2016-08-25 - Las Vegas Weekly by Greenspun Media Group

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EDITORIAL Editor SPENCER PATTERSON (spencer.patterson@gmgvegas.com) Managing Editor BROCK RADKE (brock.radke@gmgvegas.com) Associate Editor MIKE PREVATT (mike.prevatt@gmgvegas.com) Senior Editor GEOFF CARTER (geoff.carter@gmgvegas.com) Film Editor JOSH BELL 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 RAY BREWER, KEN MILLER, ERIN RYAN Contributing Writers DAWN-MICHELLE BAUDE, JIM BEGLEY, JACOB COAKLEY, MIKE D’ANGELO, SARAH FELDBERG, SMITH GALTNEY, JASON HARRIS, DEBBIE LEE, JASON SCAVONE, CHUCK TWARDY, ANDY WANG, STACY J. WILLIS, ANNIE ZALESKI Library Services Specialist/Permissions REBECCA CLIFFORD-CRUZ Office Coordinator NADINE GUY

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06 las vegas weekly 08.25.16

27 WED., 5 P.M.

REOPENING OF THE HISPANIC MUSEUM OF NEVADA SeaQuest Aquarium construction has displaced some Boulevard Mall tenants. Luckily, Phase 1 of the new, larger Hispanic Museum of Nevada opens Saturday, with an interactive children’s area and an exhibit for the blind. Free; donations go toward a membership. –Mike Prevatt

MON., 7:30 P.M.

THE GOONIES AT BOULEVARD POOL Chunk. Sloth. One-Eyed Willy. Mouth. Brand. The Fratellis. If those words don’t conjure up vivid images— or if you can’t instantly bring Cyndi Lauper’s “The Goonies ‘R’ Good Enough” up on your brain radio—it’s probably time to revisit this ’80s coming-of-age classic. $5, the Cosmopolitan. –Spencer Patterson

FRIDAY, 9 P.M.

GO-GO’S AT MANDALAY BAY BEACH Remember those opening credits to Fast Times at Ridgemont High—the montage of mall hijinks, denim-clad butts and a bare-chested Jeff Spicoli, all to the infectious score of “We Got the Beat”? Or that one episode of The Office, when Michael Scott tried to assure Jim Halpert that he could keep a secret by singing lines from “Our Lips Are Sealed”? Or the clips of a golfing and fishing President George W. Bush hilariously cued to the ebullient harmonies of “Vacation” in the Michael Moore documentary Fahrenheit 9/11? The Go-Go’s—who, along with Joan Jett and The Runaways and The Slits, shattered the glass ceiling of the male-dominated rock and punk scenes—were the soundtrack to not only the youth of the 1980s, but the movies and TV shows of that era and beyond. If it’s hard to imagine the LA quartet finally hanging it up after what’s being billed as its Farewell Tour, it’s partly because of the way its New Wave bop has permeated pop culture. For the Go-Go’s local swan song at Mandalay Bay, they’ll bring modern-day surf rockers Best Coast, whose swoon-worthy, summertime jangle is a great fit for both the hotel-casino’s beachside venue and the headliner they proudly tout as an influence. With Kaya Stewart. $36. –Mike Prevatt

The Goonies—left to right, Mouth (Corey Feldman), Mikey (Sean Astin), Data (Ke Huy Quan) and Chunk (Jeff Cohen)—never say die. (Photo Illustration by Jon Estrada/

27 SATURDAY, 7:30 P.M.

KEEPIN’ THE FUNK ALIVE AT ORLEANS ARENA Kool & the Gang’s Keepin’ the Funk Alive summer tour swings through the Orleans Arena, where a lot of R&B, funk and soul concerts end up in Las Vegas but don’t really get their share of the spotlight. If a band that’s been playing and recording for 45 years doesn’t excite you—or if funk space cadet Bootsy Collins and his Rubber Band, Prince associates Morris Day & The Time and classic hype man Doug E. Fresh aren’t enough—consider the many hip-hop favorites that sample from Kool & the Gang, including “Summertime” by DJ Jazzy Jeff and the Fresh Prince, “Breathe and Stop” by Q-Tip, “Picture Me Rollin’” by 2 Pac, “Don’t Sweat the Technique” by Eric B. and Rakim, “Method Man” by Wu-Tang Clan, “Let Me Clear My Throat” by DJ Kool and “Fear of a Black Planet” by Public Enemy. $49-$129. –Brock Radke

07 LAS VEGAS WEEKLY 08.25.16

Trust Us E V E R Y T H I N G Y O U A B S O L U T E LY, P O S I T I V E LY MUST GET OUT AND DO THIS WEEK

27 SATURDAY, 2 P.M.

30 TUESDAY, 7 P.M.

POETS OF NATIONAL STATURE WITH PATRICIA SMITH AT THE CLARK COUNTY LIBRARY

KEVIN T. MCENEANEY ON HUNTER S. THOMPSON AT THE WRITER’S BLOCK

The poet and author, whose accolades include a Guggenheim Fellowship, reads from her work and conducts a workshop as part of Clark County Poet Laureate Bruce Isaacson’s Poets of National Stature series. She’ll also hold a 7 p.m. reading at the Nevada State College Auditorium. Free. –Rosalie Spear

Revisit one of the most genius—and tumultuous—literary minds as dissected by author McEneaney in Hunter S. Thompson: Fear, Loathing, and the Birth of Gonzo, a biographic novel that examines the journalist/writer within a larger social and historical context. McEneaney will read from and sign his book— mescaline not required. Free. –Rosalie Spear

08 las vegas weekly 08.25.16

Main squeeze

the inter w h e r e

i d e a s

Big-time road construction is coming to the businesses of the Arts District—but relax, they’ve got this By Geoff Carter

n the mid-1990s, Fourth Street was reconfigured as a one-way artery. It was a welcome change—it eased traffic on Las Vegas Boulevard and pointed tourists directly at the Fremont Street Experience. But it also did some harm: Enigma Garden Cafe, a now-defunct coffeehouse located near Fourth and Charleston, was very nearly driven out of business by the road work. Owner Julie Brewer, goaded beyond endurance by the relentless jackhammering, put a terse, hand-lettered A-frame sign in front of her business: “We are open during (de)construction.” Today, it’s Main Street’s turn. Over the course of the next two years, Main will be transformed into a northbound one-way; one block to the west, Commerce Street is being reconfigured to one-way southbound. This is necessary work: The sewer lines are ancient, the sidewalks aren’t up to current ADA code and the traffic flow is all wrong for a Downtown that regularly hosts high-traffic events like First Friday. When finished, there will be bike lanes, improved street parking and sidewalks wide enough for art walks and outdoor seating. We just have to get there—and in the meantime, no one’s taking any chances. “With these big projects, when they have to shut down the street, it’s at night—and that’s when we’re open. So, I’m concerned,” says Pamela Dylag, co-proprietor of Velveteen Rabbit. “I don’t want people to have the perception that it’s going to be difficult to come [here]. There is absolutely still access to our business.” And the City of Las Vegas—working closely with contractor Las Vegas Paving Corp.—will make sure it stays that way. No one will get Enigma’d. “The big Main Street work is going to be the last phase of construction,” says Jeremy Leavitt, program manager for the city’s Public Works Department. The first phase, already in progress, is preparing Commerce to take on Main’s southbound traffic—a tall order considering a large stretch of Commerce, from Bonneville to Charleston, is barely a street at all. “We call it the alley portion, because that’s what it is now—it dead-ends, and it doesn’t have the

width we have on Main,” Leavitt says. The new Commerce will continue straight through Charleston— sidewalks, bike lanes and all—and allow Las Vegas Paving to work on Main in a less obtrusive way. Parking will also be addressed. Leavitt notes that angle-in spots have been added on streets adjacent to Main. Property owners are being asked to allow temporary lots on vacant parcels. Giant LCD signs will provide up-to-the-minute routing and parking info. And some business owners, like ReBar’s Derek Stonebarger, are building their own solutions. “There’s a little less than an acre-lot [behind ReBar], which I’m going to turn into an event center

and parking lot,” Stonebarger says, adding that it’s not just for ReBar customers. “I wanna open it up to everybody, as long as it doesn’t get crazy.” Both Stonebarger and Dylag are excited for a new Main Street. In the meantime, however, it’s business as usual. “We’re going to keep planning events that draw people to us,” Dylag says. “There wasn’t a lot of traffic on Main Street when Velveteen Rabbit first opened. We’ve always been kind of a destination.” Stonebarger is even more sanguine about the construction still to come. “If 10,000 people can find a place to park on First Friday now,” he says, “I’m not really that worried about it.”

rsection A ND L IF E M E ET

Rendering of a future one-way Main Street. (Courtesy)

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THE VILLAGE PEOPLE Bunnyfish Studio helped revitalize Fremont Street. Now it wants to do the same for North Las Vegas BY GEOFF CARTER

LAS VEGAS’ FIRST SHOWCASE HOUSE COMING TO THE SCOTCH 80S Showcase homes exist all over the country, where owners allow their residencies to be taken over and remodeled by multiple interior designers and architects—a close-by example is the long-running Pasadena Showcase House of Design—but that tradition has yet to reach Las Vegas. That will change later this year, when a 5,300-square foot concrete-block home in the Downtown-adjacent Scotch 80s neighborhood (at 2120 W. Oakey Ave.) gets transformed by 19 local and regional designers, now tasked with formulating concepts that will be announced in October, along with their designated rooms or areas of the house. The effort—which will also include boutiques and a café, along with a relandscaping so the home faces north—opens in January 2018 and is slated for a three-month public exhibition, with proceeds going to Core Academy. For more information, visit lvshowcase.org. –Mike Prevatt

When North Las Vegas officials decided to redevelop a portion of its downtown—a section of Lake Mead Boulevard between I-15 and Las Vegas Boulevard, provisionally named Lake Mead Village West—they considered the businesses of the revitalized Fremont East: Eat, Carson Kitchen, Inspire, the renovated Bunkhouse and more. As it happens, they all have one thing in common: Architecture firm Bunnyfish Studios. Gina Gavan, director of economic and business development for the City of North Las Vegas, knows Bunnyfish principals Craig Palacios and Tina Wichmann, and suggested the city brainstorm with them. “We wanted to work with a firm that has some energy and new ideas,” Gavan says. The results of the collaboration will remain under wraps until mid-September. For now, Bunnyfish and Gavan can only hint at what they’d like to see North Las Vegas’ downtown become—a robust, pedestrian-friendly neighborhood of housing, restaurants and retail, one that could serve the needs of tech professionals working at nearby Hyperloop and Faraday Future, while respecting the area’s history and existing neighborhood culture. “When you’re traveling on I-15 in either direction, there’s no indication that there’s anything of value on Lake Mead,” Palacios says. “There’s a real opportunity here to create place.” The redevelopment agency owns 15 acres of largely vacant land along Lake Mead. Gavan is confident that, if done correctly, redeveloping this land could have a positive effect on more than a hundred acres surrounding it. “We’re just trying to provide a catalyst,” Gavan says. “We have an idea of how we’d like to start. It may shift, even after we roll it out—and we’re absolutely okay with that.” This opportunity came to Bunnyfish at the same time as two other large civic projects: The studio is working with the RTC to create a transit corridor on Maryland Parkway and helping repurpose the NV Energy-owned Spencer Utility Corridor as a scenic greenway. But there’s nothing quite like rebuilding a downtown, and Bunnyfish Studios is thrilled to do it again. “The opportunity to take an area that has so much potential, and to see it turn into a thriving community—it’s a dream come true,” Wichmann says.

THE INTERSECTION

LAS VEGAS WEEKLY 08.25.16

SEARCHING FOR THE REAL THING Politics, meaning and (free) music on Fremont

was surprised not to find a naked Donald Trump under the Fremont Street Experience canopy on Saturday afternoon. I knew Las Vegas didn’t get one of the titillation-seeking sculptures placed in five other cities, and frankly, I was okay with that. But as I wandered down Fremont nodding to the buskers—Michael Jackson moonwalking guy, neon-green unitard guy, perfectly still silver spray-painted statue guy—I was reminded that this is where one finds the more harrowing cultural commentary. It would’ve seemed reasonable to see a live person dressed, or undressed, as an PYRAMID OF impersonator of BISCUITS the naked Trump BY STACY J. sculptures, FremontWILLIS style, with a donation bucket at his feet. I dodged a contortion artist who was out of his City Council-approved confinement circle, and locked eyes with an old woman in a wheelchair holding a cardboard sign that said, “Suck my dick.” This cheery promenade, I thought, is where the emperor’s clothes have been discarded, picked up and reused. The collision of wealth and waste, of hubris and humiliation, of fame and forgery, occurs freely here every day. Who needs a stealthy arts collective? But my ruminations on art, imitation and economic atrocity were soon interrupted by rocker Melissa Etheridge.

She was singing down the block … hours before her free concert was set to start. Maybe there was an Etheridge impersonator knocking out some spot-on vocals from a containment circle? My girlfriend and I joined the small crowd gathered at the 3rd Street Stage, and cocked our heads sideways—a couple of lesbians in luck—because there was the real Melissa, jamming on her guitar for a soundcheck. We snapped some pics to be sure it happened, then enjoyed a 30-minute semi-concert while tourists posed for pictures with fake Al Pacino. Etheridge stopped playing periodically to adjust the sound, start over, laugh, bitch about the heat—it was so real it was unreal—a lucky break for us, right here in the shrine to lost luck and hyperreality. ***** What I always liked about Etheridge was her authenticity: raw voice, irrefutable guitar skills, unabashedly passionate lyrics. Even in concert mode, she’s not particularly theatrical. But I don’t like huge crowds, and I’d seen my show, so a couple of hours after the

soundcheck, I was sitting in a karaoke bar. Don’t judge. Somewhat surreally and somewhat totally on purpose, my girlfriend took the mic and delivered a knockout version of Etheridge’s early hit, “Similar Features.” I couldn’t help reveling in the layers of simulacra: a song about Etheridge’s lost love being with someone who has similar features, performed by a singer who was not Etheridge, but had similar intensity, just down the street from where the real Etheridge performed simultaneously. But then, regrettably, while trying to remember philosopher Jean Baudrillard’s definition of simulacra (I’m so much fun at bars!) I recalled the Trump effigies, and Trump’s rhetoric itself—all repetitive symbolism and reference to empty references. “It is no longer a question of imitation, nor duplication, nor even parody. It is a question of substituting the signs of the real for the real,” Google said that Baudrillard said. Trump was already deploying his army of vacuous self images back in 1990, when Etheridge had just started gaining fame. He told Vanity Fair

then, “There are two publics as far as I’m concerned. The real public and then there’s the New York society horsesh*t. The real public has always liked Donald Trump. The real public feels that Donald Trump is going through Trump-bashing.” ***** Etheridge rocked Fremont for thousands of concertgoers. I saw the clips online. Toward the end, she took a selfie with the crowd for Twitter, thanked everyone, and said, “I wish music were always free. I do, I do, but then I couldn’t eat, and that would be weird.” I thought about the buskers making their meals by impersonating Michael Jackson and Al Pacino. I thought about the Trump replicas selling for $10,000 each. I thought about how I tip the karaoke DJ and the bartender for making me sound more like John Fogerty than I really do. Mostly, I longed for some grasp of what is real and valuable. Etheridge finished with a powerful performance of one of her most famous songs, “I’m the Only One.” I watched it twice.

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With a new Amazon TV show, the star chef deepens his food connections By Andy Wang e’s the king of New Orleans, a Vegas pioneer and, of course, the culinary superstar who— Bam!—started a food-television revolution. But what I love most about Emeril Lagasse is that he knows he’s still learning what it means to be a chef. He’s a man who remains deeply moved by great food and where it comes from and where it takes you and how it makes you feel. In his new six-episode Amazon TV series, Eat the World, which will be available for Prime members September 2, Emeril and fellow Vegas celebrity chef José Andrés visit modernist-cuisine godfather Ferran Adrià in Spain. Adrià, whose El Bulli was widely considered the world’s most inventive restaurant before it closed in 2011, now runs a think tank. He’s got a team of biologists, historians and sociologists at his El Bulli Lab working on Bullipedia, a future-minded repository of cooking knowledge. Adrià is Andrés’ mentor, and this is the first time cameras have been allowed into the El Bulli Lab. As the two Spanish chefs and their American friend talk about the essence of a tomato and how cooking is about technique and science but how passion drives creativity more than anything else, Emeril gets emotional. “I feel

like I need to start from scratch,” he says, choked up, as he hugs Adrià. Earlier in the episode, Emeril and Andrés visit chefs Pedro and Marcos Morán’s Casa Gerardo. It’s there that Emeril realizes that despite all the countless meals of red beans and rice he’s made, there’s a lot he hasn’t considered about how to prepare and eat a bean. (Also, if you’re into baby eels getting boiled alive in consomme, visit Casa Gerardo.) Along with being a reminder that Vegas is blessed with so many of the best chefs on earth, Eat the World is a show where humble host Emeril is in awe of what’s he’s experiencing. It’s great TV, because what’s new and wondrous to the viewer was just as new and wondrous to Emeril when he encountered it. “It’s really awesome,” Emeril tells me. “As much TV as I’ve done over the years, this was really, really special. My philosophy for many years is if you can understand the people and you can understand the culture, then you will understand the food.” The first episode features yet another Vegas star chef, Mario Batali. It begins at Batali’s Babbo in New York. “He made his grandmother’s ravioli with calf brains,” Emeril says. “It sounds disgusting, but it was absolutely delicious. It was an incredible

way to start the whole thing.” Instead of heading to Italy, they book it to Shanghai to eat their weight in soup dumplings. “The whole time, we’re comparing the soup dumpling to a ravioli, the thickness, the filling and the broth,” Emeril says. Emeril does visit Italy with Nancy Silverton, the LA chef who partnered with Batali on Mozza. They devour Franco Pepe’s pizza, which Silverton considers the best pizza in the world. Silverton and Emeril, of course, came up in a different time, when being a chef wasn’t about celebrity or tattoos or fly-by-night pop-ups or loud casual restaurants or buzzwords like

“hyper-local” or “farm-to-table.” You just got your hands covered in dough before the sun rose and sourced the best ingredients, because of your own exacting standards. “I was with a bunch of chefs yesterday, and we got into this discussion about how it’s not like it used to be,” Emeril says. “We were at a restaurant, and there was not one chef coat there; they were all frocks.” Having run restaurants in Vegas for more than two decades, Emeril has learned to offer something for everyone, whether they’re looking for elegant dining or sports-bar food. “The American diner, their palates

“I gave one of the chefs a vegetable peeler, and the guy cried.” -Emeril LEGASSE

las vegas weekly 08.25.16

Marcus Samuelsson (left) and Emeril Lagasse add some flavor to Eat the World. (Courtesy)

have changed. They don’t necessarily want fussy, snooty stuff.” But of course, there’s still no other city in the world that does high-end food and wine the way Vegas does. “Las Vegas has become a dining mecca,” Emeril says. “I was talking to some people who were on a recent trip. I asked them, ‘Did you go to gamble?’ They said, ‘No, we went to eat.’ When did you hear that 20 years ago? You could barely get out of a buffet without people saying, ‘Good luck.’ I’m so proud of the dining scene in Vegas now.” Emeril remembers how Danny Wade and his MGM Grand team brought in Mark Miller’s Coyote Cafe, Wolfgang Puck and Charlie Trotter and changed the game. MGM, where Emeril’s New Orleans Fish House opened in 1995, “realized they knew how to do a rodeo, how

to do a concert, they even did a fairly decent job managing 5,000 rooms,” Emeril recalls. “But they realized they were terrible restaurant operators.” So they scoured the country for the best culinary talent and now have a dining collection that includes restaurants from Joël Robuchon, Michael Mina, Tom Colicchio and, soon, Masaharu Morimoto. Emeril, whose Vegas empire also includes Delmonico Steakhouse at the Venetian and Table 10 and Lagasse’s Stadium at the Palazzo, also credits the Venetian’s Sheldon Adelson and Rob Goldstein for “going after great restaurants and restaurateurs.” “They had a vision that they weren’t going to have a food court with McDonald’s, Burger King and Dunkin, Donuts,” Emeril says. Instead they’ve got guys

like Emeril and Batali making burgers with Creole flavors, foie gras and heritage bacon. Eat the World also includes visits to Sweden with Marcus Samuelsson, South Korea with Danny Bowien and Cuba with AarÓn Sánchez. The latter was especially inspiring for Emeril, because so much of Cuba’s food culture comes from necessity. He visited urban farms and chefs who built their own ovens but don’t have the basic kitchen tools you can find in any American department store. “I gave one of the chefs a vegetable peeler, and the guy cried. They may have one knife. I’m going to fill my suitcase next time before I go back,” Emeril says. “I asked a lot of chefs, ‘If you could have something, what would it be?’ One guy said, ‘I would kill for a mixer.’”

That’s the thing about eating the world. One day you see the vanguard of molecular gastronomy and another you visit a place where the government controls the seafood supply. And you realize there’s so much you can learn in both situations and that sharing knowledge and food is one of the best ways to connect cultures. So Batali and Emeril created their own version of a soup dumpling and served it to the chefs of the last restaurant they visited in Shanghai. And then it was time to go eat again, even when the cameras weren’t rolling. “People ask, ‘What did you do when you had some downtime? Well, we were looking for food,” Emeril says. “We were in markets and restaurants and the streets. That’s what happens when you get chefs together.”

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t’s 1 a.m. on a Saturday night and the dancefloor at Oddfellows is alive with pulsating rhythm. The music shifts from the housetinged R&B of Shamir to the poppy synths and guitars of Bloc Party to the airy falsetto of Grimes, the lights from the video projector flashing off 100 or so glistening, sweaty bodies. There’s no bottle service, no celebrity DJ and no fancy dress code, but this is still a Vegas club.

¶ Something about this scene and these recurring

dance parties has attracted a different party crowd Downtown, week after week for almost a year. Oddfellows is one spot locals can go tonight to get lost in this dizzying, vibrant energy, but the alternative dance scene has been reinventing itself since the early ’90s and ’00s. At Oddfellows, the music, the crowd and the seemingly overnight popularity recall those early days. It’s the ideal flipside to Strip nightlife, where drinks are cheap and the vibe is rocking—and the party still goes until the early hours of the morning.

illed as the club for people who don’t like clubs, Oddfellows opened in August 2015, though it took a few months for the venue to take hold. Once it did, it grew roots quickly. “It’s been about the same trajectory for all the [bars] I’ve done,” says Oddfellows owner Harvey Graham, an Austin, Texas, resident. “There’s a three-month period [where] you’re terrified, and then just all of a sudden, it’s on.” Oddfellows also hails from Austin, where Graham co-opened related bar concepts Barbarella and Swan Dive. When he heard about revitalization along Fremont East, Las Vegas became his next frontier. “I noticed there was just an absence of anyone doing what we wanted to do. … We looked at a few stops, and they weren’t right, [then] walked in [here] and I was like, This looks exactly like a dance club. This is perfect. It was turnkey.” Housed on the ground floor of the Ogden residential high-rise on the corner of Sixth and Ogden, Oddfellows Oddfellows on a Friday night. (Mikayla Whitmore/Staff)

took over the space formerly occupied by Scullery, a more traditional bar geared toward an older set. With its narrow bar at the entrance, a large room in the back and an upstairs area with a private room for guests, it provided an ideal home for Oddfellows, named for an 18th-century fraternal society. Graham ramped things up by bringing in occult-influenced décor, like Ouija boards and a large painting of the Pagan goat deity Baphomet. “It kind of weeds out close-minded people,” Graham says. “We’re definitely open-minded.” By the fall, the video dance bar had become the buzziest new venue in the hip Downtown drinking district, particularly with its indie New Noise night every Saturday. Since then, Oddfellows has programmed ’80s, ’90s and soul nights, with Fridays and Saturdays consistently packed. The newest concept is the LGBTQ-friendly Thursgayz, launched just over a month ago with DJ Pei Maeder (aka Panda) on the decks and manager Tim Kam donating proceeds to local LGBTQ charities.

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WEEKLY | 08.25.16

DJ Mike Fish at Griffin. (Mikayla Whitmore/Staff)

ddfellows isn’t the only dancefocused Downtown venue, nor is it the only party fueling the indie dance scene. Fourteen years ago inside the Thunderbird Lounge, DJ John Doe launched the funk and soul party known as the Get Back. Arguably the genesis of Downtown’s dance scene, the Get Back soon moved to former venues Saloon and Icehouse, then to Beauty Bar in 2005, and then, nine years later, to its current home every First Friday at Velveteen Rabbit. “[There’s] something about that Downtown vibe. Nobody judges you; you don’t have to dress up in a collared shirt. You just come and listen to music and dance,” says Daniel Martinez, aka DJ Danny Boy in the documentary short The Getback 10+. Around the same time, groups like the Bargain DJ Collective and Rawkerz— and later, IndieKrush—all began throwing dance parties at different venues. Punk rock/indie musician and DJ Mike Fish has been spinning New Wave and ’80s tracks inside the Griffin’s back room every Friday for nearly a year, and, beyond Downtown, he also heads up the monthly TV Party at Double Down Saloon. “I grew up when Bargain DJ first started,” Fish says. “When I first turned 21, I was friends with all those guys, and we’d be at Champagnes all the time. They finally moved to the Double Down … [and] were like, ‘We

want to do it on the deadest night and for no money; we just want to play records.’ Monday night started there and [DJ Rex Dart is] still doing it [more than] 12 years later.” For Fish, it’s all about creating the right vibe, having fun and geeking out over rare records. “I like when random people walk to the back room [at the Griffin] and hear stuff like Joy Division or The Ramones. They walk in and go, ‘Where did this place come from?’ Even a newer generation of kids are coming in, like, ‘Wow, this is amazing.’ I try to keep people dancing all night.” Allen Miller (aka DJ Style), a member of local DJ crew Rawkerz, remembers just how wild those early indie parties could be. “There was really nobody else doing indie” besides Rawkerz and the Bargain DJ Collective, he says. “When that ended, there was nowhere really to go to hear that.” Back in the ’90s, Miller was playing house music “at all the raves” before he began producing goth and darkwave parties, beginning at the long-shuttered Angles and Lace (now Piranha) and leading up to his current gig, Scarlet, with DJ Morpheus Blak at Artifice. In November, Miller will celebrate five years of that successful goth night. For house heads, the six-year-old Vanguard Lounge has routinely booked underground electronic dance music, including well-respected monthly Soul-

kitchen. Despite its small dance space, Downtown Cocktail Room has been a go-to place for soulful house and downtempo grooves since its 2007 opening, and the indie-focused Totescity can still be found spinning at Goldspike’s Down & Derby Disco Paradise.

f you need more proof of Downtown’s dance renaissance, another video-focused club, Red, is slated to open on Fremont at the end of the month. Owned by former Oddfellows DJ Bruce Perdew, Red will take over the former Insert Coin(s) spot—which also attracted hip shakers at its pinnacle—and could draw even more indie- and electro-seeking locals. Perdew, who has hosted and spun at numerous LA clubs since the ’80s, says he wasn’t interested in the Vegas market until he started DJing there. “It really got me in the mode of, ‘Wow, Vegas isn’t that different from LA,’” Perdew says, adding that at one point he actually tried to buy Oddfellows. “They react to the same types of songs. I was looking for a club in LA,

everything was super-overpriced, the licensing was hard to get. … I just wasn’t really up for that … so why not extend what I do in LA out to Vegas?” Perdew says Red will be similar to what he does in California, with a focus on themed parties including old-school hip-hop, music from 2000 on—which he calls “Y2K”—and possibly some electronic afterhours programming. “Being close to Oddfellows, I think that it will draw a complementary crowd to the Downtown area that will be good for everybody.” Just a year ago, it would have been difficult to imagine venues like these thriving in the fast-moving, barhopping environment surrounding Fremont East. “It kind of reminds me of when East Fremont first opened—all the kids that were coming out when we were starting to build it,” Fish says. “It got really big, and now there’s a newer generation of kids coming up. I’m stoked to see what comes out of it.” At the center of this dance development, Oddfellows is gearing up for its first birthday party on September 4, and for slight renovations—knocking down the walls upstairs and making the DJ booth more open—that should help it build on its start. “I think in every major city there’s always a counterculture,” Graham says. “I’m excited to see what happens with Downtown. There’s a lot of potential.”

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KASKADE

JEWEL

The rapper and new judge on X Factor Australia returns for her second live performance in the intimate Jewel.

ENCORE BEACH CLUB

There’s Saturday and there’s Labor Day Sunday and then there might not be another summer set from Kaskade at EBC. Plan accordingly.

K RE W E LLA

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I G GY AZALEA

HAKKASAN

Jahan and Yasmine Yousaf don’t just party; the sisters served as Billboard’s correspondents at the Democratic National Convention.

I g g y A z a l e a b y D e n i s e T r u s c e l l o ; K a s kad e b y T o n y T r a n ; k r e w e l l a b y j o e j a n e t ; z e dd b y K a r l La r s o n ; T h e C h ai n s m o k e r s b y A a r o n Ga r c ia

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A recent list of the world’s highest-paid DJs ranks Anton Zaslavski No. 4, not surprising considering his titanic presence in Las Vegas. Zedd plays XS Saturday then EBC Sunday.

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Who would have predicted the guys who did that selfie song would become one of the hottest brands in EDM? The hitmaking duo plays its second straight Tuesday gig at Omnia.

drai’s

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hen Lil Jon began his About Last Night residency at Hakkasan in the spring, he kicked off his first set by emerging from a clubgoers’ table in the party-ready crowd. It was spontaneous and undeniably fun, and that kind of unexpected move has become par for the course at his Hakkasan parties. When you’re as recognizable as Lil Jon, it isn’t easy to catch people off-guard. “You can’t hang out with me for a day and not get tired of people saying ‘Yeah!’ and ‘What?’ and ‘Okay!’” says the infamous Atlanta-born producer, songwriter and rapper, referencing comedian Dave Chappelle’s equally infamous impersonation of Jon on Chappelle’s Show. “People ask if I’m tired of hearing it, but I just tune it out. I don’t hear it. But every time I see Dave I thank him, because by doing that sketch he helped to bring me to people that would have never heard or seen me. That took me further than the music.”

That’s saying something, as Jon has cranked out an unending list of hits for artists including Ciara, E-40, Pitbull, T.I. and Usher, not to mention his own inescapable club bangers like the DJ Snake collabo “Turn Down for What.” “I’ve just been blessed to have a great career. To be in Vegas now helping people rage is great. But more music is coming,” Jon says. Whatever he’s working on, rest assured it’ll find its way to his unpredictable sets during About Last Night, one of the Strip’s most exciting recurring club parties. Lil Jon at Hakkasan at MGM Grand, August 26. –Brock Radke

INDUSTRY THURSDAYS

NGHTMRE

THURSDAY, AUGUST 25

DJ KONFLIKT

FRIDAY, AUGUST 26

N I G H T C L U B

E B C AT N I G H T

DILLON FRANCIS

THURSDAY, AUGUST 25

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FRIDAY, AUGUST 26

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FRIDAY, AUGUST 26

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ZEDD

M O R E

SUNDAY, AUGUST 28

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SATURDAY, AUGUST 27

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KASKADE

RL GRIME

SUNDAY, AUGUST 28

I N F O R M A T I O N

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DJ SNAKE

MONDAY, AUGUST 29

visionary

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he term “coming full circle” doesn’t quite convey the spherical perfection that is Michael Morton’s next Las Vegas restaurant project. The creator of the Nine Group (which changed the hospitality landscape in its heyday at the Palms)—and current operator of La Cave at Wynn Las Vegas, La Comida in Downtown Las Vegas and Crush at MGM Grand—plans to open a new steakhouse concept in 2017 with his brother David, following in the footsteps of their legendary father Arnie Morton, who founded the Morton’s Steakhouse chain. But there’s more: They’re doing it at the Hard Rock Hotel, which their older brother Peter opened in 1995. “I had this early con-

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nection with [the Hard Rock], not just because my brother built it and owned it, but that was just a special time in Las Vegas,” Michael says. “It did so many things with the young, cool set and had a powerhouse nightclub when there weren’t many around. It had a lot of layers to it, and being a part of it after all these years is special, and to do it with my other brother is really neat.” His favorite part of the project, however, is to honor the man “who we jokingly always say is running the best steakhouse in heaven. If there was ever a person put on Earth to work in hospitality, it was our father.” Expect the new Morton project to continue the evolution of the contemporary Ameri-

Cover and feature Photographs by anthony Mair

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can steakhouse. While he is considering more Vegas restaurant venues for his growing collection, Michael is planning to grow this latest concept into multiple locations, including in Chicago, where David resides and operates. “Our intent is to do with this concept what our dad did with Morton’s,” Michael says. “Having a [spread] in Las Vegas is really what I wanted to do postPalms. Having seven different places in one hotel was amazing, but the downside is they were all in one place. To run a restaurant Downtown and one at Wynn, which are only a [few miles] apart but like being in a different world, that’s been really invigorating. I think it brings a lot more creativity to be able to jump into these different worlds.” –Brock Radke

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f course DJ Snake named his debut album Encore— he’s playing three separate residency shows at the posh Strip resort this weekend alone. The French hitmaker’s first full record has exploded since its early-August release, vaulting to No. 1 on Billboard’s Top Dance/Electronic Albums chart on the strength of lead single “Let Me Love You,” featuring Justin Bieber. That track recently edged out the Calvin Harris-Rihanna tune “This Is What You Came For,” for the No. 1 ranking on the Hot Dance/Electronic

Songs chart, and continues to do battle with another Bieber-anchored dance track, Major Lazer’s “Cold Water,” for the singles chart crown. Snake’s captivating, exotic beats go far beyond the single. The producer has six Encore songs on that Hot Dance/Electronic chart—“The Half,” featuring Jeremih, Young Thug and Swizz Beatz; “Propaganda”; “Ocho Cinco,” featuring Yellow Claw; “Middle,” featuring Bipolar Sunshine; and “Talk,” featuring George Maple. The hip-hop-influenced sound of the album is “just who I am,” Snake told

Radio.com. “I grew up with hip-hop and fell in love with electronic music. It’s just me—100 percent. This is who I am. This is what I’m about.” DJ Snake at Encore Beach Club, August 26; at Surrender at Encore August 27; at XS at Encore August 29. –Brock Radke

Photograph by Danny Mahoney

soundscape

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LAX Ju ve nile

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elano Las Vegas offers a world-class escape from the clamor and pandemonium of the Strip, a calming refuge just a few steps away from a massive casino. But once you’ve taken those steps, you might as well be in another world, and that feeling is best epitomized by the experience at Franklin. Delano’s take on a classic lobby bar is decorated in deep, rich tones of blue and gold and equipped with everything required for a relaxing, flirtatious evening: eclectic music, fine spirits and even a few appetizing snacks. In fact, its gentle, provocative vibe is outdone only by its incredible craft cocktails. The Franklin executes cocktail classics with precision, from a flawless daiquiri with Bacardi 1909 Heritage rum (no, not the frozen stuff being slurped out on the Boulevard) to a slightly savory Paloma mixed with Siete Leguas Blanco tequila, fresh lime

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and basil. But the bar’s custom creations are worth more than a few sips, too. The signature libation is titled Comfortably Numb, built upon Delano’s exclusive Woodford Reserve double-oaked bourbon with coffee beaninfused carpano (a sweet Italian vermouth) and Giffard Vanille (a smooth vanilla liqueur from France). Velvety in its approach with upfront flavor, the Comfortably Numb is a drink developing a reputation for itself, one that aligns with the slightly secret fun going on at this discreetly wonderful bar. Franklin at Delano Las Vegas, 877-632-5400; Daily 10 a.m.-2 a.m. –Brock Radke

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aug 20 Photographs by Joe Janet

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ince its Las Vegas launch two years ago, Bazaar Meat has pushed the boundaries of what a steakhouse should and shouldn’t be. That’s because—according to chef José Andrés himself—Bazaar isn’t just a steakhouse. Succulent, delicious meats are certainly at the center of the concept, but you don’t need to order the Spanishstyle bone-in ribeye to enjoy this carnivore’s paradise.

P H OTO G RA P H B Y ANT H ON Y M A I R

Its latest innovation: a new menu of famous small plates and refreshing libations served only at the pristine, all-white Bar Centro, perfect for curious walk-up guests. Served nightly starting at 5:30 p.m., these dishes elevate the idea of a quick pre-game meal. Bring friends. Start with Andrés’ signature cotton candy foie gras: savory nuggets of creamy duck liver suspended inside an air-light puff of fluffy, cloud-like spun sugar. Then consider a chilled shot of gazpacho with tomato, cucumber and green bell pepper. The giant pork skin chicharrón won’t be ignored, broken tableside with a silver mallet and

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served with Greek yogurt and za’atar, a popular Middle Eastern spice. The beef and Parmesan grissini, breadsticks wrapped in Washugyu carpaccio, are another luxurious and fun favorite. Bigger appetites can’t go wrong with the suckling pig sandwich: mounds of crispy, fatty, heavenly meat smothered with sweet caramelized onions and honey mustard, then stuffed between two slices of buttery, crunchy pan de cristal. From 5 to 7 p.m., Bar Centro’s specially priced wines, beers and cocktails—like the Daiquiri Brutal, made with rum, lime juice and orange oil—provide an ideal complement to all this savory snacking. With a menu this approachable, you’ll wonder why you haven’t hit this bar sooner. Bazaar Meat at SLS, 702-7617610; Sunday-Thursday 5:30-10 p.m., Friday & Saturday 5:30-11 p.m. –Leslie Ventura

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Photographs courtesy Hyde Bellagio

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8/26 Scott Disick. 8/27 DJ Gusto. 8/31 DJ Crooked. 9/2 Scott Disick. 9/3 Party Next Door. Mirage, Wed, Fri-Sat, 702-693-8300.

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8/25 Tiësto. 8/26 Lil Jon. 8/27 Krewella. 8/28 Fergie DJ. 9/1 Tiësto. 9/2 Steve Aoki. 9/3 Hardwell. 9/4 Calvin Harris. 9/8 Tiësto. 9/9 Lil Jon. 9/10 Tiësto. 9/11 Drake Official After Party. MGM Grand, Wed-Sun, 702-891-3838.

8/26 Benny Benassi. 8/27 Carnage. 8/29 Carnage. 9/2 Vice. 9/3 Travis Scott. 9/4 Macklemore & Ryan Lewis. 9/5 Carnage. 9/9 Benny Benassi. 9/10 Dash Berlin. Mon, Fri-Sat, Cosmopolitan, 702-333-9000.

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8/25 Kid Conrad. 8/26 DJ Que. 8/27 DJ C-L.A. 8/28 DJ Karma. 9/1 Kid Conrad. 9/2 DJ Que. 9/4 DJ Karma. Bellagio, Thu-Sun, 702-6938300.

8/26 DJ Crooked. 8/27 DJ D-Miles. 8/30 DJ Direct. 8/31 DJ D-Miles. 9/2 Jay Sean. 9/3 Brody Jenner. 9/4 Hyde in White. Bellagio, nightly, 702-693-8700.

DRAI’ S 8/25 Esco. 8/26 Tyga. 8/27 Jeremih. 8/28 DJ Franzen. 8/30 DJ Crooked. 9/1 Esco. 9/2 Big Sean. 9/3 Trey Songz. 9/6 Quintino. 9/8 Esco. 9/9 Nas. 9/10 Fabolous & Fat Joe. Cromwell, Tue, Thu-Sun, 702-777-3800.

IN T RIGUE 8/25 Nghtmre. 8/26 Konflikt. 8/27 Jesse Marco. 9/1-9/2 AlunaGeorge. 9/3 Kiesza. 9/8 Flosstradamus. 9/9 Politik. 9/10 A-Trak. Wynn, Thu-Sat, 702-770-7300.

F OX TAIL JEW EL 8/27 DJ Hollywood. 9/3 Charli XCX. SLS, FriSat, 702-761-7621.

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8/26 DJ Koko. 8/27 Miles Medina. 9/2 DJ D-Miles. 9/3 Taboo. Mandalay Bay, nightly, 702-632-7631.

G H OSTBAR Thu Benny Black. Fri-Sat DJs Mark Stylz & Exodus. Sun DJ Exodus. Mon-Tue DJ Seany Mac. Wed DJ Exodus. Palms, nightly, 702-9426832.

8/26 Iggy Azalea. 8/27 DJ Ruckus. 8/29 3LAU. 9/2 The Chainsmokers. 9/3 Jamie Foxx. 9/5 The Chainsmokers. 9/9 Burns. 9/10 BRKLYN & We Are Treo. Aria, Mon, Thu-Sat, 702-590-8000.

L AX 8/25 DJ R.O.B. 8/26 DJs Aybsent Mynded & Eric Forbes. 8/27 DJs Cass & J-Nice. Luxor, Thu-Sat, 702-262-4529. LIGHT 8/26 DJ Five. 8/27 Party Favor. 8/31 Baauer’s Studio B with Waka Flocka Flame. 9/2 Stafford Brothers. 9/3 Metro Boomin. 9/3 Claude VonStroke. 9/4 DJ Mustard. 9/7 DJ Five. 9/9 Morgan Page. 9/10 DJ E-Rock. Mandalay Bay, Wed, Fri-Sat, 702-632-4700.

8/26 Calvin Harris. 8/27 Steve Angello. 8/30 The Chainsmokers. 9/2 Calvin Harris. 9/3 Armin van Buuren. 9/4 Jauz. 9/6 Showtek. 9/9 Calvin Harris. 9/10 Showtek. Caesars Palace, Tue, Thu-Sun, 702-785-6200.

S U R R EN D ER 8/25 Dillon Francis. 8/26 Grandtheft. 8/27 DJ Snake. 8/31 Marshmello. 9/1 RL Grime. 9/2 Flosstradamus. 9/3 Major Lazer. 9/4 Marshmello. 9/7 Flosstradamus. 9/9 Grandtheft. 9/10 RL Grime. Encore, Wed, FriSat, 702-770-7300.

TAO 8/25 DJ Five. 8/26 Enferno. 8/27 Eric DLux. 9/1 Jermaine Dupri. 9/2 Kevin Hart. 9/3 Yo Gotti. 9/4 DJ Five. 9/8 Lil Uzi Vert. 9/9 Enferno. 9/10 Vice. Venetian, Thu-Sat, 702388-8588.

XS 8/26 Kaskade. 8/27 Zedd. 8/28 RL Grime. 8/29 DJ Snake. 9/2 Skrillex. 9/3 Zedd. 9/4 David Guetta. 9/5 Diplo. 9/9 David Guetta. 9/10 Dillon Francis. 9/11 Audien. Encore, FriMon, 702-770-0097.

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BARE 8/25 Greg Lopez. 8/26 DJ Que. 8/27 DJ Turbulence. 8/28 Zsuzsanna. 8/29 Nova. Mirage, Thu-Mon, 702693-8300. DAY L I G H T 8/25 DJ Neva. 8/25 Eclipse with Desiigner. 8/26 Scooter & Lavelle. 8/27 Stafford Brothers. 8/28 DJ E-Rock. 9/1 DJ Neva. 9/2 DJ Mustard. 9/3 Laidback Luke. 9/4 J. Cole. 9/5 Stafford Brothers. 9/8 DJ Neva. 9/9 Sid Vicious. 9/10 Bassjackers. 9/11 DJ Five. Mandalay Bay, Thu-Sun, 702-632-4700.

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new Standard Standard & Pour, sort of a suburban extension of Carson Kitchen and the last restaurant project chef Kerry Simon worked on before his death last year, opened this week on Eastern Avenue near Anthem. Judging from the tasty, creative dishes we sampled before its debut Wednesday, it looks like a hit. Get your first bite at lasvegasweekly.com (Jon Estrada/Staff)

Arts & entertainment 56

Pop Culture

SCREEN

Noise

Stage

Food & Drink

Calendar

Frank Ocean’s new album: worth the wait … and the trouble to actually hear it?

Mr. Raging Bull himself steals the show in new boxing film Hands of Stone.

Who’s ready to go Psycho? Plus, Explosions in the Sky and Sabriel’s sublime new EP.

The Lab approaches theater from nontraditional points of view.

LVB’s Kick in the Kisser burger makes for a new must-try at the Mirage.

Deftones, Yes, Ed Wood films and of course, freakshow wrestling— all this week.

on the web Concert mania! Show reports from Silversun Pickups, Slipknot with Marilyn Manson, Culture Club, DIIV and Beach House. Plus, reviews of new Mel Gibson film Blood Father and Obamas’ first date story Southside With You. All at lasvegasweekly.com.

56 POP Culture

WEEKLY | 08.25.16

Blond on blonde Trying to wrap my head around Frank Ocean’s new “event album”

our years ago, I bought a used CD copy of Harry Nilsson’s Nilsson Schmilsson at a momand-pop record shop. On the ride home I was all, “I cannot wait to get home and load this into my iPod and blast ‘Jump Into the Fire’!” Shortly after I finished the thought, I was like, “Oh, wait, I can just put it in the CD player and blast it right now.” Then I spent the rest of the day wondering if that moment qualified as a senior one or just me being tragically hip. I had a similar experience this weekend, when Frank Ocean’s long-teased new album Blond finally dropped. It was yet another highprofile work streaming somewhere exclusively—this time on Apple Music. In addition to having a premium Spotify Cultural attachment account, I’d recently gone premium by smith galtney with Tidal, because I wanted to hear Beyoncé’s Lemonade and Kanye West’s The Life of Pablo. So I ranted aloud, “I don’t need another streaming service in my life,” and then I remembered, Duh, I can just buy the thing for $10 on iTunes! I won’t have access to Endless, a video collection released in tandem with Blond. But since I still haven’t gotten around to watching either of Beyoncé’s “visual” albums, that’s just fine. The belief that music is “free” in the digital age has always been bogus. Even in the late-’00s glory days of downloading, I was still paying monthly fees to shady file-sharing services to acquire more music than

While he waits for the furor surrounding Blond to settle down, Frank Ocean’s going to chill, maybe catch up on some reading. (Courtesy)

was humanly possible to digest. (Fivehundred dance hits of the ’90s? Sure. The complete Frank Zappa discography? Okay, just in case.) I’m currently paying at least $240 a year for uninterrupted access to Spotify and Tidal. Now Apple is sweet-talking me into raising that to $360, with more promises of exclusive content and access to “just about every song ever recorded.” That kind of money can buy real stuff—like, lots of records you’ll actually listen to. But is it worth forking all that over for music you’ll never really hear? Having said that, I’ll take the Grumpy Old Man hat off and focus on the subject at hand: Blond, or Blonde,

according to the album’s metadata. Like a friend told me this morning, “I want to believe in Frank Ocean.” Any eminent hip-hop singer who cops to an elastic sexuality on his debut, then writes a followup from the viewpoint of a teenage girl (did he just sing “eat some ’shrooms, maybe have a good cry”?), and enlists everyone from Jamie xx to Pharrell to help flesh it out demands attention. And indeed, Blond’s disregard for classic song structure and old-fashioned beats feels different and exciting, like hiphop chamber pop. (Chamber-hop?) For all the N-words and F-bombs and pussy talk, Ocean’s on a serious Brian Wilson kick here.

But Wilson made a lot of bad music, too, and Blond suffers from what NPR’s Jason King calls “drifty songwriting that is too often formless and the pursuit of tone that is too often samey.” If some moments hint at a deeper synthesis of hip-hop and artrock (“avant-soul,” as some call it), lots of others remind me of those bad, faux-jazz albums Joni Mitchell used to make. Even after repeated listening, I’m still not humming anything, and that makes me wonder where Blond will end up once the “event album” hype settles. After all, when a record gets packaged alongside “every song ever recorded,” it’s gotta work extra hard to keep our attention.

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58 las vegas weekly 08.25.16

MÁs o menos By Mike D’Angelo ne of the most famous and bizarre bouts in boxing history took place between Roberto Durán and Sugar Ray Leonard on November 25, 1980. Held just five months after Durán had beaten the previously undefeated Leonard to become welterweight champion, the rematch was highly publicized, but what made it unique was the way that it ended: not with a knockout or a bell ringing, but with Durán unexpectedly deciding, at the end of Round 8, that he didn’t want to fight anymore. He simply quit, handing the title back to Leonard. So unprecedented was this out-of-nowhere forfeit that ESPN devoted an entire 30 for 30 episode to it, entitled No Más (2013). You’d think, then, that a biopic about Durán would seek to create a credible psychological portrait of the man who made that decision. Instead, Hands of Stone is just a run-of-themill boxing flick, with Robert De Niro, as Durán’s trainer, making the strongest impression. Admittedly, De Niro’s presence doesn’t help, since

Boxing biopic Hands of Stone can’t score a knockout

it inevitably conjures memories of his legendary performance in Martin Scorsese’s Raging Bull (coincidentally released 11 days before the Durán-Leonard rematch). Durán himself is played by Venezuelan actor Edgar Ramirez (Carlos, Zero Dark Thirty), even though the boxer hailed from Panama. Early scenes establish Durán’s resentment toward the U.S. and his American father, who abandoned the family; it’s implied that this abandonment fueled the anger that shaped his punishing style in the ring. That’s about the extent of the film’s insight into its subject, however. Writer-director Jonathan Jakubowicz (who’s also Venezuelan, despite his Polish surname) mostly sticks to the sports biopic’s standard beats, documenting Durán’s gradual rise without providing any indication of what led to his still-mysterious fall. Durán blamed stomach cramps, but absolutely nobody believes that. Ramirez, a fine actor, does what he can with the movie’s thin conception of Durán, who’s largely defined here by generic pugnaciousness. But Hands of Stone owes what meager energy it possesses to De

Niro, as trainer Ray Arcel. Already a senior citizen with a storied career behind him when he began working with Durán, Arcel could easily have come across like a variation on Burgess Meredith’s Mickey from the Rocky movies, but De Niro shrewdly finds his own amalgam of gruff and tender; the film’s key image is Arcel brushing Durán’s hair back before the beginning of each round, as if he’s sending him off for his first day at school rather than out to pummel and be pummeled. Moments like this, along with some fascinating background detail about the Panama Canal, suggest the compelling and distinctive picture that Hands of Stone might have been, had Jakubowicz worked a little harder. When it comes to Durán’s psyche, alas, he throws in the towel.

aabcc HANDS OF STONE Edgar Ramirez, Robert De Niro, Ana de Armas. Directed by Jonathan Jakubowicz. Rated R. Opens Friday citywide.

screen

59 las vegas weekly 08.25.16

Funny business +

From left, Ramirez, De Niro and Rubén Blades prepare for Durán’s showdown in the ring. (The Weinstein Company/Courtesy)

The blind leading the blind Horror movie Don’t Breathe makes some fatal missteps At first, Don’t Breathe is an admirably gritty and visceral thriller, with a simple concept: A group of teens break into an isolated house to steal a cache of money, only to be confronted by the owner, a blind military veteran who’s much more dangerous than he first appears. Director and co-writer Fede Alvarez (the 2013 Evil Dead remake) establishes the layout of the house effectively, carefully highlighting objects and areas that will become important later. The characters’ motivations are evenly matched: The burglars are misguided kids trying to pull themselves out of poverty, while the blind man is grieving the death of his daughter in a car accident. Alvarez sets them against each other in this decaying, labyrinthine space, creating a suspenseful cat-and-mouse game with

minimal fuss. And then he ruins the whole thing with increasingly gross and unbelievable twists, turning the blind man (Stephen Lang) into a cross between Daredevil and Jigsaw. Even the scares that were effective early on lose their power when repeated, and Alvarez cheats the audience with fake-out deaths and false endings. He also tacks on sappy emotional drama for main character Rocky (Jane Levy) that comes off as disingenuous and manipulative. What started as an intense, gripping thriller becomes a ridiculous cartoon, with a laughable ending that suggests a later Saw sequel. –Josh Bell

aaccc DON’T BREATHE Jane Levy, Dylan Minnette, Stephen Lang. Directed by Fede Alvarez. Rated R. Opens Friday citywide.

Improv comedy performers take their art form very seriously, and so does writer-director Mike Birbiglia in his movie Don’t Think Twice. Stand-up comedian Birbiglia (Sleepwalk With Me) packs his cast with funny people, but Don’t Think Twice is more interested in complex emotions than in making jokes. That’s not to say it isn’t funny, especially in the scenes featuring performances by New York City improv troupe The Commune (played by Birbiglia, Gillian Jacobs, Keegan-Michael Key, Chris Gethard, Kate Micucci and Tami Sagher), but most of the movie takes place offstage, where the group’s members are dealing with some heavy regrets and life changes. Now in their 30s, they’ve reached a point of wondering whether to give up on their dreams of comedy stardom, just as one member finally gets hired for a Saturday Night Live-like sketch-comedy show. That’s the catalyst for a lot of soul-searching and angst, but Birbiglia depicts it in a nicely understated manner, always focusing on the genuine camaraderie among the characters and never forgetting the humor. It’s a true ensemble piece, but Jacobs stands out as a woman realizing that being an artist doesn’t have to mean constantly pushing for greater success or recognition. The movie draws its audience in with the promise of laughs, and then reaches into deeper and more rewarding emotional territory from there. –Josh Bell

aaabc DON’T THINK TWICE Mike Birbiglia, Gillian Jacobs, Keegan-Michael Key. Directed by Mike Birbiglia. Rated R. Opens Friday at Regal Village Square.

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62 las vegas weekly 08.25.16

The crazy world of Psycho Arthur Brown and a host of other longtimers pepper this weekend’s heavy-music fest By Jason Scavone

“

am the god of hellfire and I bring you … fire!” is, as quasi-ominous spoken-word introductions to rock songs go, far and away the ne plus ultra of the genre. Light years ahead of “Gunter glieben glauchen globen,” and you can tell Def Leppard we said that. There’s a clip from a 1968 episode of Top of the Pops with The Crazy World of Arthur Brown doing their breakout hit “Fire,” smack at the peak of psychedelic rock’s golden age. Brown starts the set wearing a helmet with flaming, horseshoeshaped horns, some kind of druid-y circle cloak and pancake evil clown

makeup that a young Ace Frehley had to think was the coolest damn thing he’s ever seen. Midway through, Brown shrugs off the cloak, and his chest is painted up like the world’s laziest Juggalo. He lets loose through the organ-driven riffs, dance moves somewhere between Iggy Pop, Laugh-In go-go and Gumby. It’s at that moment that you begin to grasp that you’ll never truly understand the ’60s if you didn’t live through the ’60s. Admitting that out loud means some aging Bay Area hippie gets his wings, but there you have it. On a continuum of theatricsdriven spooky rock, Brown picked up where Screamin’ Jay Hawkins left

off (covering “I Put a Spell on You” along the way) and immediately set the stage for self-proclaimed fan Alice Cooper. The biggest notch in Cooper’s Arthur Brown belt, though, might be the godfather of shockrock’s part in luring Brown to play a rare U.S. gig this weekend, at Psycho Las Vegas, a four-day heavy-rock festival at the Hard Rock Hotel. Brown remained active in Europe and got no less weird as the years went on. He champions a helmet that lets you make music with your brain waves as the next big thing. Though if psychic/head/theremin music took off, it wouldn’t be any less weird than the still-cresting popularity of the Daft Punk-inspired DJs-with-random-

crap-on-their-noggins movement. But why come back across the pond now? It helps that Cooper sought Brown out to play a London Halloween show in 2011. Game respects greasepaint game. Brown plays Fridays’ finale at the Joint, while Cooper himself closes out the show on Sunday. In-between, Psycho makes room in its wall-to-wall slate of doom, sludge and stoner-metal for a rousing selection of bona fide old-guy rock—and that’s not even accounting for those whippersnappers in Mudhoney heading up Thursday night’s pre-party show at the pool. Sandwiched between Electric Wizard’s Black Sabbath revival riffs

NOISE

63 LAS VEGAS WEEKLY 08.25.16

JOURNEY TO THE WILDERNESS EXPLOSIONS IN THE SKY’S CHRIS HRASKY TALKS SHORTER SONGS, AC/DC AND TED CRUZ ustin, Texas-based instrumental band Explosions in the Sky is known for cinematic post-rock that veers between expansive roars and delicate arrangements. The band’s latest album, The Wilderness, is a dramatic departure that emphasizes keyboards and electronic sounds, along with more complex approaches. Drummer Chris Hrasky spoke to the Weekly before the band’s current run of tour dates, which includes Explosions’ first-ever headlining show in Las Vegas.

10 ACTS TO CATCH

Get your Psycho schedule started at lasvegasweekly. com.

Left to right, Arthur Brown, Alice Cooper and Pentagran will occupy the Hard Rock Hotel this weekend. (Illustration by Corlene Byrd/Staff)

and the fuzz-stomp of Uncle Acid & The Deadbeats on Saturday is Blue Öyster Cult, the stone-cold originators of umlaut rock. Leading into ex-Pantera frontman Phil Anselmo’s Down on Saturday is Pentagram, the doom-metal pioneers that began in ’71, when just invoking a symbol was good for sufficient demon-cred without having to name your band “Circle of Dead Children.” Detroit’s protopunk all-brother outfit Death was a going concern in 1971 and flamed out by ’77, only to see a resurrection in 2009. The surviving members got a documentary out of the deal, 2012’s critically acclaimed A Band Called Death. And Truth and Janey reaches back to 1969 and draws half its

name from a Jeff Beck album, which qualifies it as practically folk-rock in this lineup. Brown himself is 74 and still getting out there in facepaint, spaz-dancing to his own brand of psychedelia. And metal, by and large, exists in a timeless vacuum that not only honors its elder statesmen, but treats them as vibrant contemporaries in a way most genres don’t. If that doesn’t prove there isn’t hope for the wistful-remembrance-ofmoshpits-past set, nothing will.

PSYCHO LAS VEGAS August 25-28, $99 day/$250 weekend, Hard Rock Hotel, psycholv.com.

When approaching The Wilderness, was there anything specific you guys wanted to do differently? We were pretty consciously trying to approach the whole record differently than we had in the past. Pretty much all our records were the four of us in a room with guitars and drums, playing the songs. This one was much more about trying all sorts of different things—different instruments and building layers and not worrying so much about, “How do we do this live?” We liked the idea of trying to do shorter songs than we have in the past and tried to get to the point quicker. It took us a while. It was a challenge to not go with your default setting. I’ve never understood bands that make the same record

over and over again. Don’t they get bored playing it night after night? It is strange. Maybe that’s why bands don’t generally last a long time. AC/ DC’s been around forever, and they’re doing the same thing over and over again, but they’re doing it pretty well. (laughs) No, I agree. You get bored. And I think we were maybe getting a little bored with the way we typically did things. It’s our job, but at the same time, it’s a creative work. You should feel excited about it. Your music has been used in so many different movies and TV shows. What’s the most unexpected place you’ve heard it pop up? This year a song popped up in a Ted Cruz campaign ad. To be honest, we were not very happy about that. We weren’t Ted Cruz supporters in any way, so we had to send a cease and desist letter. And they pulled it. But that was very surprising, like, “I guess we appeal to a broad spectrum of people.” –Annie Zaleski For more of our interview with Hrasky, visit lasvegasweekly.com.

EXPLOSIONS IN THE SKY with Rusty Maples. August 28, 7 p.m., $25-$45. Brooklyn Bowl, 702-862-2695.

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64 Noise

WEEKLY | 08.25.16

LOUD! Local music news and notes By Leslie Ventura

Applicants must audition in dance-wear, GoGo attire or swimwear.

MOOD MUSIC Between the opening keys and feather-light sighs on “MYF,” Vegas singer-songwriter Sabriel Hobart sets the mood for her outstanding five-song EP shä brē el in seconds. Layered with buttery vocals, bright horns, stirring piano riffs and thick bass, the project is sultry and smooth, confident and poised. Just shy of 20 minutes, Hobart and her skilled team of musicians explore R&B’s jazzier soundscapes, lush vocal runs and bare-it-all poetry. “I feel my body’s floating away/Can’t put my finger on the taste/My head is far away in space/And I hope that I can make you feel the same,” Hobart sings on that same opener. The album closes with a harrowing skyscraper of a song, “No More Color,” featuring Pao Gonzales on guitar, Renaldo Elliott on drums, Halsey Harkins on keys, Bronson Garza on bass, Jean Francois Thibeault on trombone, Isaac Tubb on trumpet and Eddie Rich on saxophone. It’s an impressive collection of musicians, with Hobart at the center. No doubt, it will keep listeners on their toes until a full-length appears. sabriel.bandcamp.com ***** LUNAR ECLIPSE After a five-year run, Vegas alt-rockers Moonboots have announced their breakup. “We started as a Pixies cover band in 2011, playing in [guitarist] Clyde [Barnett’s] bedroom with the only real goal being to play a 30-minute set of songs from Doolittle and Surfer Rosa at Green Valley Ranch,”

Sabriel’s new EP is waiting for your ears. (Fred Morledge/Special to Weekly)

drummer Ryan Brunty said on Facebook. “After a few years, we started writing originals that we thought were pretty darn fun ... it will be missed.” The “conscious uncoupling” comes two weeks after the band played its final show at Artifice on July 29. Moonboots released a self-titled EP in March. moonboots band.bandcamp.com ***** WAX ON Earlier this month Wax Pig Melting returned from the depths to release brooding new single “Jaundice,” and it’s worth grabbing your headphones to hear. The grainy track bubbles into a thumping, angry anthem as Brian Gibson growls, “Nothin’ at all/

Seems like a lot to take into me/I’m learnin’ to crawl/Now I’ve lost both of my knees,” during the song’s climactic bridge. Between the abstract lyrics, shredding guitars and pummeling drum fills, Wax Pig’s latest song will leave you wanting more. waxpigmelting.bandcamp.com ***** LOCAL WAVE LA-based surf-punk duo Surf Curse, featuring Nick Rattigan and Jason Rubeck from Henderson, plays Vegas for the first time inside the Womb Room on September 4. It’s a house show so we won’t give out the address here, but these lo-fi homegrown heroes are worth tracking down. surfcurse. bandcamp. com

65 STAGE

WEEKLY | 08.25.16

Lab experiments Kate St-Pierre’s new training group looks at theater from a different viewpoint

BOTTLES, CANS & DRAFTS

By Jacob Coakley ate St-Pierre can’t stop checking her notes. Her first rehearsal for The Elaborate Entrance of Chad Deity—the season opener for Cockroach Theatre, with performances starting in October—just ended, and her latest workshop finished days ago, but she keeps pressing the button on her phone to light up her notes, studying. “I’m a workshop junkie,” she says, turning the phone over to hide the screen. “I like to train with different people and learn different styles.” It has always been that way for the constantly moving artist. Studying with a vocal coach led to an artistic associate gig at the Los Angeles Opera; her dedication to singing styles from across the world landed her the job of lead vocalist for the opening of Le Rêve; that soon led to a role in KÀ before she left to tour Europe with a band. But Vegas remained her home base, and the fertile theater scene here kept bringing St-Pierre back to act and direct—and, of course, study. Last fall she launched a small theater training group called the Lab, dedicated to elevating theatre artists’ skill sets. “Artists don’t always have the opportunities to grow and explore,” she says. “I think you need that. You have to keep growing.”

NOW AVAILABLE Kate St-Pierre takes a moment from her packed schedule of performances, rehearsals and workshops. (Steve Marcus/Staff)

The Lab was her way to provide that—to herself and others. The sessions offered actors grounding in a theory called Viewpoints, an esoteric form of training even within theater. “People think it’s weird, and they don’t really know what it is if they haven’t studied it directly.” So she decided to give artists here the opportunity to do just that. She recently brought Leon Ingulsrud, one of the main practitioners and teachers of Viewpoints, to Vegas for a workshop. He taught the basics to St-Pierre and 20 other students. “Viewpoints training puts you in extreme situations, which is what acting is. Onstage, all these eyes are staring at you, expecting you to dazzle them, to impress them. You need to be able to go out there and become another person—usually in a horrible situation. So this training gives you the foundation to do that.” St-Pierre has set up a Facebook

page for the Lab (facebook.com/the lablv), where she can get the word out about more training opportunities and people looking to join in can message her. Even with all this new training, St-Pierre hasn’t forgotten about performance itself. The training doesn’t mean anything if it doesn’t result in a more engaging show. “For the audience, Viewpoints can take something that could be a static, artificial thing and clarifies what’s happening, making it more interesting.” Which leads to the question that has been occupying St-Pierre’s thoughts throughout all her artistic explorations: “How do we tell a strong story and keep people engaged?” she asks. “That’s what I want for the Lab, for theater. How can we tell a story in an even more engaging and stronger way?” And to do that she’ll keep studying.

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LAS VEGAS WEEKLY 08.25.16

BREAKING THE BURGER MOLD THE MIRAGE QUIETLY UNVEILS A CREATIVE, CASUAL WINNER WITH LVB BY BROCK RADKE resentation is important. Every burger restaurant above the fast-food level is well aware its burgers need to be stacked as high as possible with thick, juicy beef and a variety of colorful toppings, even if a skewer is required to hold the thing together. But you know what happens? (You do. You know.) Impressive presentations heighten expectations. You’re excited, but then you’re just eating another burger. That won’t happen at the new LVB. When old and tired BLT Burger ran its course, the F&B folks at the Mirage wisely recruited their Italian restaurant chef, Michael LaPlaca, to assemble a menu of unboring burgers and accompaniments, and he unsurprisingly knocked it out of the park. These burgers are huge and LVB BURGERS decked out in high-quality ingredients assembled in creative combinations, AND BAR and more importantly, they taste as Mirage, 702-792good or better than they look. The BCB 7888. ($15) is a bacon cheeseburger dripMondayping with rich beer-cheddar sauce. Thursday, Sunday, The KIK (for “kick in the kisser,” $16) 11 a.m.brings familiar toppings of fried egg, midnight; avocado and fried onions and adds Friday & Saturday, popping pickled jalapeños, pepper 11 a.m.jack cheese and tangy sriracha aioli. 2 a.m. And while those two, along with the starter Old School Burger ($15), are the most popular plates so far, I’ll direct you instead to the funky duck burger stuffed with muenster cheese ($16); the too-good-to-be-aturkey-burger with turkey bacon on ciabatta ($17); and the seemingly simple, stunningly fresh AAA burger ($15) layered with boursin cheese, sundried tomatoes, bacon and arugula. You won’t be able to finish one of these beasts on your own, but that doesn’t mean you should skip the stellar Cajun Buffalo or “Thai-riyaki” flavored chicken wings ($14), the over-the-top boozed-up milkshakes or the insanely delicious boulevard rolls ($8), essentially a cheeseburger in an eggroll. In fact, if you’re not seriously hungry on your first visit, get those rolls and a shake and thank me later. Then return to LVB when you’re ready to tackle some of the most serious burgers on the Strip.

The beer-cheese sauce smothered BCB Burger. (Jon Estrada/Staff)

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FOOD & DRINK

LAS VEGAS WEEKLY 08.25.16

CARIBBEAN KISS

INGREDIENTS 2 oz. Cruzan Single Barrel Rum

The spice is right at Sheffield. (Mikayla Whitmore/Staff)

GETTING EXOTIC ON EASTERN FIND THE RIGHT FLAVOR AT SHEFFIELD SPICE & TEA CO. BY JASON HARRIS

Sheffield Spice & Tea Co. could easily get lost in its huge Target-anchored strip-mall at Eastern and Silverado Ranch. But this spot works. Maybe it’s the five-star rating on Yelp, or word-of-mouth, or foot traffic from the other stores in the complex. Whatever the recipe, this is the little tea shop that could. Owner Cheryl Sheffield, 59, was a successful accountant for Boyd Gaming. Her husband Rick often traveled for business and brought back spices from other cities because, “There wasn’t anything here in town,” Cheryl says. “You’d have to order online and [there] you don’t know what you’re getting.” That was the impetus for Sheffield to leave her stable job and open her dream store, stocked with items she didn’t know much about at the time. “The spice part is pretty new to me,” she says. When her husband would bring various spices home, she thought, “Wow, there’s a bigger world than I realize. I wish I had this stuff when I was younger and raising kids and trying to put a meal on the table.”

In the seven months it took Sheffield to go from concept to reality, she added tea, assorted knick-knacks and kitchen supplies to the store’s inventory, and even more specialty products like high-end oils and vinegars. All the spice blends at Sheffield Spice & Tea are mixed in-house, including regional curries from India, rubs for poultry, Turkish chilies and more. It’s fun listening to Sheffield explain the specialty ingredients. Of the Urfa Biber Turkish chili pepper blend, she says, “It’s like a red pepper. They leave it in the sun all day and then they cover it at night and it kind of sweats and turns purple and has a raisin-y, almost chocolaty flavor.” Tea choices are just as bountiful as the exotic spices. You’ll find everything from Tahitian Breeze—a green tea with tropical fruits—to real matcha to roasted caramel apple. And if it’s not on the shelves, Sheffield will find it or develop it for you. Target can’t do that.

SHEFFIELD SPICE & TEA CO. 9875 S. Eastern Ave. #E-2, 702-877-4237. MondaySaturday, 10 a.m.-7 p.m.; Sunday, 11 a.m.-5 p.m.

1 oz. Marie Brizard Chocolat Royal Liqueur 1 oz. Calahua Cream of Coconut Coconut shavings for garnish Fresh mint for garnish Halved coconut shell to serve

METHOD Combine ingredients in a shaker with ice and shake thoroughly. Serve in a halved coconut shell and garnish with coconut shavings and fresh mint.

Move over Piña Coladas and Mai Tais—in the realm of festively elaborate tropical cocktails, the Caribbean Kiss now reigns supreme. This drink is rich and creamy while still packing just the right punch of smooth, oaky rum. The coconut flavors are dominant without being overwhelming, and the addition of the chocolate liqueur makes this cocktail feel as luxurious as lounging on a faraway beach.

Cocktail created by Francesco Lafranconi, Executive Director at Southern Glazer’s Wine and Spirits.

calendar

las vegas weekly 08.25.16

Deftones invade the Joint on August 30. (Courtesy)

Comedy Dive Bar Doug Stanhope and Friends 8/28, 8:30 pm, $45. 4110 S. Maryland Parkway, 702-586-3483. Mirage Chris D’Elia 8/26, 10 pm; 8/27, 9 pm, $44-$54. Howie Mandel 9/2, 10 pm, $44-$54. 702-792-7777. Suncoast (Showroom) Ronn Lucas 8/26-8/27, 8:30 pm, $18-$44. 9090 Alta Drive, 702-636-7075.

Performing Arts Baobab Stage Theatre Daniel Bellone 8/27, 8 pm, $20-$25. Town Square, baobabstage.com. South Point (Grandview Lounge) Seth Grabel Magic 8/28, 4 pm, $15. 702-796-7111. Super Summer Theatre Bring It On: The Musical 8/18-8/20, 8/24-8/27, 8 pm, $16. Spring Mountain Ranch State Park, 702-594-7529. Velveteen Rabbit The Cat’s Meow 8/28, 7 pm, $25$30. 1218 S. Main St., 702-685-9645.

Special Events Ed Wood Night 8/26-8/27, 8 pm, $10. Onyx Theatre, 953 E. Sahara Ave., 702-732-7225.

Live Music

Brothers, Dave Mason 8/27, 7 pm, $45-$183.

8/27, 9 pm, $5. Nina Diaz 8/28, 10 pm, $5. Beware

THe Strip & Nearby

(Beach) The Go-Go’s, Best Coast, Kaya Stewart

of Darkness, The Unlikely Candidates, Weathers

Bally’s (Windows Showroom) The Texas Tenors

8/26, 9 pm, $36. 98°, O-Town, Dream, Ryan

9/1, 9 pm, $10-$12. 124 S. 11th St., 702-854-1414.

8/30-8/31, 7:30 pm, $53-$73. 702-777-2782. Brooklyn Bowl Eric Paslay, Jill & Julia, SmithField

Cabrera 8/27, 9 pm, $36. 702-632-7777. Orleans (Arena) Hillsong Worship, Kari Jobe & more

Downtown Las Vegas Events Center Yes 8/27, 8 pm, $41-$73. 200 S. 3rd St., 800-745-3000. Golden Nugget (Gordie Brown Showroom)

Freakshow Wrestling 8/27, 8 pm, $20. Fremont Country Club, 601 Fremont St., 702-382-6601. HypnoThoughts Live 8/26, 8/28, 8 pm, $30. Orleans Showroom, 702-284-7777. Paint in the Park 8/31, 6-9 pm, $25. The Park, 3784

8/25, 8 pm, $20-$35. Michael Franti & Spearhead,

8/26, 6:30 pm, $30-$100. Kool & The Gang, Bootsy

Zella Day 8/26, 9 pm, $35-$50. Islander, The

Collins, Morris Day & The Time, Doug E. Fresh 8/27,

Gary Lewis & the Playboys 8/26, 8 pm, $43-

7:30 pm, $49-$129. 702-284-7777.

$108. 866-946-5336.

Beautiful 8/30, 6 pm, $50. The Martini, 1205 S.

Everywhere Else

The Writer’s Block Kevin T. McEneaney: Hunter S.

Funeral Portrait, XXI, Jessie Smith and the Holy Ghost, Systemic 8/27, 7 pm, $15-$17. Explosions in the Sky, Rusty Maples 8/28, 8 pm, $25-$45. Linq, 702-862-2695. Caesars Palace (Colosseum) Mariah Carey 8/278/28, 8/31, 8 pm, $55-$250. 702-731-7333. Double Down Saloon Meat Wave, Dark Water Rebellion, Anti Anti 8/25. Believes in Ghosts,

Planet Hollywood (Axis) Britney Spears 8/26-8/27, 8/31, 9 pm, $57-$259. 702-777-2782. SLS (The Foundry) Borgore, Dirtyphonics, Funtcase 8/26, 6 pm, $35. (Sayers Club) Josh Kelley 8/26, 7

Las Vegas Blvd. S., pinotspalette.com. Wine & Canvas Benefitting My Scars Are Fort Apache Road, myscarsarebeautiful.org.

Adrenaline Sports Bar and Grill Word in Edgewise 8/27, 8 pm, free. 3103 N. Rancho Drive, 702-645-4139.

Thompson: Fear, Loathing, and the Birth of Gonzo 8/30, 7 pm, free. 1020 Fremont St., 702-550-6399.

pm, $15. The Conwaves 8/27. SLS, 702-761-7617.

Boulder Dam Brewing Lisa Mac 8/26. Toney Rocks

Zappos for Good Speaker Series ft. Dr. Brené

T-Mobile Arena Coldplay, Alessia Cara 9/1, 7 pm,

8/27. Shows 8 pm, free. 453 Nevada Way, Boulder

Brown, Jewel 8/31, 5:30 pm, $29-$99. Smith

City, 702-243-2739.

Center, 361 Symphony Park Ave., 702-749-2000.

$30-$180. 3780 Las Vegas Blvd. S., 702-692-1600.

Manoz Zuziaz, Scary Uncle Steve, Commission

Dive Bar Bipolar, White Knuckle Riot, The Elusive

28 8/26. Missions, The Alienated, Dreams of

Downtown

Furs 8/26, 9 pm, $5. D.I., It’s Casual, Mersa, Sheiks

Vertigo, Detroit Diesel Power 8/27. Matt Woods

Backstage Bar & Billiards Big B, Ne Last Words,

of Neptune 8/27, 9 pm, $10. 4110 S. Maryland

Sports

Parkway, 702-586-3483.

Future Stars of Wrestling 8/28, 6 pm, $15. Silverton,

8/28. Uberschall 8/28, midnight. Shows 10 pm, free

Light em Up, Los Ataskados, Luck Factor Zero

unless noted. 640 Paradise Road, 702-791-5775.

8/25, 8 pm, $10-$12. American Monster, We

Hard Rock Hotel (Joint/Vinyl/Pool) Psycho Las Vegas 8/25-8/28, times vary, $99-$250. (Joint)

OMD Jefe, Black Martian, Major Bank, Tea Fizz &

Gave It Hell, Them Evils, First Class Trash 8/27,

more 8/26, 6:30 pm, $12-$15. Relicseed, Losing

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

September 8/27, 8 pm, $10. Bermuda Skies, Falter

Deftones, Yelawolf, Sister Crayon 8/30, 8 pm,

Beauty Bar The Grinning Ghosts, No Tides 8/26,

Never Fail, Drown a Deity, Wretched Sky, Ark

$44-$179. (Vinyl) Black Mountain, White Hills,

8 pm, free. D Generation 8/27, 8 pm, $20-$25.

8/28, 7 pm, $10. Controlled Demise, Solbarren

Acid Witch 8/25, 10 pm, $20. The Steppas 9/1,

Easy Redd, Jeri Fourth and Rik the Ruger,

8 pm, $10-$20. 702-693-5000.

MRLEFTY & more 8/28, 9 pm. Nicky Sopanaro,

House of Blues Bee Gee’s Gold 8/26, 7 pm, $10.

8/31, 7 pm, $10. 953 E. Sahara Ave., 702-742-4171. Reflection Bay Golf Club Country in the Cove

Grom Zuks, Cream, Goliath Cruz, Nick Gray,

ft. Locash, Tara Thompson 8/28, noon, $10-$15.

Like Totally! 8/27, 8:30 pm, $10. Billy Idol:

Ari, Daniel Ave 8/30, 9 pm. Doug C & The

Lake Las Vegas, 75 Montelago Blvd.,

Forever 8/31, 7 pm, $90-$150. Zakk Wylde,

Blacklisted, The Rhyolite Sound 8/31, 8 pm,

lakemeadyc.com.

Otherwise, Jared James Nichols 9/1, 8 pm, $25. Mandalay Bay, 702-632-7600. Mandalay Bay (Events Center) Journey, Doobie

free. 517 Fremont St., 702-598-3757. Bunkhouse Saloon Crusty Purple, Hassan, The American Weather, Black Rhino, Frankie Goldie

Sammy Davis Jr. Festival Plaza Ghostlight

3333 Blue Diamond Road, 702-263-7777. Las Vegas 51s Salt Lake 8/25, 5 pm; 8/26-8/27, 7 pm, $11-$16. Cashman Field, 702-943-7200.

Galleries Winchester Cultural Center Gallery Chad Scott: They Say 8/29-10/14. Artist Reception 9/2, 5:30 pm. 3130 S. McLeod Drive, 702-455-7340. Wonderland Gallery Ashleigh Popplewell: Tiny Little Beetle Bugs & Roxy Montoya:

Country 8/27, 7:30 pm, free. 720 Twin Lakes Drive,

Bittersweet Nothings 9/1-9/28. Arts Factory,

702-229-3514.

107 E. Charleston Blvd. #110, 702-686-4010.

WEDNESDAYS

Old Skool Live 70s, 80s and 90s R&B

THURSDAYS

Taboo Summer Nights R&B/Jazz

FRIDAYS

$5,000 Grand Bikini Contest with DJ Kyd Wicked

SATURDAYS

We Beat Any Verified Price!

Rock out with Patrick Sieben and other special guests. See calendar.

SUNDAYS

Latin Night Swim DEVELOP ED

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www.CraigWeingrowMD.com 702.570.6611

CRAIG WEINGROW, M.D. 7200 Smoke Ranch Rd. #120 Family Physician

Las Vegas, Nevada 89128

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