7/14 Eclipse with Pusha T. 7/15 Captains of Industry. 7/16 Morgan Page. 7/17 Metro Boomin. 7/22 Brooke Evers. 7/23 Steve Powers. 7/24 DJ Five. 7/29 DJ E-Rock. 7/30 Bassjackers. Mandalay Bay, Thu-Sun, 702-632-4700.

DAYC L U B

7/15 Tom & Collins. 7/16 Carnage. 7/17 Lema. 7/22 The Knocks. 7/23 Tritonal. 7/24 Lema. 7/30 Cash Cash. 7/31 Lema. Cosmopolitan, daily, 702-333-9000.

PALMS DAY L I G H T

POOL

DAYC L U B

7/15 DJs Mark Stylz & Exodus. 7/16 DJs Presto One & Exodus. 7/22 DJs Mark Stylz & Exodus. 7/23 DJs Benny Black & Exodus. 7/29 DJs Mark Stylz & Exodus. 7/30 DJs Benny Black & Exodus. Palms, daily, 702-9426832.

REHAB E N CO R E

BEACH

CLU B

7/14 EBC at Night with Marshmello. 7/15 Zedd. 7/15 EBC at Night with Nghtmre. 7/16 Kaskade. 7/17 Marshmello. 7/21 EBC at Night with Audien. 7/22 Flosstradamus. 7/23 Kaskade. 7/24 Zedd. 7/28 EBC at Night with Skrillex. 7/29 Zedd. 7/29 EBC at Night with A-Trak. 7/30 Kaskade. 7/31 Alesso. Encore, Thu-Sun, 702-770-7300.

G O

P O O L

Thu DJ Jenna Palmer. Fri DJ JD Live. Sat DJ Eric Forbes. Sun DJ Kettle. Mon DJ Exodus. Tue DJ Liz Clark. Wed DJ Sev One. Flamingo, daily, 702-6972888.

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LAS VEGAS WEEKLY

Frankie Edgar (left) counters a shot from Jose Aldo during UFC 200 on July 9 at T-Mobile Arena, but Aldo prevailed in the featherweight title bout. Elsewhere on the card, Amanda Nunes took the women’s bantamweight championship from Miesha Tate, Anderson Silva replaced Jon Jones but still fell to Daniel Cormier, and former heavyweight champ Brock Lesnar topped Mark Hunt. (L.E. Baskow/Staff)

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ARTS & ENTERTAINMENT 56

Smith Galtney develops a Cultural Attachment to the Bret Easton Ellis Podcast.

The new Ghostbusters are worth it, and Bryan Cranston goes deep cover.

Local director JT Mollner has arrived with Outlaws and Angels.

The Gossy Era comes to a close in this week’s Kats Report.

Kurumpaw captivates, and our playlist preps you for the Psychedelic Furs.

Artists Martin Kreloff and Diane Bush make Sahara West a mustvisit this month.

Olivia’s Latin Cuisine spices up the old Boulevard Mall; we go on a poke hunt.

ON THE WEB Go to lasvegasweekly.com for a promising update on the local gay-nightclub scene; bonus reviews of new films include the biggest blockbuster ever from New Zealand and a Western with Clint Eastwood’s daughter; and a recap of “Stuttering” John Melendez’s comedy show at Adrenaline Sports Bar.

56 POP CULTURE WEEKLY | 07.14.16

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ntil late last fall, I had a typical view of Bret Easton Ellis: I’d read about his supposedly incendiary Twitter account and assumed he was an attention whore. I’d read his criticism of film director Kathryn Bigelow, the Gay & Lesbian Alliance Against Defamation and millennials (“Generation Wuss,” as he calls them) and concluded he was a misogynist, a selfloathing homosexual and a crusty old fart. After reading Imperial Bedrooms, the 2010 sequel to Less Than Zero that features an ending far more troubling than anything in American Psycho, I was convinced the guy was disturbed. Maybe even a ho-hum writer. This year, however, Ellis has suddenly become my new hero. He’s influenced what I CULTURAL ATTACHMENT watch (The Invitation, The Night BY SMITH GALTNEY Manager, Bone Tomahawk). He’s got me reading Joan Didion (and reevaluating Zero, Psycho and Bedrooms). He even made me binge-listen to all six of the Eagles’ ’70s albums. What a difference a podcast makes! The Bret Easton Ellis Podcast has been around since November 2013, when Kanye West was its inaugural guest. Unlike the majority of news about the author, it fleshes out Bret the Twitter Terror versus Bret the Movie Lover, Bret the Music Obsessive,

Bret Easton Ellis’ podcast is about movies and Bret Easton Ellis. (Illustration by Jon Estrada/Staff)

Bret the Voracious Reader, Bret Who Values the Delivery and Defense of Opinion. Yes, he’s consistently pissed off about PC groupthink and “social justice warriors.” Yes, he’s disenchanted by the “democratization of the arts” and the deluge of digital culture. A lot of love fuels his cynicism, but naturally, the swipes at Selma (via a conversation with Quentin Tarantino) generate more clickbait than, say, Ellis’ adoration for Inside Out. Ostensibly, the Bret Easton Ellis Podcast is about movies, but it’s really about Bret Easton Ellis. His questions can be longer than his guests’ answers, and he’s not above asking them about his own work. James Van Der Beek was invited to discuss the 2002 film adaptation of The Rules of Attraction. Duncan Sheik recently talked about his Broadway musicalization of American Psycho. At times, the self-referral can get a tad annoying, like when he tells Anthony Jeselnik, “We’re here to talk about me.” But mostly it’s fascinating. The death of cinema, victim culture and its sentimental narrative, the tyranny of movements such as feminism and political correctness—

these are topics Ellis raises with all of his guests, making the podcast as a whole feel like an ongoing conversation. The best episodes often involve directors (Eli Roth, Andrew Haigh, Sean Baker), while actors are less interesting (Molly Ringwald, Judd Nelson, Jason Schwartzman). If things go particularly badly, Ellis doesn’t shrink from putting in a last word, offering post-mortems on his halted conversation with Ira Sachs and the “excruciating hour” he spent with Fred Armisen and Carrie Brownstein. In a world of good manners, these moments are pretty thrilling, even if I don’t entirely trust Ellis’ side of the story. Back in 2014, in an article titled “Bret Easton Ellis is a jerk but it’s OK,” the online magazine Death and Taxes said, “It’s refreshing to have access to a person’s flaws when most of us are so busy censoring ours completely.” Personally, I don’t think expressing opinions—like suggesting Selma was snubbed at the Oscars not because of racism but merely because it wasn’t that good—counts as a character flaw. But I guess that’s where we are these days.

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screen

Give them a call By Josh Bell ver the course of the three action-comedies that they’ve now made together, director Paul Feig and star Melissa McCarthy have managed to deliver bigger and bigger action while holding onto the freewheeling humor that made Bridesmaids the breakout movie for both of them. Like their previous collaborations The Heat and Spy, the duo’s new Ghostbusters remake features strong comedy with an impressively talented cast, but eventually ends up overwhelmed by the demands of its large-scale action storyline. Before that, though, it’s an entertainingly goofy comedy that offers a slightly different take on the beloved 1984 original starring Bill Murray, Dan Aykroyd and Harold Ramis. Respectable physicist Erin Gilbert (Kristen Wiig) reunites with her disreputable old friend Abby Yates (McCarthy), who’s studying the paranormal alongside the eccentric Jillian Holtzmann (Kate McKinnon), and the three scientists start their ghostbusting business after

The new Ghostbusters offers an appealing update

being booted from their academic jobs. Along with former MTA worker Patty Tolan (Leslie Jones), an expert in NYC history and geography, they work to rid New York City of a supernatural infestation. The basic structure is familiar from the original, although many of the details have been changed, and the real appeal is the comedic chemistry among the four talented main performers. Feig may have broadened his scope as a filmmaker since Bridesmaids, but his strength still lies in putting a bunch of funny people onscreen together and letting them riff on each other. The best parts of Ghostbusters involve the main characters in their lab, talking over some ridiculous techno-babble or ogling their beautiful but unbelievably dumb receptionist (Chris Hemsworth, poking good-natured fun at his pretty-boy image). The movie loses steam in its third act when it has to justify its status as a blockbuster action movie, as the characters get overshadowed by the special-effects set pieces. Feig isn’t as adept at directing action as he is at directing actors, and at worst the climax, with

comedy stars battling giant CGI blobs on the chaotic streets of New York, resembles something like Pixels. Feig and co-writer Katie Dippold (who also wrote The Heat) spend more time than the original creators did on building up backstory and mythology, and some of that also weighs down the comedy. There are plentiful references to the original, some of which are clever and some of which bring the movie to a screeching halt. By the third or fourth cameo, it seems like Feig and Dippold are apprehensive about letting their movie stand on its own. There’s no reason they should be; for a movie declared alternately a travesty or a triumph months before its premiere, Ghostbusters succeeds perfectly well as fun, accessible mainstream entertainment.

aaacc GHOSTBUSTERS Kristen Wiig, Melissa McCarthy, Kate McKinnon, Leslie Jones. Directed by Paul Feig. Rated PG-13. Opens Friday citywide.

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No class +

McCarthy, McKinnon, Wiig and Jones (from left) make sure not to cross the streams. (Sony/Courtesy)

Crime doesn’t pay Bryan Cranston goes undercover in the generic The Infiltrator Has an undercover agent in a movie ever gotten in just deep enough? As soon as U.S. Customs agent Bob Mazur (Bryan Cranston) decides to go undercover as a money launderer in order to bring down associates of notorious drug kingpin Pablo Escobar in the mid-1980s, it’s obvious that he’ll find himself in too deep, alienate his family and get too close to the people he’s meant to be investigating. Based on the real-life Mazur’s own book, The Infiltrator may be inspired by true events, but it’s still a generic crime drama, with a central character who remains difficult to read even as he’s drawn into increasingly extreme situations. After setting up his cover ID, complete with fellow agents as his business partner (John Leguizamo)

and fiancée (Diane Kruger), Mazur works his way up the food chain of Escobar associates, but the script by Ellen Brown Furman does a poor job of differentiating the various underworld figures. Eventually Mazur gets close to one particularly ruthless but soulful criminal (Benjamin Bratt), whom he will of course inevitably have to betray. Director Brad Furman (The Lincoln Lawyer) presents it all in a straightforward fashion, with bland dialogue and oversaturated colors. It sounds and looks exactly like you’d expect from this sort of movie, and it never goes above the bare minimum. –Josh Bell

aabcc

Danny McBride has made a career out of playing variations on the same overconfident, inconsiderate, vulgar, egotistical buffoon. The purest manifestation was Kenny Powers, the main character of the HBO comedy series Eastbound & Down, co-created by McBride and his longtime collaborator Jody Hill. McBride and Hill return to HBO with Vice Principals, which takes McBride’s Kenny Powers type and makes him a mid-level administrator at a small-town South Carolina high school. McBride’s Neal Gamby is one of two vice principals hoping to ascend to the school’s top position when the previous principal retires, but both he and rival Lee Russell (Walton Goggins) are thwarted when the superintendent brings in outsider Belinda Brown (Kimberly Hebert Gregory) instead. Neal and Lee team up to take Belinda down, a mission that involves lots of reprehensible behavior from all parties. Like Eastbound, Vice Principals is deliberately off-putting and obnoxious, with almost no likable characters, and nearly all of its comedy comes from watching terrible people in uncomfortable situations. McBride hasn’t added any dimensions to his comedic style, and Neal is only slightly less abrasive than Kenny Powers was. At least Eastbound had a unique setting, with its focus on minor-league baseball; Vice Principals doesn’t offer much of a twist on the familiar highschool setting, or even on the idea that teachers and administrators are despicable. It’s just a slight variation on McBride’s grating, played-out persona. –Josh Bell

THE INFILTRATOR

aaccc

Bryan Cranston, John Leguizamo, Diane Kruger. Directed by Brad Furman. Rated R. Now playing citywide.

VICE PRINCIPALS Sundays, 10:30 p.m., HBO.

60 SCREEN

WEEKLY | 07.14.16

From a haunted

JT Mollner directing on set. (Momentum Pictures/ Courtesy)

house to the Wild West Vegas’ JT Mollner brings his feature-film debut home By Josh Bell ith his first feature film, Outlaws and Angels, opening this week following its premiere at January’s Sundance Film Festival, writerdirector JT Mollner has a burgeoning career as a filmmaker. But no matter what he’s doing, the Las Vegas native blocks out three months a year to return to his hometown for a very special project: Mollner’s family has run the popular Freakling Bros. Trilogy of Terrors haunted houses since 1992. “I consider the haunted house a project like any other film project,” he says. “I tell my agency that I’m unavailable during that time every year.” The rest of the year, Mollner is busy in LA, where he’s been based for the past decade. “From 2006 on, my film school, in essence, was directing short films, commercials and music videos,” he says. Now he’s put that knowledge to use with Outlaws and Angels, a dark West-

ern starring Chad Michael Murray, Luke Wilson and Francesca Eastwood, daughter of Clint Eastwood and Frances Fisher. The cast also includes a couple of Vegas-based actors—former Tony & Tina’s Wedding star John Lombardo and Mollner’s father Duke—in small roles, and Mollner is happy to bring the movie (which was shot in New Mexico) to a hometown audience. “I’m really excited for the Vegas crowd that I grew up with to be able to go see the movie on the big screen like it was intended,” he says. As for the future? “I have another film that’s written to take place in Las Vegas, so I definitely plan on coming back.” For our review of Outlaws and Angels, go to lasvegasweekly.com.

OUTLAWS AND ANGELS Chad Michael Murray, Francesca Eastwood, Luke Wilson. Directed by JT Mollner. Rated R. Opens Friday at AMC Town Square and on VOD.

las vegas weekly 07.14.16

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Matt Goss’ show times out naturally; Penn Jillette mulls his own demise in ‘Presto!’

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he VegasVille scene is once more a veritable cornucopia of news nuggets: • This week’s announcement that Matt Goss is closing his stylish show at the Gossy Room at Caesars Palace took many fans by surprise. But not everyone was caught off-guard. Word that the Britain-born showman was planning to leave this fall had become an open topic of discussion around town, and a closing date of September 24 has finally been set for the Gossy finale. Goss deserves credit for conceiving and delivering a focused production that reminded of the great days of Las Vegas lounge the kats and showroom report entertainment. by John The 165-seat room Katsilometes was refitted as a ticketed venue, with Goss commanding a $60-$80 ticket price (and $125 for VIP seats, leading to a post-show meet-and-greet). His show was always something of a “tweener,” with more production than a lounge act (including his Dirty Virgins dance team), but staged in a venue with a smaller scope than a traditional showroom. As Goss closes out a run that covered more than six years, I recall something longtime Vegas bandleader Lon Bronson once said of Goss’ show. In a KUNV 91.5-FM radio interview we conducted in August of 2011, the founder of the long-running Lon Bronson All-Star Band said: “The closest thing we have to a traditional lounge show in Las Vegas is Matt Goss. But it is not really a lounge

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The Gossy One wraps it up at Caesars on September 24. (Mario Barberio/Courtesy)

show. It’s a great show, with his band and all of the dancers, but it is a paid show … In the old days, the boys would subsidize these shows, and you could see a Don Rickles or Wayne Newton, and the tourists would spend their money on the tables or on food.” Goss often joked about the fans who never paid to see his show who were able to watch him perform from the bar outside the venue, peering in through the curtains and catching his image off mirrored pillars. But in the old days—and we’ll nod to Louis Prima and Keely Smith at Sahara’s Casbar Lounge as the model for vintage-Vegas lounge entertainment—Goss’ show would have been free and open to everyone. Those who were around in those times miss them, and we’ll miss the Goss show. Regardless of price, it hearkened to a very hip time in our city’s history. • Penn Jillette’s new book, Presto! How I Made Over 100 Pounds Disappear and Other Magical Tales, is out August 2. His latest effort chronicles his remarkable weight loss over the past couple of years, as he topped out at 330 and today is 234 pounds (announced from the stage in a show Sunday night). Jillette faces his own mortality

from the top, in the book’s introduction. He talks of the Bullet Catch, “the most dangerous trick in magic,” which he and Teller have performed more times onstage than any magic show. As the act plays out, the two performing partners fire bullets from handguns through glass panes and into each other’s mouths. But as Jillette says, “The Bullet Catch will not kill me. ... I will die, like many Americans will, as a result of living most of my life being a fat f*ck. By the time I turned fifty-nine, I had been more than one-hundred pounds overweight for over a decade. Before that, I’d been fifty pounds overweight for over a decade, and before that I’d been thirty pounds overweight for over a decade, and before that ... I was a homeless skinny teenager hitchhiking around the country who, for a brief, sexy statistical blip, might have been a little more likely to die from a gun than a doughnut.” In a tale that has become part of Vegas lore, in the fall of 2014, Jillette, now 61, embarked on what he describes as “Crazy” Ray Cronise’s wild “potato diet.” Cronise is a former NASA scientist and innovator, and today Jillette’s diet is free of animal products, grains, sugar, salt … and ammo.

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Chain reaction By Leslie Ventura here’s nothing like the excitement of hearing a great band for the first time. All of sudden you want to buy all their records, memorize their discography and catch them every time they play your town. When that band is local, however, there’s a different kind of excitement—the kind where you can’t wait to see what they do next. That’s what it was like seeing Kurumpaw (named after the short story “Lobo the King of Currumpaw”) at the Griffin last week. The mystical, psychedelic surf rockers have been picking up steam, and it’s

A storm builds around Kurumpaw’s mystical surf-rock

obvious why: Their live show is whimsical yet rough, a thunderous vehicle that urges limbs to move. Kurumpaw’s energetic, somewhat fearless attitude means there’s no shortage of interesting experimental riffage and lengthy, texturized breakdowns. While some elements might not always work as planned, it’s the risk factor that makes them stand out—like the moment when the band brought a didgeridoo player onstage as singer/keyboardist Cindy Espinosa attacked the floor toms. When she returned to the mic, the two musicians switched places, engaging in a bellowing drum battle with

percussionist Ricardo Hernandez. “I listen to a lot of ’60s and ’70s music and also alternative music in Spanish from the 2000s— anything that’s really out there and alternative influences me a lot,” says guitarist Mikelo Flores. “I feel like right now we’re at a point where we actually don’t care [about genre] anymore.” That much was clear inside the dark room at the Griffin as Kurumpaw finished its set, each song morphing like a chain reaction of chemicals— some surfy, some psychedelic—but all explosive. It was just the kind of thing we hope to hear more of.

NOISE

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Playlist: Deep cuts from the Psychedelic Furs and the Church The Church “Tristesse” The second song on 1985’s Heyday is a spiritual cousin of California’s Paisley Underground movement: Psychedelic jangle and twinkling piano, as well as sighing harmonies, lend the song a bittersweet sheen. “North, South, East and West” In addition to the band’s best song (that would be “Under The Milky Way”), 1988’s Starfish contains this gem, featuring moody guitar ripples and lyrics relevant to today’s political climate. “Appalatia” This disorienting, shoegazepsych song from 2003’s Forget Yourself features a breathy lead vocal turn from guitarist Peter Koppes and soaring, spacious arrangements.

Kurumpaw adds some psychedelic textures to its surf rock. (Spencer Burton/Special to Weekly)

Local sound roundup

K. Kilfeather Plastic Smiles of Dishonesty

“All songs were written and recorded on the spot so don’t be such a dick bout it,” reads a disclaimer on Plastic Smiles of Dishonesty. Kevin “K.” Kilfeather’s second 2016 release is a 16-song collection of gritty, breakneck punk rock, taking influence from bands like Motörhead, Misfits and Dead Kennedys. Kilfeather is literally all over the place as he jumps between artistic duties: playing every instrument, writing, recording, mixing and mastering the record. Converse to its name, Plastic Smiles of Dishonesty is a straightforward rock album that showcases the musician’s range and knack for all things heavy, be it hardcore punk or grungy, dirty blues. Hear: “I Feel Sick,” “Cerbo Vulva.”

Demi Vie “Some Kind of Way”

Vegas indie band Demi Vie came together at the end of 2015 but we’re just now hearing what this

four-piece is capable of—and it’s promising. While the band works to finish its debut album, first single “Some Kind Of Way,” is out on Soundcloud. The band cites influences like Arcade Fire and Death Cab for Cutie on its website, but Demi Vie’s latest track is reminiscent of early aughts indie bands like Margot & The Nuclear So and So’s, layering magnetic harmonies and piano runs atop bright horns and melodic, atmospheric guitars. It’s a catchy, tug-on-your-heart-strings pop tune that you’ll play on repeat.

WNTRBRK Heat

Vegas singer-songwriter Jordan Collins might be better known for his band Echo Stains (one of Weekly’s bands to watch in 2016), but the musician’s quirky, avant-garde solo project is definitely worth a listen. Delving into darker, stranger territory on his recent EP Heat, Collins purposefully branches out from Echo Stains’ poppier, new-wave roots, opting instead for complex, sometimes eerie textures, layered synths and breathy vocals that were intended for cranked-up headphone-listening—or for an altered state of mind. Hear: “Sugar Boi,” “Dracula.” –Leslie Ventura

Psychedelic Furs “We Love You” The Furs solidified their reputation as the punk Velvet Underground on their first single, courtesy of sauntering guitar drone, lively sax, strutting bass lines and Richard Butler’s foggy sneer. “All Of This And Nothing” The final song on 1981’s Talk Talk Talk is an agonized six-minute dirge about the emotional and physical wreckage of a broken relationship—something conveyed by mournful sax and pitch-black guitar thunderclouds. “Should God Forget” The Furs ended the ’80s by ditching their glossy keyboards in favor of a dreamier, shoegaze-roiled sound—as heard on 1989’s “Should God Forget,” which combines swirling, psychedelic-kissed guitars and rawer vocals. –Annie Zaleski

THE PSYCHEDELIC FURS & THE CHURCH July 16, 7 p.m. Brooklyn Bowl, $30-$35.

64 fine art

WEEKLY | 07.14.16

KNOW YOUR NEIGHBORS Las Vegans Martin Kreloff and Diane Bush make Sahara West Library a must-visit this month Hollywood, Vegas. uring the 1970s, Miami artist Meanwhile, Sahara West LiMartin Kreloff embarked on brary’s adjoining gallery features a project to promote the arts the sixth installment of Diane involving a cross-section of Bush’s satirical and political art the Florida city’s community leaders project Dishing It Out. After moving and residents speaking the word through galleries like Brett Wesley “art.” The exhibit, Miami Says Art, and Left of Center, the project has featured renderings of the arrived at Sahara West in Martin Kreloff: subjects—among them, the form of group show A Retrospective Vanity Plates. Among its Gloria Vanderbilt and Through August 6. former Brooklyn Museum don’t-miss inclusions: Vanity Plates of Art director Arnold Sean Russell’s side-byThrough July 24. Lehman—and some of side photo transfers on Monday-Thursday, 10 paper, “Lowest Common those pieces are included a.m.-8 p.m.; Fridayin Martin Kreloff: A RetroTrump” and “Lowest Sunday, 10 a.m.-6 p.m. The Studio at spective, now showing at Common Hillary,” which Sahara West Library, render the candidates Sahara West Library. 702-507-3630. The exhibits, covering hazy and almost clownish five decades of Kreloff’s in portraits, reducing work, show the Brooklyn-born Las their individuality to mere recogVegan’s evolving style and undying nizable faces. Works by local and loyalty to Pop Art. His bright, hardnational artists, including Jerry edged catalog includes commisRoss, Stewart Freshwater and Lance sioned portraits, inks of Hollywood Smith, take viewers into the wild celebrities and endearing and election-cycle landscape. The china exceptional portraits of his family’s cabinet of “vanity plates” features martriarchs—mother, grandmother artists’ takes on Chris Christie, Ben and aunt—each providing a rich Carson and others. glimpse into Kreloff’s Brooklyn Equally worth the drive over is background. Kreloff, who studied at Sandra Chamomile’s glazed ceramic Parsons School of Design, hits hard “Trump Bricks,” which comments on time and place, chronicling and on the Republican nominee’s promcapturing the spirit of different eras ise to build a wall between the U.S. in various places: Brooklyn, Miami, and Mexico.

By Kristen Peterson

65 PRINT

WEEKLY | 07.14.16

POOL PARTY FEATURING

PATRICK SIEBEN

NEON IN THE ’90S Margaret Wappler’s UFO-tinged novel is more than just a pop-culture romp on the lawn, but his wife, Cynthia, t’s 1994 in the suburbs. Girls feels a more existential dread. are wearing scrunchies “The spaceship, she thought, and Sharpie-customized was meant to be here but she Converse. Forrest Gump is in couldn’t tell if it was bringing movie theaters. Fugazi is on the rarelease or terror.” dio. A flying saucer has just landed As Ernest and Cynthia both try to in the Allens’ backyard. figure out for themselves what they Margaret Wappler’s novel, Neon want the spaceship to mean, their Green, details a slightly alternate interaction with their teenagers 1990s, in which the Allens’ son, in a family log Ernest makes them Gabe, wins a lottery for a flying keep reveals the most about how evsaucer. Wappler writes eryone is at cross-purposes. about what binds the family AAACC Wappler captures the spirit together, and what happens NEON GREEN of the ’90s while capturing when an invader threatens the different pacing of conby Margaret Wappler. $16. to drive them apart. versation before computers The novel operates on the and smartphones. steady mystery of the UFO, In addition to exploring but what makes it work is its combithe mystery of the UFO’s presence, nation of tropes from the ’90s with Neon Green illuminates what it believable, complex characters. means to be a teenager in the ’90s Neon Green is not just a pop-culture as they unfold. The decade hasn’t romp, but rather, a careful study yet defined itself. of family dynamics. The Allens’ “What was the big passion of this patriarch, Ernest, is a die-hard decade? The media had trumped environmentalist, stripped of his up the ’90s as some sort of second youthful energy and saddled with coming of the ’60s, but so far, Kurt dad jeans. But he still has some Cobain had died too young and that fight left: “The very idea filled him was it for profound generational with energy. His life was a fight. He experiences.” was a fighter, no apologies and no Neon Green is firmly optimistic, breaks for inconvenience.” yet laments what humans have done Ernest is mostly worried about to the environment. Just like the the sludge the spaceship dumps ’90s, it’s a study in contradiction.

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66 LAS VEGAS WEEKLY 07.14.16

A GEM AT THE BOULEVARD MALL FOOD GETS AN EXTREME UPGRADE AT OLIVIA’S LATIN CUISINE BY JIM BEGLEY In case you hadn’t noticed, the oft-maligned Boulevard Mall has recently undergone major tenant turnover and a more-thancosmetic facelift, brightening it up in an attempt to lure a new customer base. And in a very visible frontage location, Olivia’s Latin Cuisine & Bar has opened as arguably the nicest off-Strip Mexican restaurant space in Las Vegas. The lovechild of Taco Y Taco maestro Faviola Trujillo and former Mundo toque Robert Solano makes use of high ceilings and clean contemporary wood and stone finishes with an elevated menu to match. In fact, Olivia’s feels like a candidate for a Strip casino location rather than the Boulevard Mall. But if that were the case, locals would be less likely to explore it. If you haven’t visited, you’re missing out. I’ve always considered guacamole to be a good measuring stick of Mexican fare. If a kitchen cares to make guac à la minute, chances OLIVIA’S are you’ll see attention to detail LATIN CUIelsewhere on the menu. While I SINE & BAR prefer the pageantry of tableside Boulevard preparation, I’ll certainly accept Mall, 702-9061700. Sunday- Olivia’s made-to-order guacamole Thursday, ($7), which highlights the creamy 11:30 a.m.-9 avocado with hints of citrus. The p.m.; Friday & Saturday, 11:30 quesadilla de pollo al pastor ($9) a.m.-11 p.m. excels above its typical cheesestuffed brethren with the liberal use of smoky, spicy chipotle aioli and Oaxacan cheese. Oversized flautas de res ($9) are stuffed with rich, smoky, pulled beef brisket while remaining inexplicably light. Olivia’s significant seafood emphasis can be found throughout the menu, from the sharply flavored ceviche tostada ($7) to tender grilled octopus ($12) highlighted by vibrant chimichurri. Given what Solano did at the former Mundo at World Market Center, the intricacy of these dishes is unsurprising. Garlic shrimp ($15) is sublime with enough heat in a complex citrus sauce worth sopping up with corn-laden cilantro rice so good it’s worth ordering on its own, while red chile shrimp ($15) is vibrant and equally alluring. These are dishes worth seeking out.

Olivia’s oxtail enchiladas. (Jon Estrada/Staff)

FOOD & DRINK

67 LAS VEGAS WEEKLY 07.14.16

THE SOPRANO DRINK

Soulfish Poke’s zen salmon bowl. (Jon Estrada/Staff)

INGREDIENTS

POKE PARADISE

1 1/2 oz. Absolut Elyx Vodka /4 oz. Aperol Italian Aperitif

GREAT VERSIONS OF THE HAWAIIAN-STYLE FISH DISH ARE POPPING UP ALL OVER

Chef Roy Ellamar tells a tale as he presents me with his iteration of poke. Years ago, a friend from his native Hawaii presented an upscale hotel with the idea of a quick-stop poke place. They told him it would never work. Now, this simple fish dish has become one of if not the hottest food trend in the country. Poke is a Hawaiian seafood salad, most commonly made with raw tuna marinated with assorted Asian condiments and often served over sushi rice. It is fresh, full of protein, filling but not in an uncomfortable way, and when done right, something to be craved. The proliferation of excellent poke in Las Vegas seems to be gaining steam. Here are four unique choices to try—besides the rightfully renowned Poke Express (655 W. Craig Road #118, 702-639-0500; 9400 S. Eastern Ave., 702-221-1600)—for some of the best. At Harvest (Bellagio, 702-693-8865), Ellamar offers his take ($8) from the snack wagon, the very reasonably priced appetizer cart. He uses bigeye tuna and coats it with a bourbon soy sauce, sriracha, the Japanese seaweed condiment furikake and sesame oil and finishes it over rice. A bit south on the Strip at Herringbone (Aria,

/4 oz. St-Germain Elderflower Liqueur

702-590-9898), chef Geno Bernardo showcases yellowfin tuna and a number of influences he’s picked up throughout his career. This precisely cut fish ($22) is marinated with shoyu, sesame and chili oil and topped with scallions, Maui onions and Macadamia nuts. It’s served with chewy, delicious green onion pancakes. Though his spot is tucked away in Chinatown, Hawaiian Style Poke (3524 Wynn Road, 702-202-0729) owner Dennis Cornelio has never had a problem finding a crowd—the place has been packed since it opened eight years ago. He gets his fish from Japan and offers a number of riffs on the dish ($10.50), including samurai, in a delicious miso marinade, and spicy garlic. If you don’t want fish, go with tako poke, his wonderful version of raw, marinated octopus. Find the clearest indication poke has gone mainstream at Soulfish Poke (9500 S. Eastern Ave., 702778-5677). Picture a Chipotle-like setup where one can pick a base (rice, quinoa, soba noodles) then a protein (the usual suspects plus scallops, tofu and more) and a huge number of toppings including mango, bell peppers and crispy onions ($8.50-$11.50). Expect to see these all over the Valley soon enough. –Jason Harris

2 dashes Bitter Truth Orange Bitters Twisted orange peel for garnish

METHOD Combine ingredients in a mixing glass with ice. Stir and strain into a chilled cocktail glass. Garnish with a twisted orange peel.

The Soprano Drink is ideal for vodka enthusiasts, TV-mafia aficionados and anyone who appreciates a stiff, well-crafted cocktail. Absolut Elyx is a luxurious, silky-smooth vodka created from single-estate wheat in Sweden. When combined with Aperol and St-Germain, two classic cocktail staples, and a dash of orange bitters, these ingredients create a drink that is deliciously powerful—in both flavor and potency.

Cocktail created by Max Solano, spirits educator at Southern Wine & Spirits

calendar

las vegas weekly 07.14.16

7/22, 7:30 pm, $74-$140. 702-777-2782.

Meghan Trainor is all about the Cosmo on July 20. (Courtesy)

Venetian (Rockhouse Bar) James Big Foot Scott, Lou Magelowitz 7/15, 6 pm, $50. 702-414-9000.

Performing Arts Baobab Stage Theatre Toscha Comeaux 7/16, 7:30 pm, $15-$20. Town Square, baobabstage.com. Forge Social House TSTMRKT 7/15, 8 pm, $10. 553 California Ave., 702-293-6743. Las Vegas Little Theatre (Mainstage) Peter and the Starcatcher 7/15-7/16, 7/21-7/23, 8 pm; 7/17, 2 pm, $25. 3920 Schiff Drive, LVLT.org. Onyx Theatre Debbie Does Dallas: The Musical 7/14-7/16, 7/21-7/23, 8 pm; 7/10, 7/17, 2 pm, $23. 953 E. Sahara Ave., 702-732-7225. Super Summer Theatre Memphis The Musical 7/14-7/16, 7/20-7/23, 8 pm, $13. Spring Mountain Ranch State Park, 702-594-7529. Theatre in the Valley The Trouble with Princes 7/15-7/16, 8 pm; 7/17, 2 pm, $10-$15. 10 W. Pacific Ave., theatreinthevalley.org.

Live Music THe Strip & Nearby

Special Events Blessthefall, Like Moths to Flames, Get Scared,

Heather Michele Potter 7/17, 2 pm, $25. 361

Picturesque 7/20, 6 pm, $15-$35. Hard Rock Hotel,

Symphony Park Ave., 702-749-2000.

Hotel, 9090 Alta Drive, artisancraftfestival.com. Family Meal 7/18, 9 pm, $75. Other Mama, 3655 S.

702-693-5000.

Everywhere Else

Brooklyn Bowl Big Freedia 7/14, 7 pm, $20-$35.

Artisan Craft Festival 7/17, 10 am-5 pm, free. Suncoast

Durango Drive, 702-463-8382.

Craig Robinson & The Nasty Delicious 7/15, 9:30

Downtown

pm, $35-$40. Emo Night Brooklyn 7/15, 11:30 pm,

Backstage Bar & Billiards Ley de Hielo, Alma de

$8-$10. The Psychedelic Furs, The Church 7/16, 9

Jade, Eclipse, Los Ataskados 7/15, 8 pm, $10. 88

pm, $30-$35. Stephen “Ragga” Marley, Jo Mersa

Fingers Louie, Sic Waiting, Guilty by Association,

Marley, Erika Newell, Ranoy Gordon, Rochelle

The Pluralses, Good Grief 7/16, 8 pm, $10-$13.

Gored, Casket Raider 7/16, 8 pm, $10-$12. Rest

Bradshaw, Nicholas Laraque 7/17, 9 pm, $26-$56.

Mark Rose, Kat Kalling, Joey Hines, Guts 7/19, 8

Repose, Killing the Messenger, Shugga Shugga

Sports

Linq, 702-862-2695.

pm, $8-$10. 601 Fremont St., 702-382-2227.

Blast Blast, Drown a Deity, Luna Flore, Plague

Samsung NBA Summer League Thru 7/18, times

The Colosseum Reba, Brooks & Dunn 7/15-7/16, 7/19,

Beauty Bar Screeching Weasel, The Dickies, The

$60-$205. Caesars Palace, 702-731-7333.

Queers 7/14, 8 pm, $22-$25. The Artifacts, EDO.G

The Cosmopolitan (Chelsea) Dashboard

7/16, 8 pm, $15-$18. 517 Fremont St., 702-598-3757.

Confessional, Taking Back Sunday, The Early

Bunkhouse Saloon All Night Visitors, Total Ghost

November, Saosin 7/15, 7:30 pm, $36-$56.

7/14, 9 pm, $5. We Are Pancakes, Kurumpaw,

Meghan Trainor, Hailee Steinfeld, Common

Kalma, Vessel, Lisa Mac, Lil Lavedy 7/15, 9 pm, $5.

Kings 7/20, 7 pm, $30-$70. 702-698-7000.

We Are Love Benefit ft. Hidden Levels, Cameron

Double Down Saloon Super Zeroes, Publin Draught

Calloway, Jessica Manalo, Hassan Hamilton, Rabid

7/15. Water Landing, The Price of Dirt, Thee Swank

Young 7/16, 7 pm, $10. We Are Scientists, The Palms,

Bastards 7/16. El Escapado, Light ‘Em Up 7/17. Gold

Glass Pools 7/17, 8 pm, $10-$12. The Menstruators

Top Bob & the Goldtoppers 7/20. Shows 10 pm, free. 640 Paradise Road, 702-791-5775. The Joint Twenty One Pilots, Mutemath, Chef’Special 7/15, 7 pm, $43-$200. Hard Rock Hotel, 702-693-5222. Planet Hollywood (Axis) Nicky Jam 7/15, 8 pm, $61-$161. Jennifer Lopez 7/20, 9 pm, $95-$219. 702-777-2782. T-Mobile Arena Dixie Chicks 7/16, 7 pm, $54-$154. 3780 Las Vegas Blvd. S., t-mobilearena.com. Vinyl Streetlight Manifesto 7/16, 8 pm, $20-$35.

Centennial Hills Amphitheatre Michito Sanchez Salsa Orchestra 7/16, 7:30 pm, free. 7101 N. Buffalo

Winchester Cultural Center, 3130 S. McLeod

Drive, 702-229-3514.

Drive, 702-455-7340.

Dive Bar Ghost Bath, Underling, He Whose Ox is

Doctor 7/20, 8 pm, $10-$40. 4110 S. Maryland Parkway, 702-586-3483. Sam’s Town Images of the King 7/14, 8 pm; 7/157/17, 11 am, $16-$293. 702-284-7777. Collins 7/15, 7 pm, $28-$50. 702-658-4900.

pm, $40-$1,600. T-Mobile Arena, t-mobilearena.com.

7/17, 7:30 pm, $18-$28. 702-796-7111. UNLV (Artemus W. Ham Hall) Steve Turre 7/16, 1 pm, $22. 702-895-3332.

Comedy

Davis Group 7/15, $119-$162, 10 pm. 866-946-5336. The Smith Center (Cabaret Jazz) Cheyenne Jackson: Music of the Mad Men Era 7/15, 7 pm; 7/16, 6 pm & 9 pm, $39-$65. Frank LaSpina,

Galleries Clark County Government Center Rotunda Christopher A. Jones: USUS, Gloria 7/18-9/9. Artist

House of Blues Sam Tripoli, Bobby Wayne Stauts,

Gap, The Cowsills, Mark Lindsay, The Spencer

times vary, free. South Point Arena, 702-796-7111.

South Point (Showroom) The Kingston Trio 7/15-

St., 800-745-3000. Turtles, Chuck Negron, Gary Puckett & The Union

Maryland Parkway, nbatickets.com. USA BMX 2016 Las Vegas Nationals 7/15-7/17, USA Basketball Showcase USA vs. Argentina 7/22, 5

Dennis DeYoung 7/15, 8 pm, $45-$115. 200 S. 3rd Golden Nugget (Gordie Brown Showroom) The

vary, $15-$3,850. Thomas & Mack Center, 4505 S.

Santa Fe Station (Chrome Showroom) Judy

7/20, 9 pm, $5. 124 S. 11th St., 702-854-1414. Downtown Las Vegas Events Center Boston,

Folk and Arts Festival 7/17, 2 pm, $10-$12.

Brandon “Gooch” Hahn 7/18, 8 pm, $5. Mandalay Bay, 702-632-7600. Mirage Ron White 7/15-7/16, 10 pm, $65-$89. Bill Maher 7/22-7/23, 10 pm, $65-$87. 702-792-7777. Orleans (Showroom) Dennis Miller 7/15-7/16, 8 pm, $60-$87. 702-284-7777. Rio Shaquille O’Neal All Star Comedy Jam 7/21-

Reception 7/22, 6 pm. 500 Grand Central Parkway, 702-455-7030. Left of Center Kim Johnson: No Ordinary Life Thru 10/1. Artist Reception 7/16, noon. 2207 W. Gowan Road, 702-647-7378. Rainbow’s End For the Love of Animals 7/16, 4:306:30 pm, free. 1100 E. Sahara Ave. #101, 702-737-1338. Winchester Cultural Center Gallery A Visual Language Thru 8/19. 3130 S. McLeod Drive, 702-455-7340.

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